10 reasons why... you should stage Adrian Mitchell's Alice

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!

7: It is intended for all age groups

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.

ARCHIVE REVIEW OF: Adrian Mitchell’s Alice in Wonderland and Through the Looking-Glass PART 2

NOTE: This review uses photos from Photostage and Zuleika Henry, complete with watermarks. Please note that I cannot remove the watermarks as these are private property, and the photos belong to the owners. No copywrite infringement is intended.

(EDIT: As of 2025, I can say, I've read other play adaptations of Alice and this is by FAR the best one. Hands down, nothing comes close. I'm not sure why I didn't love this 100 percent on first read or watch. You can take that 4 star I gave this up to a 5 now. No, it REALLY is that good. Here's the licencing link worldwide. Yes, you CAN perform this in any theatre environment you want!)

With many thanks to @silvesterbotticelli.

A SMALL INTRODUCTORY NOTE

This review is of a non-commercial recording of the 2001 cast which is held in a private collection.The Original cast has its own successes and failings, and there are many differences between this production and that which is described in the published script. I will address the issues of the published script in the review, and I will also judge this production on its own merits.

CHILD OF THE PURE UNCLOUDED BROW, WITH DREAMING EYES OF WONDER…

The prologue to act 2 opens in the same space the epilogue to act 1 left us in, Alice’s drawing-room. Lorina attempts to teach 6 year old Edith chess, but both get into an argument and Edith walks off. Alice is not interested in the game as she never seems to win and is more focused on talking with Kitty, the black kitten. Infuriated Lorina soon leaves, Afred Lord Tennyson book in hand. 

LOOKING GLASS WORLD

As the room goes dark, and Alice grows tired, she is drawn to the looking-Glass whilst the Company sing of magic. “Moonlight on the Mirror” is one of the best songs in the entire play, with Terry Davies and Steven Warbeck’s arrangements conveying a sense of wonderfulness. I actually can’t imagine what this song would sound like minus this arrangement…

Alice climbs through to Looking-Glass House which in this production is just a gigantic mirror on a mantelpiece. The chess piece scene rolls round quickly and Jabberwocky for some bizarre reason is recited by father William and Son. Who aren’t in this book. Which leads me to question why Mitchell as an adaptor made this choice. The garden of live flowers is also disappointing as it consists of one flower, Tiger-Lily. Why the others couldn’t be included is a mystery. 

Much better is the Red Queen, played by Liza Sadovy, who truly is the essence of all governesses! The running scene is done incredibly well and I cannot work out how it was done. Treadmill maybe?? Left alone Alice endures a strange train ride.. which ends too quickly. Paul Lenard, Mark McLean and Mitchell Morero all make fine train passengers and the scene is delightfully frantic, only to stop suddenly as in this version Alice reaches the end of the line and has to walk the rest of the way. The Gnat is also absent, as are the Looking-Glass insects.

Dum and Dee are however wonderfully obnoxious and are played with gusto by Jamie Golding and Adam Sims. Also this scene features one of the best theatrical versions of “The Walrus and the Carpenter” I’ve ever seen. It even incorporates Carroll’s rewritten lyrics for the first Alice stage adaptation! Think of the way it was portrayed in 1999 and you aren’t far off! 

Marilyn Cutts makes for an excellently eccentric White Queen, and a weird sheep. The published script puts the Cheshire Cat in the shop scene (I know. Why??) but this production thankfully removes this! 

I did not care much for Martyn Ellis’s Humpty Dumpty, he seemed to be using the same technique the Gryphon used in the Wonderland adaptation- screaming out the lines as loud as he could! The orchestration of “In Winter When the Fields are White.. “ is also an utter disappointment. You often can’t hear the lines! 

The White King was very unmemorable as played by John Condroy. I’m actually struggling to remember his performance as I write this… 

The Lion and the Unicorn was a fantastic great big set piece, with the Company cheering for either side. It is set up like a sort of boxing match, and Mark McLean's Lion has more than a hint of a certain London boxer in his characterisation. If it is what the director was going for, its a little bit odd as it has no relation to the Victorian era. The Unicorn is extremely Scottish, with a very thick accent. The Company song “The Lion and the Unicorn” is an ensemble piece, with all including Alice joining in. Its a fun but too short number.

Things take a more delicate and melancholic tone after the White Knight (played by the same actor who played Dodgson) rescues Alice from the Red Knight (bizarrely this production has him played by the same actor who played Duckworth) Although there are plenty of laughs in this scene, Daniel Flynn’s White Knight plays up the melancholy. This reaches its peak in a beautiful and funny take on “A sitting On A Gate”. One of the few times this show takes a more specious pause for breath.

