Alice In Wonderland Play Script Free Pdf

[Shawnna Franz]

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Was Alice really the sweet, innocent little girl the storybooks made her out to be, or was she actually a nasty piece of work? Two Narrators battle as they show the audience contrasting versions of Lewis Carroll's classic story.

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After Alice tumbles down a mysterious rabbit hole, she finds herself in a strange land where everyone is raving mad. With the help of a Cheshire Cat, an astute Caterpillar, and a righteous Humpty Dumpty, Alice must find her way home and discover who she really is. A darker, more faithful version of Lewis Carroll's classic tale that reimagines the experience of Wonderland, and ends with an unexpected new twist.

"A GOOD choice for children's theatre, Alice in Wonderland gives an imaginative director a great opportunity to produce an eye-popping and intriguing show. The adaptation by Jason Pizzarello flows nicely from one adventure to the other. The logic-defying craziness is all there and the well-written script gives actors interesting characters to play."

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Although there have been many theatrical adaptations of Alice over the years, there aren't very many famous ones. Many of the visual effects (i.e. Alice growing and shrinking, the Cheshire Cat disappearing) are difficult to achieve on stage. However, a few versions managed to survive as beloved and endearing interpretations of Carroll's classic. Below you can read about and watch clips from a few of the more prominent adaptations.

The Manhattabn Project, under the direction of Andre Gregory staged a highly imaginative and energetic adaptation of Alice in Wonderland which won several awards in 1971. The script is a mixture of both Wonderland and Looking Glass and interprets the story with an emphasis on physical acting, like playground games and using actors as both characters and scenery. Andre Gregory wrote. "Our production concept might be said to be this: How would a group of children limited to a padded cell create an entire world for Alice in Wonderland." (44)

This 2004 modern musical gives Alice a new spin, placing her in a modern context, on a subway train. The role of Alice was written by Chris Bond and Paula Rees for Emma Cambridge, who, as an actress with Downs Syndrome, gives the character a new dimension of lostness and loneliness. Many of the lyrics are very poignantly decry a society in which love is lost, where no one means what they say or say what they mean. (Irja Uusitalo)

Cast size: 12 actors

Casting note: The casting can be doubled and be played with a minimum of 12 actors, but can be expanded to a cast of 22. (Doubling suggestions are contained in the script.)Alice and Lorina should be played by female/female identifying actors. All other parts, however, can be cast with actors of any gender (including non-binary, trans, etc). Pronouns can be changed accordingly.Alice and Lorina are described as being 11 and 13, respectively, but can be played by actors who are older.

"This delightful one-act combined the best parts of the Lewis Carroll classic with the atmosphere and spirit of the holiday season. Even in the midst of the COVID-19 pandemic, our two performances of this play were sold-out delights and Alice's Christmas in Wonderland has been one of our most successful offerings this season." - James R. Winter, Artistic Director of the Columbia Theatre for the Performing Arts

A Single Scene-Monologue Showcase Royalty is an uncommon purchase reserved for scenes and monologues being performed in very specific circumstances (e.g., a showcase of assorted scenes). It must be accompanied by the purchase of one copy of the script for each participant. You must also provide a full explanation of your proposed use in the Note to the Publisher for your order to be approved.

Wonderland is the first production mounted by the Broadway Genesis Project, whose goal is to help create new theatre works specifically for the Tampa Bay market, after which they may be staged in other performing arts centers or move to Broadway.[1]

Wildhorn began working on the project in the late 1990s. He initially conceived an Alice similar to the one in the 1951 Disney animated feature and envisioned his then-fianc, Brandi Burkhardt, in the title role, but as time passed, the two ended their engagement, and the role seemed to be passed to another Wildhorn leading lady Lauren Kennedy. In 2005, Wildhorn announced that the musical would premiere in 2006 in Europe, but this did not occur. The show was workshopped starring Burkhardt in the title role in Tampa, Florida in 2007, with a presentation of four songs (these still appear in the show in some form). The project then focused on the scripts, and TBPAC agreed to make the show its first project.[citation needed]

In the summer of 2007, at a "Wildhorn & Fce More I Can See", with orchestra, and Wildhorn announced that the show would premiere in Tampa in 2009. [citation needed] The project had its first reading in Manhattan on March 20, 2009. It featured Lauren Kennedy as Alice, Julie Brooks as Chloe, Nikki Snelson as the Mad Hatter, and Julia Murney as the Queen.[2]

Gregory Boyd was chosen to direct the production, Marguerite Derricks was chosen to choreograph, set designs were by Neil Patel, costume designs were by Susan Hilferty[3] and lighting designs were by Paul Gallo. In April 2009, auditions were held in Manhattan and at what was then the Tampa Bay Performing Arts Center.[4] Casting was complete by August.[5] The cast included Janet Dacal as Alice, Karen Mason as the Queen of Hearts, Nikki Snelson as the Mad Hatter, Eugene Fleming as the Caterpillar, Jose Llana as El Gato, Edward Staudenmayer as the White Rabbit, Darren Ritchie as Jack/White Knight, and Julie Brooks as Chloe. The creative team also included projection designer Sven Ortel. Rehearsals began on October 12, 2009.[3]

Wonderland began previews on November 24, 2009 and opened on December 5 at Ferguson Hall in The David A. Straz Jr. Center for the Performing Arts in Tampa, Florida, where it ran through January 3, 2010. The musical next moved to the Alley Theatre, Houston, starting in previews on January 15, 2010 and opening on January 20, running through February 14.[6] The musical was budgeted at USD$3.3 million.[7] According to a report by Straz Center, "the estimated local economic impact...is more than $8.1 million", and noted that "nearly 750 full and part-time jobs [were] impacted".[8] The show played to 96% capacity in Tampa.[9]

The production transferred to Houston, opening January 20, 2010 at the Alley Theatre, with previews beginning January 15. It closed on February 14, 2010.[10] The book was rewritten after the Tampa engagement. At the time of the Houston opening, Boyd said: "The book we have now is quite different from the book that opened in Tampa. And we're putting in more changes, including four new songs." Producer Judy Lisi discussed the decisions being made about the show's next step: "Does it make sense to tour it first? Does it make sense to bring it in (to Broadway)? I really want to see how far we get in Houston to be able to determine the next stage of the development."[11]

The show had a new subtitle: Wonderland: A New Alice. A New Musical[14] and the book was drastically re-written, the roles of the Caterpillar, Chloe and the Mad Hatter were recast (with E. Clayton Cornelius, Carly Rose Sonenclar and Kate Shindle), a character (Morris, the Hatter's side-kick, the March Hare) was added, and a character was deleted (Jabberwock). The revised score featured many of the new songs from the 2010 Houston production, as well as re-implementing the song "Don't Wanna Fall in Love", and adding two others.[15]

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