EXTENDED THROUGH JULY 16!
What would Walt think? Working for the Mouse, Trevor Allen’s one-man recollection about being a costumed character in the Magic Kingdom, returns to Berkeley’s Impact Theatre. Photo by Cheshire Isaacs
About nine years ago, Trevor Allen lifted the veil on an operation so shrouded in secrecy and intrigue that the merest glimpse inside set people salivating. He revealed what it was actually like to be inside a costumed character in Disneyland.
Oh, yes, This is deeply inside stuff. And sweaty. And hilarious. It’s what you call a theatrical experience bursting with character.
Allen’s autobiographical solo show, Working for the Mouse, premiered at Berkeley’s Impact Theatre in 2002 then transferred to San Francisco. Now Allen is reviving the show for Impact and his own Black Box Theatre at La Val’s Subterranean.
The estimable Nancy Carlin has taken over the directing reins from Kent Nicholson, and the revised show is sharper and funnier than ever.
Allen hits the stage ready for battle in shorts, knee pads (one of the characters is a pint-sized guy, so there’s a lot of time on bended knee) and a vintage “Zoo Crew” T-shirt (that’s how Disneyland’s costumed atmosphere characters are described) emblazoned with Jiminy Cricket. Like any good Disney employee, he’s also wearing his name tag.
We learn that at age 17, Allen left his hometown in the Bay Area to find seasonal work in Disneyland. Throughout the 70-minute show he glances off the deeper theme of not wanting to grow up, but he’s also beginning to flex his young actor muscles. His dream is to be a “face character,” which is to say a character like Peter Pan or Prince Charming who is not engulfed in a full, furry body suit. The face characters also tend to have what every actor desires: voice clearance. They get to talk to the guests rather than remaining a mute sweat bomb in a giant head and stuffed body.
We watch as Allen progresses through the character infrastructure. First he’s Pluto, then pirate Mr. Smee, then a talking Mad Hatter, and we can see him maturing and opening his eyes to some of what the real world – even in its Magic Kingdom form – has in store for him. He gets hazed by the veterans in the department, has his heart broken and gets his best, most creative intentions trampled by the corporate machine.
Throughout, Allen is a dynamic, highly appealing performer, attacking this coming-of-age story with unflagging energy and crack comic timing. Director Carlin has helped Allen warm up the show and find even more edge to the humor. This is not a Disney-bashing experience, though it certainly could be. Even rabid fans of Disneyland (consider me guilty) will savor Allen’s tales of misbehavior, mismanagement and misbegotten Matterhorn sex.
One of the things that tickled me the first time I saw the show was Allen’s Ed Wynn impression – a necessity for anyone playing Disney’s version of the Mad Hatter – and that delight is still very much present here. Another huge piece of enjoyment, especially for Disneyphiles, is the sound design by Cliff Caruthers, which is filled with wonderfully incisive references to rides and movies.
Allen has honed Working for the Mouse to an impressive level, but that’s not all. There are more tales to be told. If the show leaves you wanting more, and it will, check out Allen’s book-in-progress at www.workingforthemouse.com.
FOR MORE INFORMATION
Trevor Allen’s Working for the Mouse, a co-production of Impact Theatre and Black Box Theatre, continues an extended run through July 16 at La Val’s Subterranean, 1834 Euclid Ave., Berkeley. Tickets are $10-$20. Visit www.impacttheatre.com.
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