“Welcome Queen Alice” is sung in a wonderful arrangement by the Company as the White Rabbit (yes, I know) gives Alice her chess crown. In this version there is no proper feast to speak of (the food scene doesn't occur) instead Alice climbs up a gigantic chess piece chair to sit alongside the Red and White Queens. The official Queen examination scene is delightfully funny but feels too rushed. That’s because the White Queen announces “Something is going to happen!” and it does. The Jabberwock descends on to the crowd, scattering everyone. As soon as everyone vanishes, Alice sees the looking glass and passes through. 

Awakening at home on the hearthrug in the drawing-room with the Black Kitten and Snowdrop in her hands, Alice ponders the meaning of her dream. Was it hers or the Red King’s?

If I were to be brutally honest, I much prefer Carroll’s feast scene to this. It doesn’t really work as a denouement, I also feel like there was no threat to the Jabberwock because as an audience we barely see it (this production only shows its red eyes!) As a result, Alice’s awakening does not feel significant or pronounced the way it is in the book. It just.. kind of happens. I will give this version immense credit for actually showing us Alice pondering the Red King dream question at the end. Many versions leave this out. 

A BOAT BENEATH A SUNNY SKY…

Back on the riverbank Dodgson finishes his tales (yes this version implies he told both stories in one day. Poetic licence!) Dodgson, the Liddells and Duckworth row home, but Alice Liddell feels affected by what she has heard. Before they row off, she asks Mr Dodgson to “write down Alice’s adventures”. 

As they row off singing a reprise of “All in the Golden Afternoon…”, fictional Alice stands onstage and seems to hear echoes from her adventures in Wonderland and Looking-Glass World. The lights begin to fade, until all we can see is her.

CONCLUSION

Overall I found this 2001 recording 100 times better than the published script. I give this particular staging a 4 out of 5, with an added note to be cautious with the published script, as it leaves plenty to be desired. 

No doubt the best thing about this adaptation was Katherine Heath’s performances as Alice Liddell and “Alice”. Heath made an eager Alice Liddell and an intelligent, quiet and polite “Alice”. This production also has stellar set design and a formidable cast, some playing up to 4 parts! 

Although some of the scenes are rushed here, the script itself doesn't have this problem overall, and anything I have complained of here is, at the end of the day, EXTREMELY minor. After all this is one of the most complete versions.

I'd urge any theatre to produce it, it is beautiful. 

ARCHIVE REVIEW OF: Adrian Mitchell’s Alice in Wonderland and Through the Looking-Glass PART 1

NOTE: This review uses photos from Photostage, clarevidalhall and Geraint Lewis, complete with watermarks. Please note that I cannot remove the watermarks as these are private property, and the photos belong to the owners. No copywrite infringement is intended. 

(EDIT: As of 2025, I can say, I've read other play adaptations of Alice and this is by FAR the best one. Hands down, nothing comes close. I'm not sure why I didn't love this 100 percent on first read or watch. You can take that 4 star I gave this up to a 5 now. No, it REALLY is that good. Here's the licencing link worldwide. Yes, you CAN perform this in any theatre environment you want!)

With many thanks to @silvesterbotticelli. 

A SMALL INTRODUCTORY NOTE

This review is of a non-commercial recording of the 2001 cast which is held in a private collection.The Original cast has its own successes and failings, and there are many differences between this production and that which is described in the published script.

BEGIN AT THE BEGINNING…

 Adrian Mitchell’s Alice in Wonderland and Through the Looking-Glass had its World Premiere on the 29th of November 2001 at the Barbican Theatre in London. The recording that my review takes from was recorded on the 25th of February 2002, far ahead in to the show’s run. 

Mitchell’s show was much derided at the time but has since grown a healthy afterlife in amateur and community productions. Upon seeing this recording, the show’s original critical response is baffling to me. No, the show is NOT perfect by any means, but two stars? Really? 

The show begins with Dodgson, Duckworth, and the Liddells that fateful golden afternoon in Oxford. The girls clamour for a story, and Dodgson and co find shade under a tree. As he begins spinning his tale, the company freeze in time as Alice Liddell stands up and becomes fictional “Alice”. On seeing the white rabbit, she does what we know she will. 

Unlike the published script, the act of Alice Liddell transforming into “Alice” is here better indicated, whereas in the published text it was only implied, here it is actively shown. 

