Kelsey Ivana Hellebuyck as Red Queen. Photography by Kenny Johnson.

Gavin Abercrombie as the White Rabbit.

Photography by Kenny Johnson.

Isaac Allen as the Mad Hatter and Naomi Tanioka as Alice.

Photography by Kenny Johnson.

Kansas City Ballet Brings Lewis Carroll Classic to Life

By Odelia Colvin

Special to KC Arts Beat

For the first time in ten years, the Kansas City Ballet will present Alice (in Wonderland) Oct. 11-20 at the Muriel Kauffman Theatre. This decision to perform Alice was an easy one for artistic director Devon Carney. 

“This work, since it premiered in 2012, has been done by many, many companies,” Carney said. It's a work that's going to be around for quite a while. It's very successful.  Audiences love it. It's sold out houses everywhere it goes. It's been performed all over the United States,” Devon Carney said

One reason for Alice’s instant popularity is its incorporation of modern technology and other modern aspects of theater into classical ballet. Alice is well renowned for its impressive use of technology throughout the production. In particular, the character Jabberwocky, among others, utilizes the show’s puppeting technology.

“It takes seven people to operate this puppet,” Carney said. “You know, there's one for the head, there's one for the mouth. It takes up the whole stage. I'd say it's probably a 28 to 30 foot wingspan. So you've got two men on each wing, you've got one guy on the body by itself, you've got a guy on the head, a guy on the mouth and a guy on the tail. And this thing is massive.”

In addition to Jabberwocky, Alice’s technology allows the performers to “fly”. Using wires to lift the dancers into the air, the performers give the illusion of soaring across the stage. Although it may look like a breeze, this is no easy feat for any of the dancers. 

“Flying is a very complicated experience, I've done a tremendous amount of flying as a dancer in my time,” Carney said. “You have to rehearse and it's the last thing we can rehearse because we don't have flying rigs in our regular studio space.”

Despite the difficulties that come with flying, the payoff of incorporating this technology into the show is huge. Flying highlights the whimsy of Wonderland.  

Even the costumes, designed by Liz Vandal, underline the modern aspects of the classical ballet.

“They're so cool looking and they have a contemporary edge to them,” Carney said. “The costumes, bring it into today's world. 

Although the technology and costuming are undoubtedly essential parts of the ballet, arguably the most riveting part of Alice is its timeless story. 

“It's a very unusual story for a ballet, you know, in terms of the main character, and the experiences that she has in the course of the show, “ Carney said

Alice’s character has contributed heavily to the success of Alice (in Wonderland). 

“Ultimately, what I really like about the work is that it's about this young girl who's got an independent spirit who is thrust into very challenging situations, right?” Carney said. “And she makes the most of every single situation. “

ALICE (IN WONDERLAND). Oct. 11 to 20. Muriel Kauffman Theater, Kauffman Center for the Performing Arts. For tickets and more information, kcballet.org.