I’m on the packed 12:40pm train from Colombo to Kandy. At least I think it’s going to Kandy. It’s a bone shaker and writing this review of Alice is a challenge not least with that awful British flu still lingering. It’s all somewhat surreal, not unlike Alice. Excuse typos, the train seems to leap off the tracks every now and again and we land with a thud and a jolt. It was such a pleasure being back at CLSG, familiar faces, warm welcomes and what an ingenious use of the main hall space; Mrs Mapstone’s trademark subtle, artfully placed props and furniture. I didn’t know anything about this interpretation of Alice, and was wondering where it was going to go, but perhaps we were supposed to just give in, let go and be enveloped by the dreamlike atmosphere. Within this otherworldly world was Darcey’s very real portrayal of pain and grief, it was truthful and sensitive. I enjoyed immensely this juxtaposition of realness surrounded by unrealness and Alice trying to make sense of a life turned upside down and inside out. And it’s all in the details as they say, which were embodied, literally, in all the brilliantly choreographed movement sequences, they were original, perfectly suited and oh so wonderfully, so beautifully Brechtian. Thud. Jolt. Might be sick. This was a fine example of ensemble work which also gave space for actors to experiment and create the most bizarre and outrageous characterisations perhaps I have ever seen. Other than a GCSE reimagining of Sarah Kane’s 4:48 psychosis that is. All involved in this production should be immensely proud for producing a show with heart and soul, originality, joy, sadness and everything in between, and it was, I have to say, very cool. Mr Whyld you need to up your game. How did you do those projections? Thud. Jolt.
- Chris Whyld
In the recent production of 'Alice', City's theatrical prowess illuminated the stage, weaving a tapestry of whimsy and amusement. As a witness and member of this captivating performance, it is my pleasure to provide a completely unbiased critique of the production that showcased both the creativity of the cast and the skillful execution of the production team, for those of you who haven’t seen it.
From the onset, the audience was transported into a realm where the ordinary rules of reality ceased to apply. The narrative, which unfolded with meticulous precision, showcased an Alice who navigated the surreal landscape of Wonderland with a blend of innocence and curiosity. The accentuated acting of the cast, under the direction of Miss Mapstone and Miss Everest, helped to excellently portray the eccentricities of Lewis Carroll’s characters.
The set design, a testament to the collaborative efforts of the production team, was a visual spectacle that complemented the whimsical nature of the play. The vibrant palette, intricate detailing, and strategic use of props created a Wonderland that was both enchanting and visually stunning. Each transition between scenes was (almost) seamless, adding to the overall fluidity of the production, and the costume team further added to the surreal nature of the play.
The collaborative efforts of the cast and crew resulted in a production that showcased how excellent both schools can be in performing arts. The play was extremely fun for everyone involved, and a lot of hard work went into it. Thank you to Mr Lynch, Miss Mapstone, Miss Everest and everyone else who helped!
- Ethan, CLS student
This year’s senior school production was ‘Alice’ by Laura Wade which is a modern interpretation of Lewis Caroll’s classic novel, ‘Alice’s Adventures in Wonderland’. The play explored how the titular character ‘Alice’ played by Daisy (y13) and Darcey (y12) dealt with the loss of her brother Joe played by Ethan (CLS) and the coping mechanism her brain creates through Wonderland. The sadness of the underlying theme of grief was contrasted with the humour of the cast particularly Aurelia (y13), Agnes (y13) and Oscar (CLS) who, as Tweedledee, Tweedledum and the Caterpillar respectively, never failed to have the audience in fits of laughter in every performance. The constant high energy tempo maintained throughout the play was embodied in Lena (y13) who, as the White Rabbit, was an energetic manifestation of Alice’s frantic state of mind.
Under the expert direction and coordination of Mrs. Mapstone, the cast and crew of over fifty pupils from year nine to year thirteen performed a run of four hugely successful evening performances featuring complex choreography from Ms Everest and countless songs of various genres from rap to operatic, exploring everything from The Jabberwocky to the intricacies and beauty of pea soup.
The whole cast would like to thank Mrs Mapstone, Ms Everest, Miss Wylie, Mr Lynch, The Facilities Team and The Friends of CLSG for all their help to enable the production.
- Hassan, CLS student