World Premiere opera a triumph
1 Dec 10
Drawing from the creative genius of “Alice in Wonderland”, it’s a nonsensical operetta that is all in Lewis Carroll’s head. Caffeine Theatre and Chicago Opera Vanguard, in conjunction with DCA Storefront Theater, is currently presenting BOOJUM! Nonsense, Truth and Lewis Carroll, written by the Brothers Wesley-Smith (of Kangaroo Valley).
Reverend Charles Dodgson battles his pseudonym over the origins of his most famous literary masterpiece.
The reserved Charles and the flamboyant Lewis deconstruct their looking-glass fame.
Who better to help in the rediscovery process than Alice?
Both of them! The child and adult version of Carroll’s inspiration challenge him on the intense connection and de-connection of their relationship.
As Charles sorts out his Alice issues, his imagination unleashes the makings for his farcical poem, “The Hunting of the Snark”.
Quirky characters fill Charles’ head with a jumble of demands for attention.
BOOJUM! Nonsense, Truth and Lewis Carroll is a stay-cation to a world of the unexpected.
What a head-trip!
Before the show even starts, the visual is intriguing.
Projected Carroll Lewis-isms are visible on sheet-like curtains.
The imagery spectacle continues with the introduction of characters clad in eccentric combinations of attire. Costume designer, Philip Dawkins aids in the storytelling with distinct looks to individualize the crazy muddle. Pearls, goggles, hats, the whimsical detail is a fabulous “What-Not-to- Wear”-on-a-snark-hunt-fashion show. The talented ensemble wears crazy-on- their-sleeve tailored to perfection.
The first act is high-energy high-jinx as the cluster of oddballs prepare for a snark hunt.
The loonies are flawlessly synchronized in movement for a collective punchline. Individually, they sing their backstory with amusing zest and powerful vocals.
Some of the more memorable whacko performances: drunken dolt Sara Sevigny (butcher), stripped down double-the-pleasure Kevin Bishop (billiard maker) and Stephen Rader (banker), and a twisted dark comedic Jeremy Trager (Lewis).
BOOJUM! Nonsense, Truth and Lewis Carroll drops you down a hole. It’s up to the audience to piece together the puzzle without the aid of a clear picture.
From the title, you know it’s a humorous take on an author notorious for a hallucinatory imagination.
The first act is frolicking on speed.
Because the material is unfamiliar, and without the aid of projected operatic titles, the jokes are realized a few moments after they are sung.
Despite Director Jimmy McDermott‘s masterful staging, some of the laughter is unrealized.
The second act gets serious real fast and sidelines the funnier elements to focus on the Charles-Alice relationship.
Although a fascinating exposé on a children’s author, the seedy realization is an uncomfortable portrayal, like Johnny Depp in “Charlie and the Chocolate Factory”, “Finding Neverland” or “Alice in Wonderland”.
What’s really going on between this adult and these kids?
BOOJUM! Nonsense, Truth and Lewis Carroll is all about looking at two sides of the same thing: Dodgson/Carroll, Past/Present, Reality/Fantasy. Following this splitting trend, I’ll break it into two too.
The first act, Boojum: Nonsense is a schizophrenic’s group therapy session.
The second act, Boojum: Truth is more like a lobotomy. Katy Walsh
…. and a second review
Recommended
An ambitious and charming, if not always rewarding, interwoven operetta that stages Lewis Carroll’s (nee Charles Dodgson) nonsensical poem “The Hunting of the Snark” with a more tired rehashing of the dodgy sexuality of its author and his relationship with young girls—less interesting than the choice to present Dodgson and Carroll as separate characters, one timid and one flamboyant, vying for control.
One would expect no less than the accomplished, often acapella, singing and impressively tight choreography that Caffeine and Chicago Opera Vanguard bring in collaboration.
And the imaginative embodying of the characters in the snark hunt, including an anarchist bootblack, Marxist billiard marker and a delightfully slimy Barrister, are imaginatively and gloriously campy in a post-Tim Burton way—and they defy the big question of how to stage a poem so deeply about language itself with witty songs and eccentric whimsical acting. But the inclusion of Carroll/Dodgson (complete with a young and then grown-up Alice) psychodrama is an iffier choice; far more time in the play feels devoted to an exploration of Dodgson’s nude photos of little girls and its somewhat forced connection to the fear of the boojum (a snark that makes you disappear, which at one point is called a “void”) and Alice growing up.
Alice and Dodgson’s relationship in the second half sidelines the momentum of the snark-hunt adventure itself, adding a draining solemnity that makes it harder to laugh at some gorgeous burlesque numbers toward the end of the show. When Dodgson sings solemnly about “unholy thoughts beyond my control,” the show psychologizes him in a way that’s at odds with the smart nonsense of the rest of the play.
That said, “Boojum” is admirable for its spare but striking stage scenes, creative technical theater, the energized skill of the cast and the play’s grand designs. Monica Westin