The spellbinding wonders of Alice, as imagined by Christopher Wheeldon

As an associate artist of the Royal Ballet in London, Christopher Wheeldon ranks among the most prolific figures in contemporary choreography, particularly for the captivating storytelling that punctuates and envelops much of his work. Among these is the kaleidoscopic choreographic adaptation of *Alice’s Adventures in Wonderland*, a hugely successful production premiered at Covent Garden in 2011 and now making its debut at La Scala, with every performance sold out. Staged by various dance and ballet companies, it is undoubtedly a complex and skilfully structured work, firmly underpinned by Joby Talbot’s musical flair, the rich chromatic variety conceived by Bob Crowley for the sets and costumes, and the harmonious projections by Jon Driscoll and Gemma Carrington.

Hailed by *The Times* as “a modern-day classic”, the production draws on a variety of choreographic styles and traditions, reimagined and reworked to harmonise perfectly both with the dramatic development and with the numerous characters of this nonsensical tale, now entrusted to the La Scala company.

For the premiere, the lead role was given to principal dancer Agnese Di Clemente, who brings to life the pivotal character created by the renowned Victorian mathematician, imbuing her with that persuasive, surreal finesse so essential to Alice. Worthy of mention is Claudio Coviello’s superb composure in the roles of Lewis Carroll and the White Rabbit, as well as the tenderness Navrin Turnbull brings to his portrayal of Jack and the Jack of Hearts. Whilst the exuberant Queen of Hearts, portrayed by étoile Nicoletta Manni with a fresh verve characterised by resolute conviction, is irresistible, the British-style comic timing employed here for the Duchess’s unsettling kitchen scenes is not always tight and incisive. The tea party in the second act benefits from Christian Fagetti’s aptly bizarre portrayal of a Mad Hatter in full splendour, before giving way to a third act featuring theatrical moments of assured effectiveness – such as the Queen of Hearts’ adagio in her recitation of the famous passage from *Sleeping Beauty* and the croquet tournament with the flamingos – although at times there is a hint of that vague verbosity which could probably benefit from some pruning in favour of greater conciseness.

A resounding success, then, for a production that is being permanently included in an Italian company’s repertoire for the first time, thus enabling the La Scala dancers to explore and delve deeper, through regular performance, into the distinctive features of the evolution of British ballet, which are perfectly embodied in this creation.

“Alice’s Adventures in Wonderland”, Choreography by Christopher Wheeldon