[ssba]
The Missing Pages of Lewis Carroll
Reviewed by Jessica Louise Salans
The Theater @Boston Court
Through March 1
RECOMMENDED:
Try Google image search “Alice Pleasance Liddell.” Pictures of a young girl with a dutch-boy haircut appear. This is the girl suspected to be the muse of Charles Dodgson’s (aka Lewis Carroll’s) Alice in Wonderland. It is also, controversially, suspected that the adult mathematics professor had a more-than affable relationship with the child.
These suspicions are the backdrop of The Missing Pages of Lewis Carroll, by Lily Blau, developed in collaboration with Sydney Gallas, in its world premiere at Theatre @ Boston Court.
Most of us are already familiar the classic children’s story. This new play of a worn tale begins “present day” 1880 in the rooms of Charles Dodgson at Christ Church, Oxford. Dodgson is anticipating the arrival of an adult Alice Liddell, at her request to have her portrait photographed. From initial incitement of the White Rabbit (played by the charming Jeff Marlow), Charles begins to read passages from his own journal. The entries are a catalyst, transitioning the story into the past, to Charles’s memories of his time spent tutoring, photographing, and sharing stories with the three Liddell sisters. Charles pays particular attention to the 10-year-old Alice. Dimmed lighting, reverberated voices as if in a dream, and the insatiable eye locking between Alice and Charles reveal a memory of a man deeply affected and enraptured by a young girl — a memory also revealing the story of the young girl returning the man’s deep infatuation.
While the obvious criticism is to label Dodgson as a pedophile, especially after revealing the delicate portrait of Alice Liddell from our earlier Google search, the “P”- word is not immediately associated with this production. Instead, Charles’ story of re-visiting his past brings to question the role of memory in recounting reality. Charles and the White Rabbit argue the difference between fantasy and memory; the latter pointedly says that “memory is a vivid form of fantasy.” Charles nearly pleads, “memory is what happened” and is “truth.” From this alchemical production we may explore: Where do the actions of reality meet our memories of it? Where does our desire to recount and tell the truth of reality enmesh with our perceived fantasies of that reality? (It can bring anyone down the rabbit hole.)
These broader ideas would not be present if not for the fluid, immersive believability of the actors and a seamless production design. Leo Marks portrays a most endearing, humbly playful Dodgson. The chemistry between Marks and Corryn Cummins as doe eyed, sassy, knock-kneed Alice is lustrous and palpable. The production’s glowing light feels like a warm hug at dusk– just before sitting down to read aloud a story– and the reveal into Wonderland is a magical, textured space for play. A color palette of winsome, flowing ivory and beige receive pay off with the iconic blue-dress Charles presents Alice (receiving audible sighs from the audience) and the scarlet shock of Mrs. Liddell’s dress when she brilliantly transforms into the Queen of Hearts. Director Abigail Deser’s inventive staging choices establish beautiful, poetic pictures for the eye to feast on. Video designs by Keith Skretch create awesome visuals, enhancing the spiraling, downward descent of Charles’s falling for Alice.
The truth of this reviewer’s memory recounts this production to be evocatively lyrical. The story’s final scene leaves behind Wonderland, and leaves the audience with unanswered suspicions on which can speculate.
The Theater @ Boston Court, 70 North Mentor Avenue Pasadena, CA; Thurs.-Sat., 8p.m., Sun., 2p.m. through March 1. https://www.bostoncourt.com
