International Street Theatre Festival Holzminden 2017 – Audience award
ALICE ON THE RUN is inspired by Lewis Carroll’s World, full of weird characters where Alice’s journey through strange places and situations is a metaphor for the odyssey of those searching for a new home.
The production
At the beginning the modules form a house in the middle of the performing area. Suddenly it is torn apart and Alice remains alone. Her trusty friend the white rabbit has disappeared. She uses the only remaining object, her bath tub, as a boat. She is in a strange world and her search will take her to an island, a prison, a border station and a consumer temple until finally the
white and red queen meet her on the chess board for the final battle. Will she find a new home?
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© 2018, H. Teupel / Film & TV-Produktion. The use / copying of this video is only possible with Theater Titanick’s express permission.
Täglicher Anzeiger, Holzminden (D)
“Alice on the Run – the fascinating open-air production on the theme of home, expulsion, being on the run, but also hope and future both impressed and touched the audience”
Westfälische Nachrichten, Münster (D)
“Theater Titanick in Münster addresses the topic of being on the run with their new open-air production – doing this in their own poetic and imaginative way. Alice on the Run sends Lewis Caroll’s famous protagonist on a modern odyssey instead of Wonderland”
The stage
Three moving cubes and a giant chess board pyramid form the set of the production. The performing area is a circle. The house is destroyed by forklifts that rip it into three parts and carry them away. These will then in turn be transformed into the different worlds or situations that Alice will travel to on her journey. Her journey and the stops on the way take place within the audience. The stage set was designed by André Böhme from the Leipzig Art School and constructed by the Titanick technicians.
↓ Facts and figures
Performance area: Circle or Elipse approx. 40-50 metres in diameter. The production is adaptable to the location.
Performance time: partial or complete darkness
Capacity: approx. 3.000 spectators
Titanick Team: 19 people
A workshop programme for the integration of local people can be offered.
The chess board pyramid provides a possibility to be present in the city in advance and to organise a chess event.
↓ Ensemble
Concept: Theater Titanick, Michael Helmerhorst
Artistic director: Uwe Köhler
Directed by: Michael Helmerhorst
Stage design: André Böhme
Music: Gundolf Nandico
Costume design: Katharina Eichner, Marcel Dewart
Special effects: Robert Schiller, Matthias Stein, Ricardo Borau
Stage accessories: Franziska Faust, Susann Weißhaar
Actors: Christian Backhauß, Lisa Balzer, Clair Howells, Thomas Kuhnert, Georg Lennarz, Marie Nandico
Technical director: Jörg Rost
Technicians: René Gieszinger, Hubert Hogrebe, Stefanie Holzscheiter, Elias Macke, Cord Meyer, Stephan Östrovsky, Jan Rieve, Franziska Schirmer, Aron Siebert, Stefan Sonntag, Hartmut Stephan, Lisa Tatz, Justus Weber, Michael Quadflieg, Shyam Ganju
Costume department: Julia Bosch, Johanna Frahm, Kaur R. Hensel
Lighting: Andreas Liedl, Harry Wenke
Sound: Ingo Koch
Production managers: Katja Berger, Isabelle Bettmer, Claudia Schölling
Assistant director: Clara Dolinschek
Tour management: Sarah-Jane Reed
Alice on the Run ist a Theater Titanick production in cooperation with the International Theatre Festival LA STRADA in Graz, Austria
“In the middle of the action – Alice on the Run exceeds all expectations of a street theatre company – a current topic, many surprises, it’s just brilliant!”
Tabea Wolff“To plunge a prison into a cloud of smoke, a gigantic champagne bottle that explodes or chess pieces that suddenly combat each other … These are only some of the special effects of the Titanick Wonderland.”
Robert Schiller“Alice’s acting, her loss of a home, the battle with bureaucracy, her search for a home and friendships are touching, enchanting and very impressive.”
Nicole Ruppert“What a challenge: To create a stage based on three forklifts that constantly changes into different images. And all of this in the middle of the audience!”
André Böhme