Once Upon a Wonderland

Terry and I bumped into Tod Caviness outside the Silver Venue in the Rep Theater at Fringe. He was going to see his wife, Christin Caviness, dance in Once Upon a Wonderland by Yow Dance. She performed as Little Red Riding Hood. Yow dance had a similar Fairytale themed show last year. From talking to Christin at an open mic Speakeasy event at Will’s Pub, I learned that some magic had been thrown into the mix.

A large canvas map was propped up on stage right. It resembled a large curtain map that had been used in the traveling Broadway hit “Wicked” at the Bob Carr Performing Arts Center. A golden egg in a nest was fixed in the center of the kingdom. The Queen of Hearts walked down the theater isles towards the stage in drag. She sat down and messed with a few audience members before taking to the stage.

It was hard to decipher any story line that might pull the production together. The dancing was graceful and  it was interesting to see someone sawed in half, but there didn’t seem to be any underlying motivation behind anything that happened. Micro phoned singers sang Wickedesque show tunes with thin watery lyrics. I had hoped this production would build on last year’s “Classically Demented” show but none of the elements seemed to fit together. There was plenty of flash but little heart.

Later speaking with Christin, I made a blunder by thinking  she had performed as Snow White, when she had performed as Little Red Riding Hood. It was sad proof that my attention had wandered.

Classically Demented

Yow Dance brought Classically Demented: A Darkened Fable of Storybook Characters You Thought You Knew to the silver venue at the Orlando Fringe Festival. Several days before the Fringe opened, I went to the Rep Theater to watch the Tech rehearsal and several run-throughs of the show. Eric Yow was half way back in the theater seating counting out the beat as dancers went through the blocking. The dance company presented classic storybook characters, like Snow White, Cinderella, Bo Peep and many others in a darkened vision of the fairy-tales.

Mother goose was spry and graceful.  In one twisted dance number, a dancer cloaked in black entered holding an egg. The egg was split open over a bassinet dripping blood inside. At the foot of the stage there was a black board that was used to keep track of the casualties. Dancers collapsed  and were dragged off stage by their feet. The death tole rose. The costuming for all the dancers was elegant and beautiful. A dancer cut her toe on an exposed nail on stage. It was hammered down and taped over.

When it came time for the full run through, Eric shouted, “Have a great run dancers, Merde.” I had never heard that term before. Apparently back in the early days of ballet, the
companies used to use live animals in performances. Well, whenever one
of the animals would dump on stage, someone would yell “MERDE!” from
stage to let the dancers know to watch out so that they wouldn’t slip!
And I suppose that they said it so much that it just came to mean good
luck! Addicted to Love  played behind one of my favorite dance numbers. Who wouldn’t want to see zombie princesses devouring each other as they hunt for love? Eric himself performed as the evil queen. Michael Marinaccio, the Fringe producer stopped over to say hello before the second run through. He had his child with him and wanted to be sure the show was family friendly. I assured him there was nothing risque. As the dance began I began to wonder if a child would be upset by this darkened fable… Nah.

Show times:

Today, Saturday May 26th at 3:00PM

Sunday May 27th at 8:45PM

The show is in the Silver Venue at the Rep. Tickets are $10.