Virginia Theatre, (12/23/1982 - 1/09/1983)

First Preview: Dec 08, 1982
Opening Date: Dec 23, 1982
Closing Date: Jan 09, 1983
Total Previews: 18
Total Performances: 21

Category: Play, Fantasy, Play with music, Revival, Broadway
Description: A play in two parts

Opening Night Production Staff

Theatre Owned / Operated by Jujamcyn Theaters (under the direction of Richard G. Wolff, President)

Produced by Sabra Jones and Anthony D. Marshall; Produced in association with WNET 13

Adapted for the stage by Eva Le Gallienne and Florida Friebus; From the novel "Alice in Wonderland" by Lewis Carroll; Incidental music by Richard Addinsell

Conceived by Eva Le Gallienne; Directed by Eva Le Gallienne; Co - Director: John Strasberg

Scenic Design by John Lee Beatty; Costume Design by Patricia Zipprodt; Lighting Design by Jennifer Tipton; Puppet Design by The Puppet People; Sound Design by Jack Mann; Make-Up Design by Fred Patton

General Manager: McCann & Nugent Productions, Inc.; Company Manager: Steven Suskin

Production Stage Manager: Alan Hall; Stage Manager: Ruth E. Rinklin

Music adapted by Jonathan Tunick; Musical Supervisor: Jonathan Tunick; Conducted by Les Scott; Music Contractor: Seymour "Red" Press

Special Effects by Chic Silber

Movement directed by Bambi Linn; Original "Alice in Wonderland" illustrations by John Tenniel; Casting: Johnson-Liff Associates; General Press Representative: Solters / Roskin / Friedman, Inc.; Production Coordinator: Mary Nealon; Special Casting Consultant: Shirley Rich; Animal Trainer: William Berloni Theatrical Animals, Inc.; Photographer: Martha Swope and Associates; Advertising: Serino, Coyne & Nappi; Logo Design by Bob Gill

This production is dedicated to Audrey Wood

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Opening Night Cast

Rebecca ArmenEaglet
Two of Hearts
Robert Ott BoyleFive of Spades
Kate BurtonAlice
Josh ClarkMarch Hare
Front of Horse
Curt DawsonWhite Rabbit
White Knight
MacIntyre DixonMad Hatter
Geoff GarlandTwo of Spades
Skip HarrisThree of Clubs
John HeffernanCaterpillar
Ten of Hearts
Edward HibbertGryphon
Old Frog
Nancy KillmerSinger
Eight of Hearts
Eva Le GallienneWhite Queen
Nicholas MartinDuck
Train Guard
Steve MassaSeven of Spades
Voice of Leg of Mutton
Mary Stuart Masterson
Broadway debut
Small White Rabbit
Four of Hearts
John MigliettaLory
Seven of Hearts
Marti MorrisSix of Hearts
Cliff RakerdSeven of Clubs
Back of Horse
Brian ReddyQueen of Hearts
John RemmeMouse
Three of Hearts
Claude-Albert SaucierFrog Footman
Five of Hearts
John SeidmanKnave of Hearts
Geddeth SmithFish Footman
Voice of Cheshire Cat
Ace of Hearts
Man in White Paper
Richard SterneCook
Nine of Hearts
James ValentineDodo
Mock Turtle
Joan WhiteWhite Queen
Mary Louise WilsonRed Queen
Richard WoodsKing of Hearts
Voice of Humpty Dumpty
Edward ZangDuchess

Understudies: Rebecca Armen (Red Queen), Robert Ott Boyle (Mad Hatter), MacIntyre Dixon (Mouse, Three of Hearts, Tweedledee), Skip Harris (Back of Horse, Five of Spades, Seven of Clubs, Tweedledum, Two of Spades), Nancy Killmer (Cook, Eaglet, Nine of Hearts, Two of Hearts), Nicholas Martin (King of Hearts, Voice of Humpty Dumpty), Steve Massa (Dormouse, Duck, Train Guard), Mary Stuart Masterson (Alice), John Miglietta (Five of Hearts, Frog Footman, Goat, Knave of Hearts), Marti Morris (Four of Hearts, Small White Rabbit), Cliff Rakerd (Ace of Hearts, Fish Footman, Front of Horse, Man in White Paper, March Hare, Queen of Hearts, Voice of Cheshire Cat), John Remme (Voice of Leg of Mutton), Claude-Albert Saucier (Duchess), John Seidman (Five of Spades, Tweedledum), Geddeth Smith (Caterpillar, Sheep, Ten of Hearts), Richard Sterne (Dodo, King of Hearts, Lory, Mock Turtle, Seven of Hearts, Voice of Humpty Dumpty) and Joan White (White Queen)

