Join Alice on her journey through the mirror in BBC's fanciful adaptation of Lewis Caroll's classic novel. In an alternate world, just on the other side of the mirror's reflection, Alice ... See full summary »
A modern adaptation of the classic children's story 'Alice through the Looking Glass' written by Lewis Carol, which continued on from the popular 'Alice in Wonderland' story. This time ... See full summary »
In this classic tale, Alice falls through a mirror and arrives in a wonderful place called Chessland! Alice's journey across eight crazy squares of Chessland is brought to the screen in ... See full summary »
In the musical's opening sequence, Alice descends the foyer hallway entrance staircase set, the father is entertaining guests in the family's living room, located at camera left. Richard Denning at age 52, (b:03/27/1914-10/11/1998; d:84), performed the role of Alice's father. He joins Alice, and they walk into the family (camera right) library and study (stage setting). This main interior set complex was borrowed (loaned) stage sets from the NBC day-time serial drama "Days of Our Lives" designed by John Shrum. These studio sets were originally designed by Spencer Davies who was a NBC Studio art department-art director staff member with both John Shrum and E.Jay Krause. When Alice steps into, through the mantle pier looking glass mirror, into the reverse side of the study, into the theatrically painted reverse-mirror-image stage set, duplicate stage set dressing furniture and props were painted in the off white and Grey-blue tinted room area. The reverse study drapery window treatment is like a paper model treatment of the actual library-study's soft velour fabric french window drapery treatment. The scenically painted wall detail treatment in scenic terminology is called "Beaton Lines" - a theatrical scenic drawing style created by the English stage designer Cecil Beaton, which he used in his scenic stage set paint illustrations and in Beaton's sketching technique. This paint technique became vogue in 1960s Broadway and television scenic styles; scenic artists used felt pen markers creating a broad-sketch pen and ink drawing technique exaggerated style of cross hatching, vertical and horizontal line drawing/etching details. The size and scale of both the family library-study and the reverse set scenic-painted library-study room are nearly identical in plan; except the painted library-study was wider in scale to accommodate the first major musical number staging of the Red (Chess) King performed by Robert Coote at age 57; (b:02/09/1909-11/26/1982; d:73); the Red (Chess) Queen performed by Agnes Morehead at age 65; (b;12/06/1900-04/30/1974; d:73); the White (Chess) King performed by Ricardo Montalbano at age 45; (b:11/25/1920-11/26/1982; d:88); and the White (Chess) Queen performed by Nanette Fabray at age 45; b:10/27/1920); singing and spinning in place, performing the Tony Charmoli at age 44 (b:06/11/1922) staging and choreography - with the cast performing a - in-place spin - in the choreographic routine for "There Are Two Sides to Everything." The production number required the Chess Kings and Chess Queens to spin around in their double-sided costumes; the completed video taping sequences had to be edited together, married, when and after the video tape recording was stopped. In the final assembly and editing of the number, the tape-editors sliced the vinyl video tape with razor blades, joining the video tape sequence on each of the production number's actor's spin. Video tape married together in the final editing composition process. Each time the performers spin, the actors had to change in wardrobe, into the back-side of their costume, to continue the number. Each costume had a silicone face mask which was positioned on the reverse chess costume head-crown-piece after the actors stepped out of, and into the other costume side. The dance sequence and production number required extensive rehearsal and taping to accomplish the "turn around" spin song and dance "There Are Two Sides to Everything". See more »
This may not be the "Alice" adaptation for Carroll purists (You'd have to go to the TV production of earlier this year for that), but it IS entertaining, and the cast DOES seem to be having a good time with it. Judi Rollin, just 20 at the time, is a terrific Alice, with a fine singing voice. One wonders why her career never went beyond the early '70's. Ricardo Montalban brings his usual effortless charm to the White King, and Nanette Fabray is hilarious as his scatterbrained Queen (Her number, "I Wasn't Meant to Be a Queen," is a howl). Agnes Moorehead is her usual imperious self as the Red Queen, and Jimmy Durante is, well, Jimmy Durante as Humpty Dumpty. Most delightfully over-the-top performance is Jack Palance, wearing this spangled Bob Mackie concoction, as the Jabberwock. Composer Moose Charlap was obviously hoping to repeat his "Peter Pan" success with his songs here, and, if they don't have the charm of the ones he wrote for Mary Martin, et. al., they come pretty close, as arranged by the great Don Costa. An Emmy nominee for Best Children's Special, and a Grammy-winner for Best Children's Album, this is an overlooked treasure. As I say, not for Carroll purists, but not bad!
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