Alice laughed. ‘There’s no use trying,’ she said: ‘one can’t believe impossible things.’ ‘I daresay you haven’t had much practice,’ said the Queen. ‘When I was your age, I always did it for half-an-hour a day. Why, sometimes I’ve believed as many as six impossible things before breakfast.” ~ Lewis Carroll
“Alice’s Adventures in Wonderland” and “Through the Looking Glass”
are two of the most well-known and quoted works of children’s literature ever. Written by Lewis Carroll, in 1865 and 1872 respectively, generations have enjoyed these imaginative stories in countless adaptations of plays, radio shows, movies, and books. Through iconic characters such as the Cheshire Cat, the Queen of Hearts, and Tweedledee and Tweedledum, Carroll played with the art of nonsense, the wonder of childhood imagination, and the intelligent confusion of a child interacting with an impossibly mystifying world.
Personally this is a story I have been drawn to since childhood, always intrigued by the contraction of enjoyable, yet somewhat dark, characters and situations in Wonderland. Perhaps the confusion of trying to figure out a dream presents itself as a challenge, or maybe it’s just seeing the imagination of such a brilliant writer play out through the story. Or maybe it is just fun to believe impossible things…
When researching scripts for this play I was surprised with the number of versions that exist. Besides the Disney version, I have at least five other copies on my shelf. What drew me to the script by Eva Le Gallienne and Florida Friebus particularly was that it combined the two original books: Act I is “Alice’s Adventures in Wonderland” and Act II is “Through the Looking Glass”. This version also stays true to the original language in Carroll’s books, which although somewhat dated, is also magical…
Wonderland is a wonderful place, but it also takes a team of artists to create. I would like to thank some of my favorite artists in helping me realize this show: Brenda Rydstrom, costume designer (who has been a source of theatrical inspiration to me since I was in first grade – she directed the first show I was ever in!); Thomas Rose, backdrop artist (who has been a constant source of creative inspiration to me since I was little – thanks, Dad :) ); Ivy Daum, the assistant director (who has been student, actor, dancer for me for about 15 years – and now also a friend and co-creator of theatre and dance); Simon Daum, accompanist (who has embarked on more shows with me than any other human – thanks, friend!); and Cheri Snook, set and lighting designer (who has been a tremendous collaborator and source of vital technical know-how since I joined the CB West Harlequin Club adventure!). I would also like to thank Leanne Schrier, business manager extrodinairre; Dr. Joseph Ohrt, supporter and friend in all things theatrical; and Dr. Brian Caughie, acting principal of CB West, who is always willing to help the Harlequin Club. Special thanks to the members of the Harlequin Club, especially Francesca Endres (stage manager and board member), Jon Samson (assistant stage manager), Brian Kennelly (club president), Annalee Tomanelli (board member), Sienna Coleman (board member), Brynn Parkin (board member), Lucy Thornton (assistant costumer), and Karl Gray (tech captain).
Please enjoy the show, and remember the wise words of the Cheshire Cat: “We’re all mad here…you must be too, or you wouldn’t have come!”
~Jessica Bostock, director/choreographer