Awards and Nominations

Tony Award®

 1983 Best Costume Design [nominee] 

Patricia Zipprodt

Drama Desk Award

 1983 Outstanding Costume Design [nominee] 

Patricia Zipprodt

Theatre World

winner 1983 Award [recipient] 

Kate Burton


New York Daily News: "Holiday Cheers!"

"Alice in Wonderland" is a child's dream. Of course. Always was. But I'm talking now about Eva Le Gallienne's stage version of the Lewis Carroll classic, which returned last night at the Virginia (formerly the ANTA) in a production so gorgeous it almost makes "Cats" look impoverished.

But for whom is it intended? Children, even those pried away from their video games, will adore it. And as a holiday attraction, it is rivaled only by the City Ballet's "Nutcracker"; and like that, it should be an annual event. But this is a commercial venture, mounted on Broadway's excessive terms, and one doubts that its sponsors, however benevolent, are prepared to bring it back each season as part of the Thanksgiving-to-Christmas festivities. Perhaps it should be institutionalized at Lincoln Center.

Judged solely as a musical - there are "Wonderland" and "Looking-Glass" songs throughout, as well as a pit orchestra - it is old hat. But the hat belongs to the Mad Hatter himself, which takes "Alice" out of the realm of the conventional Broadway musical. The costumes designed by Patricia Zipprodt for the countless creatures encountered by the lovely Alice (Kate Burton) - the White Rabbit, Mouse, Fish and Frog Footmen, Mock Turtle, Caterpillar, White Knight, Tweedledum and Tweedledee, the King and Queen of Hearts and those other cards in the deck, and, of course, in their elaborately tiered outfits, the white-faced White Queen (Le Gallienne herself, who, after having created the role 50 years ago for her Civic Repertory Theater, flies on and off) and a red-faced Red Queen (Mary Louise Wilson) - are of almost unimaginable richness and fancifulness.

The costumes and John Lee Beatty's swimming scenery, in which changing props are set against a traveling backcloth of captivating clean-lined drawings, constitute, in their outlines and black-and-white crosshatched touches mixed with vivid colors, glorious interpretations of the Tenniel illustrations, like the originals sprung to vibrant new life.

If I spend so much time on the visual aspects of the show, it's because the story (the venerable adaptation is the work of Le Gallienne and Florida Friebus) is familiar to all, and because the eye is continually filled with wondrous objects. The staging by Le Gallienne, whose concept the whole affair is, and her co-director, John Strasberg, is traditional, even somewhat commonplace at times, and the score the late Richard Addinsell composed ("The Walrus and the Carpenter" is the most extended song), and that has been sparked in a new orchestral adaptation by Jonathan Tunick, is old-fashioned, though pleasantly so. But such considerations take a back seat to, say, the obese and marvelously expressive Humpty Dumpty - a natty egg-shaped figure, with its broad mouth and curved eyebrows registering different emotions - that may be one of the many delightful creations of the Puppet People, an independent company worked into the entertainment.

Le Gallienne's White Queen is a joy to behold and hear, and so is Wilson's snappish Red Queen. Burton, as I have said, is an enchanting Alice, and the enormous cast (by present Broadway standards) includes engaging work by so many performers, most of them male, that one hesitates to single out any from their midst.

One might mention, though, the sweetly floating soprano voice of the offstage Nancy Killmer with which the show begins and ends, the "movement" contributions by the former dancer Bambi Linn (she was the Alice in Le Gallienne's 1947 revival), the musical direction of Lee Scott, the unobtrusive "sound design" by Jack Mann and the special effects by Chic Silber.

There are three matinees; there should be more, as the enormously successful "Peter Pan" revival of a few years back discovered quickly, even if it means keeping the kids out of school for a day. Le Gallienne & Co. are irresistible.

New York Daily News

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