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I have been thinking a lot about Adrian Mitchell's Alice in Wonderland & Through the Looking-Glass stage adaptation. Mostly because at the moment, some of my day job has involved it (I'm trying to get it produced for a local theatre). But I've noticed going back on my first review of this play, I wasn't glowing as I could have been, even though I loved it. My fault was that I read this one too early in my readings of Alice stage scripts. Way back when, I assumed a even more complete stage version of Alice that could be produced widely existed. Dear reader, I'll tell you now, there is no other. If you would like to read or stage a version that is almost all of both novels, with Carroll's plot structure entact, your search ends here. This is the ultimate stage version (in English) for that. If you're a purist and can recite both You are old father William and Haddock's Eyes, this version is for you.
So, here we're going to set the record streight. If you work in theatre or community, here are 10 reasons as to why THIS is the version of Alice you should choose to do over all other stage adaptations.
1: It is widely avalible for licencing, and its often cheaper than other versions.
Concord Theatricals handle licencing of this play, and it starts at around £70 for a filmed version with no physical theatre centre. For a week's worth of performances at a theatre, its about £150 or similar. This is incredibly well priced compared to other versions on the market at the moment.
*Note quote prices, may vary depending on your cast, locale circumstances ect.
2: It has prestige, is true to the novels, and has depth.
Adrian Mitchell's play is now known as the current most complete stage version ever written in English. It adapts NEARLY EVERYTHING in both books, giving this adaptation a far more deeper scope than others. It mimics Lewis Carroll's original novels by having both Wonderland and Looking-Glass world as 2 seperate dreams. The play also has the prestige of being created for the Royal Shakespeare Company, UK. A company that needs no introduction.
3: You can adapt some stage directions to smaller/different theatre spaces.
Although the script was written for RSC, and occasionally has big directions like Alice falling down rabbit hole, or flying up to a mantlepiece and going through a mirror frame, MANY productions since have simplified these. Rabbit hole can be done with actress on a bench and chorus handing items. Mirror can be done with just a pane of glass and stage rearranging behind the actress. Do not be put off by the "impossible" seeming directions. All companies since RSC have found a way to adapt these.
4: The wikipedia page means that any questions you have are already answered.
The wikipedia page on this play is a fantastic resource for any production. It features in depth plot details, and the intentions of Mitchell and Carroll as authors. External links go to photos of previous productions, articles, and videos. All that you need is pretty much here. I'm very glad it exists.
5: It accurately portrays real history!
As you may know, this play has a prologue/epilogue set in Oxford on the 4th of July 1862, which means the historical boating party of Lewis Carroll, the 3 Liddell sisters, and Robinson Duckworth are characters at the beginning and end as a framework story. The portrayal of all characters here is particularly sensitive and thoughtful. The wikipedia page on the play again links to biographical articles to read (by Jenny Woolf and Edward Wakeling) that have been well researched. You don't need anything else but this.
6: The play has a cast that is expendable or is able to be reduced.
The smallest production of this play has been with 13 actors. The biggest was a youth company that did it once with 60 actors. Although Concord Theatricals lists 20 actors needed, the play has actually been way more flexible than this. If you're a smaller company, don't rule it out!
Although this play absolutely can't work with a darker interpretation, productions have appeared which are atmospheric, strange, bright, and whimsical depending. As long as you keep to what Adrian Mitchell specifies in terms of the tone (surreal, whimsical), you can essentially do what you wish in terms of how everything looks visually. Holiday productions are also something that can be done with this play. One production set the script at halloween, another at christmas. Oxford in July in the prologue/epilogue doesn't have to be July onstage. Sometimes it can be a christmas gift to the Liddells by Dodgson, or fun "spooky" stories told over a fire.
8: The play is spiking upwards in critical acclaim since the 2010s.
The RSC original production of Mitchell was despised by critics, purely because it came out in an era where dark interpretations of Carroll's tales were preferred above any others. That era is now waning. Recent critics have loved regional or small theatre productions of Mitchell, and its regularly gotten very positive reviews. Do this play before it gets a major revival.
9: It introduces Carroll's books without the "difficult" Victorian language.
Its subtle, but occasionally Mitchell's playtext simplifies words here and there that are hard for modern theatregoers to grasp. Everything from Carroll's original is almost totally here, but the 19th century terms are slightly toned down, meaning everyone can understand it. It is a perfect gateway to get people engaged with the original books.
10: Its made with love.
I think out of all the scripts I've ever read of Alice versions of the stage, this is the one where you can really really tell the stage adaptor cared. It was written for Adrian Mitchell's 7 children and grandchildren, and is part of a cycle of plays that adapted classic books, and didn't talk down to any audience. That is such a gift.
11 (extra): Alice160 anniversary was last year.
If done this year or next year, Mitchell's play offers your company a chance to commemorate the 160th anniversary of Alice's adventures in Wonderland, which was in 2025. Sadly this stage version wasn't part of the celebrations this time round. But you can still link it with it, as long as you say 160 was in 2025.
Images by Rhyannon Richardson and Zuleika Henry. I own nothing.
