On Friday the 17th I went to an immersive theater
event in London called ‘Alice’s Adventures Underground’, having been thoroughly
intrigued by the posters in the London underground. Check out the website here – it’s worth it! The event took place in
The Vaults, a large underground space underneath a train station.
The show started out simply enough: I (and at least thirty
other people) was led into a studio strewn with antiques and loose sheets of
paper, a slightly chaotic look to the room despite it being big enough for all
of us to fit in. Then attention is called to a mirror and the woman trapped
within, her voice too faint to catch more than a few phrases – and then we’re
off to Wonderland.
Walking down a winding, cramped corridor completely covered
in pieces of paper, we enter a circular room with a spinning, spinning ceiling,
Alice’s voice clearly audible as a black shadow of her form runs around and
around, slowing gradually to a stop before we are led on into a trompe l’oeil room where we are given the choice: Eat Me, or Drink Me? Depending on our
choice we either shrink and file out through a door that is far larger than us,
or grow in size and duck through a door that only reaches our shoulders. The
group is halved, and from here on out our paths are different, experiencing
four separate versions of the same play as we are halved again, the original
large group split into suits: Spades, hearts, diamonds, and clubs. (S.U.I.T = Sanctioned Ultrasensible Identifying Travel Permit. Anyone
caught without a suit and number is assured by her Majesty, either they
or their head shall be off.)
For the duration of the play I am given a card designating
me as the nine of hearts, and with my fellow hearts I am briefed on the more
elite status of my suit, all of us charged with the task of finding out just
who has committed the heinous crime of planting white roses and disguising them
with red paint.
The subsequent voyage is cleverly done – we pass by other
suits, each on their own tour, but these glimpses are brief as we travel
through Wonderland and imaginatively arranged rooms, led by a white-faced,
short card of hearts. We see Alice struggling to figure out her identity in a
mirror room, babysit a rambunctious Tweedledee and Tweedledum as they spin
around the room reciting ‘The Walrus and the Carpenter’, even hear the Mock
Turtle sing a lament under the full moon.
Just sketches - I apologize that they don't quite do the madness of the show justice! See a few photos here. |
Finally we enter a large hall – and the Tea Party begins, several
actors gamboling around the room as we spectators sit along the long table.
More than once we are roused, the Mad Hatter commanding us energetically to
move down one space while the Dormouse sleeps in a metal bathtub in the middle
of the table.
At one point the March Hare runs down the length of the
table to offer the Dormouse some butter, for lack of tea, and a squeak sounds
from the audience as a glob of butter goes flying. “Oh,” the March Hare looks
down from the table in consternation. “Don’t worry; it really is the finest butter!” With that
reassurance she runs back down the length of the table to continue the skit,
involving a tale of three sisters (three audience members are chosen to
illustrate the point; two are male), a riddle (“Why is a raven like a writing
desk?”), and other follies before we are all summoned to the Queen’s court.
We find ourselves sorted back into our suits – such
distinctions having been briefly forgotten during the tea party – and
witnessing a court hearing led by the King and Queen of Hearts. The villain of
the piece – the Knave of Hearts – is exposed as being guilty of planting white
roses, and his severed head is presented to the room on a platter; the Mad
Hatter, March Hare and Dormouse are called upon as witnesses to discover the
person who stole the Queen’s tarts, and the court hearing begins to take on
nonsensical overtones despite the Queen’s best attempts to quell all nonsense,
culminating in the return of Alice through a large mirror and the Red Queen’s
banishment through the same mirror, all of us cards lead victorious through the
halls by Alice and into the final room – a large bar area with a live band,
pies and drinks.
Having greatly enjoyed the trip that far, I was personally
disappointed by the bar (which resembled a barn more than anything else) and
left after only cursory exploration of the area, turning over the events in
Wonderland in my mind as I stepped out into the crisp and cool night air.
Truly, it was a magical experience.
So, should you find yourself in London before the 31st
of August, and should you find yourself in a Wonderland ruled by the Queen of
Hearts, always remember: “All hail the Queen! Coo!”
OK, here's a question. How do they do the cool thing on the website where, when you scroll down, the person is falling down in the images? Do they anchor the person to the middle of the screen and have the ladder/cards move with the page, and if so, how does that work since there are at least two separate images of people falling yet you can't see Alice and the hatter at the same time?
ReplyDeleteOkay - I'm not a web designer, so I can't tell you the first thing about code and how they did it in technical terms, but here's my thoughts: The cards, and a transparent layer surrounding them, are on the same level as the text and black background. Behind that there's a separate layer that also moves, but more slowly - so if you scroll up and down, you can see that Alice and the Mad Hatter are moving as well, just more slowly than the topmost layer. The two layers are then arranged in a way that the figures end up in the transparent part of the upper layer - and voila! Neat effect. And that's my completely untechnical theory as to how they did it. (There are even more such images further down on the website!)
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