Exceptional philanthropic support from Royal Ballet and Opera Principal Julia Rausing Trust
Generous philanthropic support from John and Susan Burns OBE, Sir Lloyd and Lady Dorfman OBE, Kenneth and Susan Green, Sandra and Anthony Gutman, Martin and Jane Houston, Huo Family Foundation, Doug and Ceri King and Lindsay and Sarah Tomlinson
Artistic Associate Christopher Wheeldon generously supported by Kenneth and Susan Green
The 2024/25 Royal Ballet Season is generously supported by Aud Jebsen
The role of Alice is generously supported by Francesca Storey-Harris in memory of Judy Harris
The role of Mother/Queen of Hearts is generously supported by Richard Baker
The role of Magician/The Mad Hatter is generously supported by Michael and Morven Heller Charitable Foundation
A co-production between The Royal Ballet and The National Ballet of Canada.
Alice’s Adventures In Wonderland is dedicated by Christopher Wheeldon to Dame Ninette de Valois, Founder of The Royal Ballet, whose support and encouragement of new creative voices lives on.
Please note that recorded Audio Description is available for all performances of Alice's Adventures in Wonderland. Please ask staff for more information.
Choreography
Christopher Wheeldon
Music
Joby Talbot
Conductor
Koen Kessels
Orchestration
by arrangement with Chester Music Ltd
Christopher Austin, Joby Talbot
Designer
Bob Crowley
Scenario
Nicholas Wright
Lighting Designer
Natasha Katz
Projection Designers
Jon Driscoll, Gemma Carrington
Original Sound Designer
Andrew Bruce for Autograph
Lighting Associate
Simon Bennison
Staging
Christopher Saunders, Elizabeth Toohey
Guest Principal Staging
Jillian Vanstone
Senior Répétiteurs
Gary Avis, Samantha Raine
Répétiteur
Sian Murphy
Principal Coaching
Samira Saidi, Edward Watson, Zenaida Yanowsky
Benesh Choreologist
Gregory Mislin
Alice
Francesca Hayward
Jack/The Knave of Hearts
William Bracewell
Lewis Carroll/The White Rabbit
James Hay
Mother/The Queen of Hearts
Lauren Cuthbertson
Father/The King of Hearts
Bennet Gartside
Magician/The Mad Hatter
Steven McRae
Rajah/The Caterpillar
Nicol Edmonds
The Duchess
Gary Avis
Vicar/The March Hare
Valentino Zucchetti
Verger/The Dormouse
Sophie Allnatt
The Cook
Kristen McNally
Footman/Fish
Leo Dixon
Footman/Frog
Daichi Ikarashi
Alice's Sisters
Marianna Tsembenhoi, Bomin Kim
Butler/Executioner
Kevin Emerton
Wonderland Characters
Artists of The Royal Ballet
Actors
Rain de Rye Barrett, Damien Lee Stirk, Daniel Swan
Orchestra
Orchestra of the Royal Opera House
Concert Master
Magnus Johnston
Director
Kevin O’Hare CBE
Music Director
Koen Kessels
Resident Choreographer
Sir Wayne McGregor CBE
Artistic Associate
Christopher Wheeldon OBE
Administrative Director
Heather Baxter
Rehearsal Director
Christopher Saunders
Clinical Director Ballet Healthcare
Shane Kelly
Oxford, 1862. A summer afternoon. Henry Liddell, the Dean of Christ Church and his wife are about to host a garden ...
Oxford, 1862. A summer afternoon. Henry Liddell, the Dean of Christ Church and his wife are about to host a garden party at the Deanery. Lewis Carroll, a lecturer in mathematics and friend of the Liddell family, entertains the three young Liddell daughters, Lorina, Alice and Edith, by reading a story and performing magic tricks. When Jack, the gardener’s boy, brings in a basket of roses, Alice’s mother rejects the red one as being out of place among the white ones. Jack and Alice are friends. He gives her the discarded red rose and in return she gives him a jam tart. Alice’s mother seizes on this as a pretext to accuse Jack of theft and dismiss him.
