photo: Carol Rosegg
There's one long section in this experimental, surreal variation on Alice In Wonderland (currently at La Mama) that holds our strrict attention: we watch the performers enacting a kind of torture ritual with highly stylized, somewhat slow-motion movements in front of a wall of projections of Inquisition scenes, set to a modest but sonically strange and dramatically haunting soundscape performed by Edward Herbst. This is the show's most effective stretch because it gives the audience something specific (that is, torture in the name of religious purification) to use to decode what's happening on stage. Besides this sequence, too much of the show is otherwise thematically obscure: the intended exploration of "the nature of time, visual perception and consciousness" (according to press notes) doesn't prove to be much of a driving force to organize the material. Instead we watch nine year old Alice (played by Mari Andrejco, an actress in her sixties) wander from one moment to another and we're often as lost as she is.