‘Alice in Wonderland'
Produced by: Pittsburgh Ballet Theatre
When: Feb. 10-19, 8 p.m. Fridays, 2 and 8 p.m. Saturdays, 2 p.m. Sundays and 7:30 p.m. Feb. 14
Admission: $28-$108
Where: Benedum Center, Downtown Pittsburgh
Details: 412-456-6666 or pbt.org
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Updated 11 hours ago
Terrence S. Orr tells a funny story about a young student in the Pittsburgh Ballet School.
When she was assigned a role in the 2008 production of “Alice in Wonderland,” she approached the rehearsal studio with some embarrassment and trepidation.
The role: Topless Tart.
“It has nothing to do with what it sounds like,” laughs Orr, artistic director of Pittsburgh Ballet Theatre. “Basically, they're bent over, and there's a tutu, so all you see is the tutu down.”
Topless Tarts are a small part of this bright, lavish ballet that combines special effects, 90 costumes, 18 wigs and 30 prosthetic pieces — noses, ears and jowls.
“Alice in Wonderland,” created by the English National Ballet with choreography by Derek Deane, premiered in 1995. Pittsburgh Ballet gave “Alice” its North American debut in 2008. More recently, the company bought the costumes and scenery from the English National Ballet.
After nine years, “Alice in Wonderland,” running Feb. 10 to 19 at the Benedum Center, is a whole new ballet for many dancers in the company.
“It is a new production for most of them — especially for the principal roles,” Orr says. “It's been fun putting it back together again.”
The show is a perfect one to introduce children to ballet, he says, because they are likely to be captivated by the illusions, as well as the theatricality of the characters.
“It's really more of a three-dimensional experience,” says Alexandra Kochis, a principal dancer with the company who will be one of three dancers performing the role of Alice, a role she danced in 2008 as well.
“There are so many different scene changes, so many elaborate costumes. A lot of humor,” she says. “I am in awe of our repetiteur because she has to keep track on 15 characters in one scene and know what each of them is doing. It's just completely insane.”
The surreal word of Lewis Carroll's 1865 novel is mirrored chapter by chapter.
Along with keeping up with the steps, flying doors, floating tea cups, a swirling rabbit hole and a size-shifting table are integrated into the choreography.
Deane's choreography captures the personality of the roles of the book's characters. The Caterpillar, for example, moves in an undulating fashion, while the White Rabbit hops about with nervous excitement.
For Alice, the challenges are even bigger.
“You're on the stage for almost the entire ballet,” Kochis says. “So that's a huge challenge. And just keeping straight all the interactions — the story is happening in and around you, and you're making the story happen. Paying attention to the task at hand is probably one of the biggest challenges.
“Also, Mr. Deane's choreography is incredibly dense and quick, so it's very challenging in that respect also.”
Dancers are learning their “Alice” parts as they rehearse “Romeo & Juliet,” opening in April.
“There's a whole lot of choreography going on,” says Kochis, laughing. “It's energizing and exhausting at the same time.”
By the way, that Topless Tart, Amanda Cochrane, has grown into a full-fledged principal dancer for the company. In this production, she will be one of the dancers performing as Alice.
Sally Quinn is a Tribune-Review contributing writer.
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