WONDERLAND

Alice’s fall down the rabbit hole is portrayed as a fall through a large hole which the audience look through, with wires attached to the actress. Quite an effective trick (you have to remember this was in a time pre video projections) especially with all the furniture and such spinning around with her.  As I had read the published script I was dreading the 1st “new song” written for this version, which is “down, down, down”. Whilst on paper it sounds dreadful, in this production the tune and Company singing are beautiful, meaning it more than works (whether it would in other productions, minus this musical arrangement is another thing) 

The hall of doors is sped through, with hardly anything from Alice’s identity crisis of the book remaining. The functions of drink me and eat me are also reversed for reasons unknown. Better is “How Doth the Little Crocodile” complete with adorable crocodile puppet. Awwww!

The mouse scene and caucus race are also handled very well, with the actors playing Dodgson, Duckworth, and other Liddell sisters returning to play their Wonderland counterparts. Unlike the book, Alice doesn’t insult the mouse through misunderstandings of the words “tale” and “tail”, she just yawns and the Mouse takes it as a slight on his honour! Moves the action on faster I guess?

The White Rabbit’s House scene isn't included in this version, which I can only guess due to being potentially too tricky to stage. The Caterpillar scene is a strong highlight with John Conroy’s delightfully impertinent Caterpillar sparring against Katherine Heath’s confused, quiet and well mannered Alice. Another highlight is “You are Old Father William” which is sung by a 2 man vaudeville act (they bustle in just before Alice recites it, convinced she’s stealing their act!) although I would note the instrumentation seems to fast in the chorus, rendering the punchlines hard to hear. 

The Duchess’s kitchen scene felt too fast paced. I understand the scene is meant to be chaotic, but as its a not very popular part of the book, I felt some of the actors (particularly Fiona Dunn’s cook) were reciting lines as quickly as possible. The effect of the Cheshire cat in the oak tree was honestly not impressive. They just had the actress (Sarah Redmond) in a box in the tree looking down and occasionally grinning. However this is because of the theatrical constraints of the time and as such, I can’t really complain. Redmond’s Cheshire cat was fair but not overly memorable.

 

This is followed by possibly the best scene in the Wonderland adaptation. The Mad tea Party. Martin Turner’s March Hare and Chris Larner’s Hatter play off each other brilliantly, whilst Marilyn Cutts makes for a cutely confused dormouse. The overall impression of this tea party is one of deep hostility. The March Hare and Hatter keep looming over the table at Alice in a slightly sinister way, and Katherine Heath’s Alice keeps moving uncomfortably in her chair, slightly unnerved perhaps. When she says “I’ll never go there again…” you can sense she really means it. 

The Queen’s garden and croquet scenes are played out as a great opportunity to feature everyone we’ve met already, as such these are monstrously large ensemble scenes, complete with puppet flamingos and the like. The Queen of Hearts is played by Liza Stadovy, who can’t seem to choose between Flora Robinson's 1972 depiction or Miranda Richardson’s 1999 depiction, so in the end opts for both at the same time. Its an odd mix…

This is unfortunately followed by the worst scene in the Wonderland adaptation, which is the Mock Turtle and Gryphon. I do not understand the actor’s decisions with these characters at all. Martyn Elis’s Gryphon shouts every line, whilst Paul Lenard’s Mock Turtle states everything in a dull voice. This is one scene which would be infinitely better in another production! Katherine Heath tries her best, but even she cannot save this dull, dull scene. Even worse is the Lobster Quadrille, which Terry Davies and Steven Warbeck decided to arrange as a flamenco dance. Why? I also don’t like the idea of Alice joining in the chorus of a song she’s not meant to know. Who decided that?

With that thankfully over the adaptation gets back on course in a spectacular trial scene featuring the entire cast. The whole ensemble gets to shine here, particularly John Hodgkinson’s King of Hearts, who is wonderfully weak, assertive and confused alternately! Halfway through instead of growing bigger for no reason Alice eats a tart which makes her grow and turns the whole court into shaky puppets. Liza Stadovy has a lot of fun with her now squeaky Queen of Hearts voice. Just like in the book, the cards shower Alice, who fitfully tries to beat them off. Still not worked out how this effect was achieved… 

Alice awakens in an armchair in her drawing room, with both of her sisters looking worried (she’s just knocked over a house of cards from the table beside her in her sleep) however as the snow begins to tumble down, they suddenly don’t want to hear about Alice’s curious dream. Snow is more exciting apparently… 

In the published script, Alice staggers into the scene, vaguely knocks over the card table and somehow becomes aware to the reality of things. In the published script, the audience is only told Wonderland was a dream in one line! (2025 NOTE: Its implied in the script that a director will add Alice waking up to their specific production, the both times that the character does it. Its just up to each production to work out how it looks!)