Living the dream

Reviewer Steve Sutherland enters a magical world with the beautifully crafted production of Alice Through The Looking Glass, now showing at the Dream Factory in Playbox Theatre, Warwick, until December 30th.

Over the past weekend, for the first time ever, a judge powered by artificial intelligence was used to evaluate each round of the heavyweight boxing championship match between Oleksandr Usyk and Tyson Fury in Saudi Arabia. This was a trial intended to explore the possibility of using AI in the future to replace human judges and address the ongoing disputes that often arise from the subjective nature of human officials, who base their decisions on personal observations and interpretations when there isn't a knockout to determine the winner.

Who can say how artificial intelligence would interpret the amusing fight seen in Playbox Theatre's Alice Through The Looking Glass, which took place on the same night. The hilarious clash between Ed Twyman's quirky Unicorn and Ethan Phillips' roaring Lion felt more like a Charlie Chaplin skit than a boxing match. It was filled with countless slapstick moments, plenty of hits, an unwitting referee who ended up on the floor, and a particularly painful final punch right in the groin.

I imagine that our AI friend would have admitted it couldn’t win, immediately stepped away from its role among androids, checked that frustrating ‘I am not a robot’ box online, and exclaimed, “Who cares about precision and math!” Realizing that making mistakes is part of what makes life interesting, it would dive headfirst into finding a way for AI to truly connect with humanity.

Get ready for even more excitement! The chaos in Playbox’s Christmas Alice is incredibly energetic, much like the 1871 Lewis Carroll story that inspired it. However, the initially simple plot has been enriched with depth and significance by Toby Quash and his group of Blank Shift writers. They’ve created a series of stunning scenes that gradually unveil a wealth of valuable lessons, much like oysters producing pearls.

The story, in its own way, follows Alice on her journey through a mirror as she strives to become a queen. She navigates this adventure like a pawn on a vast chessboard. Mery Sutherland embodies Alice perfectly, full of bravery and curiosity, radiating youthful enthusiasm. She takes in the bizarre experiences around her, stands up to unkindness, grapples with numerous puzzles, and maintains her composure and sense of humor despite the many odd characters trying to confuse her and challenge her beliefs on the constantly changing battlefield.

Since the performance is designed for audiences of all ages and given the festive season, it makes sense to prioritize the kids. After the show, I overheard many people discussing Liam Browne’s wonderfully arrogant portrayal of Humpty Dumpty. A particularly memorable moment was when Alice struggles to figure out if he’s wearing a cravat or a belt—after all, he’s an egg, so it’s hard to tell where his neck ends and his body begins. Browne's character is a loudmouth fool who, along with his loyal group, creates plenty of humor. Later on in the foyer, I caught this snippet of conversation:

Six-year-old: "Mom, did Humpty Dumpty recover after his fall?"

Mom: "Uh, unfortunately sweetie, that's not the case."

Another favorite among the kids was the episode filled with wild antics and playful banter, featuring Dylan Somanathan as Tweedledee and Nathanael Saleh as Tweedledum. They brought a comedic energy that was both frantic and entertaining, delivering a mix of quirky movements and hilarious one-liners. The shortened version of "the longest poem we know," The Walrus and the Carpenter, along with the amusing dispute over a damaged rattle, were especially beloved moments.

It was evident that the more theatrically ambitious kids present were excited about the scene in the garden that included the talking tree and the chatty flowers. They clearly had a strong desire to take on the roles of Emilia Danks-Smith’s cheeky Tiger Lily or one of the playful daisies.

The older audience was particularly struck by the eerie railway station moment from The Ballad Of The Beetle People. Its sorrowful dance resembled the workers from Fritz Lang’s Metropolis, set to a haunting tune that recalled T.S. Eliot’s The Wasteland: “A crowd flowed over London Bridge, so many I had not thought death had undone so many.” Despite the overall stunning presentation, this scene was truly exceptional. It was later equaled in terms of chills when the Jabberwocky appeared.

