Have you ever wondered what it might be like if you fell down a rabbit hole or if the voices of a story took on a life of their own? Giuliana Fenech speaks to Veronica Stivala about a new take on Lewis Carroll’s Alice books, which merges traditional and digital-age storytelling.

Illustration by Lisa Borg.

“It is sometimes said that Lewis Carroll’s Alice books were the origin of all later children’s literature, and I’m inclined to agree… Both children and adults loved them at once and have never stopped doing so. They are as fresh and clever and funny today as they were 150 years ago.”

Writer Philip Pullman’s words sum up why the stories so many of us and our grandparents before us grew up with. Despite being a century-and-half-old, the stories are still appealing, witty and humorous and remain loved by both adults and children alike.

Written in 1865, this year marks the 150th anniversary since the first edition of Lewis Carroll’s Alice in Wonderland was first published. While the book has remained popular among children ever since, this year sees a fortified interest in the story of a little girl who falls down a rabbit hole and meets the Mad Hatter, the March Hare and the Queen of Hearts. This timeless classic that was inspired by real events and a real child is being celebrated the world over.

In Malta, we will be graced with an unusual interpretation of the books and their creator, one that merges traditional and digital-age storytelling. Alice in Absentia aims to keep audiences at the edge of their seats, while also inviting them to experience what a fall down a rabbit hole might sound like and what could happen if the voices in the script took on a life of their own.

But first the title. This begs an explanation. Writer and creator behind this production Giuliana Fenech explains how Alice in Absentia implies that Alice is present even when she is not directly visible, “that the influence of some people on our lives is felt even long after time has torn them away from us”.

Giuliana admits it was risky to work on Alice’s Adventures in Wonderland during the 150th celebration of its publication, “because one must ask what can be created that is innov- ative”. However, her research showed her there is still much to be said.

This interpretation considers the relationship between Alice Liddell, Carroll’s muse as he told the story in 1862 and the fictional Alice who comes to dominate so much of his life. It considers what happens to all those involved in the story, directly or indirectly, after time has passed and invites audiences to ponder some moments in their journey that they may be tempted in their reading of the original tale to simply give a passing glimpse to.

The piece is told through three voices – narration, music and dance. Each voice is used to enhance the storytelling experience for audiences who will, to some extent or another, already know the story of Alice’s Adventures in Wonderland. The three different elements are used to serve different functions in the telling of this tale.

The piece is told through three voices – narration, music and dance

“While the narration is used to set the context and forge links between real people and fictional characters, the music brings Wonderland to life and the dance conveys emotions that are best told through physical expression rather than words,” says Giuliana.

The team includes percussionist Renzo Spiteri, who is well-known for his particular approach in merging live instrumentation with digital sound technology and a large part of the research for this project focused on establishing how a sound design specific to the round theatre at St James Cavalier could be used to generate sensations that would otherwise have to be described rather pedantically in words.

Interestingly, this production use techniques that are not very different to Carroll’s own technique in that they draw on practices used to both ‘tell’ and ‘show’ the story world.

The creative process began with six months of research and debates with other Alice scholars at the end of which Giuliana developed a research packet that was discussed with the rest of the team. She wrote a draft script and Spiteri composed a sound structure that works in tandem. They, then, brought in the rest of the team – narrator Sarah Spiteri and two dancers, Sandra Mifsud and Christina Aquilina as well as Kostas Papamatthaiakis to work on the piece.

There is no fixed director because the team preferred that the creative development remain fluid and also because each member was already very familiar with the others’ work. As curator of the piece, Giuliana chose which parts of Carroll’s text they wanted to work with and then laced these with relevant aspects from the cultural background.

The production plays with a fourth element: time. In Wonderland itself, time seems to stand still. Nothing is linear and the story is not told in any particular chronology. Giuliana notes how “it may be argued that, like Neverland, this is a place where time stands still and people never grow old. Carroll’s diaries show that he is aware that the passage of time robs him of much that he treasures, including the innocence and joy of chilhood and the acquaintance of the young children he would frequently photograph”.

Carroll’s notes show how with the passage of time he is placed at greater remove from the children who bring him so much joy, how he feels he is always late, like the White Rabbit, always too late in fact. But, in Wonderland the child remains a child forever.

In Wonderland Alice is immortalised. Both photography and story-telling allow him to freeze time, to capture the magic that is so easily lost. As Alice Liddell grows up and is distanced from Carroll, the fictional Alice takes over his life. A strong sense of unfinished business pervades Alice’s Adventures in Wonderland. Alice in Absentia explores this unfinished business by imagining what would be revealed if different conversations took place in Wonderland and if, for just a brief moment, all the madness were suspended and the characters were held to account.

Alice in Absentia is produced by Open Works Lab. It runs on December 11 and 14 at Spazju Kreattiv, St James Cavalier, Valletta. Tickets are available online or by calling on 2122 3200. The production is supported by the Malta Arts Fund.

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