Alice has grown tired of recitations and history and books without pictures. She would much rather have adventures! So when a White Rabbit comes along, speaking perfect English and muttering about how late he is, Alice sees no reason not to follow him down the rabbit hole. Once she hits the ground, growing tired is the least of her problems. With the help of the Mad Hatter, the Cheshire Cat, and all of the inhabitants of Wonderland, she must find her way back homeor at least stay the right sizebefore she truly loses her head!


By Lewis Carroll

Adapted for the Stage By James FW Thompson

Why, sometimes I've believed as many as six impossible things before breakfast. - Lewis Carroll One of the main reasons I love Alice in Wonderland is that it's one of the frst (if not THE frst) popular story to have a child who actually acts like a child (as opposed to a smaller adult who just learns lessons). Alice is a scamp. She's a brat. She's confused, but she's also wise—that's the part that I like the best. Kids are really smart—much smarter than we adults usually give them credit for. They are clever, and they are quick, and they grasp concepts that others cannot. The biggest thing is believing in the impossible. As kids we were all told—just as we tell kids now—that anything is possible; they can do anything; nothing is outside of their reach. Somewhere along the way, we seem to forget that. And that's not really a bad thing—that's reality, and really, reality is pretty great. It's just nice to, every once in a while, have something to believe in that we know is probably impossible. That's kind of what theatre does. Theatre allows the audience to suspend their disbelief and accept whatever is happening on stage as true. Even if it is known to be impossible, it becomes possible, even if it's just for one night—for one hour. That's special. That's theatre. Our goal with our version of Alice in Wonderland is to give everyone—be it smaller adults or larger children—that sense of belief. Everything that happens on stage is possible, because it's happening right before you! It becomes reality. Please, take some of it with you.

- James 


LORINA – Rachel Colford  

ALICE – Rachael Murphy

WHITE RABBIT – Walter Carey

MOUSE – Rory Andrews

DUCK – Gena DiFlavio

DODO – Mary-Jean Doyle

CATERPILLAR – Jenn Tubrett

HUMPTY DUMPTY – Maggie Musgrave

CHESHIRE CAT – Maggie Musgrave

MAD HATTER – Jenn Tubrett

MARCH HARE – Rory Andrews

DORMOUSE – Walter Carey

CARD GUARDS – Joel Inglis, Jonathan Lewis, Nicole MacDonald

QUEEN OF HEARTS – Rachel Colford

KING OF HEARTS – Rory Andrews

TWEEDLEDEE – Maggie Musgrave

TWEEDLEDUM – Jenn Tubrett


Director – James FW Thompson

Stage Manager – Erin Thompson

Assistant Stage Manager – Jason Burke

Props Manager – Josie Sobol

Set and Lighting Design – Joe Pagnan

Costume Design – Lindsay Junkin

Head of Wardrobe – Diana MacKinnon-Furlong

Puppets (Tiny Alice, Humpty Dumpty, Cheshire Cat, Dormouse) – Graeme Robinson

Poster Design – Hilary Scott

Producer – Wesley Colford

THANKS: Kevin Colford, Suzanne Doane, Fred, Sheila Gillis, Phil McNeil, Alicia Penney, Phonse Walsh, Chris Walzak

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