When it comes to styling, the female characters really stood out with their vibrant costumes. Elysia Sully portrayed the Red Queen, while Esme Fleeman took on the role of the White Queen. The Red Queen was a mix of assertiveness and kindness, while the White Queen came across as forgetful yet forgiving. One of the most notable aspects of the production, directed by Emily Quash, is how their outfits matched those of Alice’s mother and grandmother—red for mom and white for grandma. This clever choice highlights the show’s effort to find deeper meaning in Lewis Carroll’s whimsical tales. The overarching themes revolve around the challenges of growing up, the importance of optimism and ambition (“Believe in the unimaginable”), staying true to oneself amid external pressures and distractions, and appreciating the beauty of life despite its inevitable end. Or something along those lines.

The essence of the message is poignantly conveyed by Tom Lomas’ reflective but supportive character, the White Knight, who seems to be approaching the twilight of his life. He expresses regret over losing much of the bravery he once felt, stating, “It’s a sad thing to lose so much of what I used to find courage in.” He gently reminds us that imagination is our greatest tool against the dullness of life, and he admits he would give up all the wealth and wisdom he has accumulated over the years just to relive a single day as a carefree child under the sun. It’s heart-wrenching, yet it’s balanced by his final note to Alice, encouraging her that she doesn’t have to fade away as long as she maintains her belief in the endless possibilities surrounding her.

These instances bring the show into the realm of Peter Pan and The Wizard of Oz, cleverly crafted to resonate with older audience members while still not taking away from the lively array of amusing characters that are sure to delight younger viewers. Additionally, we must highlight the performances of Quillan Mitchell as the relaxed and funny Gnat, Elliott Barlow as the charming tree, Jack Hobson as the cantankerous Frog, Gianluca as the beleaguered Hatter, and Phoebe Roberts as the anxious and jittery Hare. Everyone excels in their roles!

Interestingly, just a few days before the performance took place, it was reported that Melvin Vopson, an associate professor of physics at the University of Portsmouth, has determined through years of scientific study that life is essentially just a dream. He stated that the chances of our existence in a genuine universe instead of a simulated one are “one in billions.”

He posits that the universe is, in fact, the creation of an enormous computer, and that we made the choice to participate in this simulation from the moment we were born.

Lastly, there's the 'Narnia theory,' which proposes that time passes significantly more quickly in the real world than it does in the simulation. According to this idea, just one minute in reality could equal as much as 100 years inside the simulation. If you consider an average lifespan of 80 years, that would mean living in the real world could translate to about 4.2 billion years in the simulated environment. So, by choosing to exist within the simulation, we could potentially live numerous lives in succession, effectively reaching a form of immortality.

Mr. Vopson describes how time dilation occurs during our dreams. He notes that while we might feel like experiences in our dreams take several minutes, hours, or even days, they actually only last for mere fractions of a second in our waking minds.

Is there any solid evidence? Not really. But there are numerous hints. The existence of maximum speeds for light and sound hints that they could be influenced by the performance of a computer processor. Vopson also believes that if you know where to search, everything is revealed in the Bible!

When Dum and Dee debate with Alice over whether she is merely a character in the snoring Red King’s dream, suggesting that she would disappear if he were to wake up, and when Alice's grandmother claims that life itself is just a dream, it might signify much more than a simple literary idea.

Alice marks Playbox Theatre's 25th Christmas performance at the Dream Factory. For most of the cast, this will be their final show here before they move on to university, jobs, or whatever else awaits them in the harsh real world. Many have been part of Playbox since they were kids, making this particular production of Alice especially poignant for the performers, their parents, grandparents, and siblings in the audience.

Similar to how Lewis Carroll's story diverges to reveal the various generations of Alice's family involved in the adventure through the Looking Glass—from Jennie Beattie's delicate yet lively grandmother to Celine Delahaye's nurturing and anxious mother, and Florence Fittall's optimistic primary school-aged Alice—this production showcases a fresh wave of energetic young actors stepping into the spotlight.

The wonderful thing is that everyone stays connected. Every December 24th, friends and family come together in the foyer around the tree—young ones in arms, recent graduates, and Playbox parents who once performed here—to sing carols and celebrate. They return, much like swallows returning in summer, to this unique and enchanting place, relishing in the magic that will forever be a part of them, at a location they will always hold dear as home.