Guests arrive. Alice is devastated to see Jack leaving the house in disgrace. Lewis Carroll consoles her by offering to take her photograph. He disappears and, to Alice’s surprise, emerges as a White Rabbit. He vanishes again and Alice follows him down a magical rabbit hole. Through a keyhole, she spies a magical garden, but all the doors into it are locked.
Unexpectedly Jack, transformed into the Knave of Hearts, rushes through the hall pursued by the Queen of Hearts, her guards and the White Rabbit: the Knave has been accused of stealing a plate of jam tarts. Alice wants to follow them but the door slams in her face, and the only unlocked door is too small to let her through. A bottle appears: Alice drinks from it and becomes so tiny that she can’t even reach the door handle. She tries some cake, which has the effect of making her enormous. She cries with frustration and, by waving a fan, shrinks so drastically that her tears form a lake big enough for her to swim in.
She is joined in the pool by a variety of animals who finally collect on the shore. In the hope that the exercise will dry them off and cheer them up, Alice arranges a caucus race after which the White Rabbit appears and leads Alice further into Wonderland.
Outside a country cottage, a footman delivers an invitation for the Duchess to the Queen of Hearts’s croquet party. The Duchess’s footman invites him into the cottage, leaving Alice with the invitation. In the cottage the Duchess is tending a squealing baby as the Cook makes sausages. The Duchess is delighted with the royal invitation, while the Cook is envious and resentful. The mood becomes increasingly violent, apart from a moment of tranquility brought about by the mysterious appearance of a Cheshire Cat. Fearful for the baby’s safety, Alice rescues it, but when it turns into a pig the Duchess takes it from her and carries it back to the kitchen for a future as a string of sausages.
The White Rabbit reappears, anxious about his forthcoming duties at the Queen’s croquet game. He warns Alice not to follow him to the Royal Garden; it is dangerous to be near the bad-tempered Queen. The Knave dashes in with the tray of tarts, still pursued by the Royal Guards. Alice and the Knave hide in the Duchess’s cottage. The Royal Procession arrive and the Duchess greets the Queen with a gift of sausages. Revolted, the Queen orders the procession to move on. The White Rabbit gives the Knave the all clear to make his escape, but it is too dangerous for Alice to go with him.
Alice asks the Cheshire Cat for directions, but his vagueness leaves her more confused than ever and she finds herself at the tea table of the Mad Hatter, a March Hare and a sleepy dormouse. Alice escapes their crazy tea party and is alone and lost. An exotic caterpillar, perched on a mushroom, lifts her spirits and, before disappearing, gives her a piece of mushroom.
Alice finds herself back in the hallway of doors where she first arrived. She nibbles the sliver of mushroom, and the walls and doors disappear. At last she finds herself in the garden.
The Knave appears, still fleeing his pursuers, and is as delighted to see her as she is to see him. The Queen of Hearts arrives flanked by her guards and orders the capture of the Knave, but he escapes. The White Rabbit dashes after them, taking Alice with him.
In the garden of the Queen of Hearts, three nervous gardeners are splashing red paint on the rosebushes: they have mistakenly planted white ones, which the Queen of Hearts detests. The Queen arrives along with the King, the Court, the Duchess and the Cook and orders the gardeners to be executed. While the Executioner is distracted by the amorous attentions of the Cook, Alice and the White Rabbit smuggle the grateful gardeners out of sight.
The Queen displays her dancing skills, after which she and the Duchess pick their teams for the croquet game. To the Queen’s dismay, the Duchess scores the first points. Meanwhile the Knave, risking all by being there, catches Alice’s attention from behind a hedge.
The Queen cheats. The Duchess challenges her, whereupon the Queen orders her execution. The King calms the Queen down while Alice helps the Duchess to slip away. The Knave rejoins Alice, but this time he is discovered and the Queen orders the guards to haul him to the castle to face trial. When the Cheshire Cat makes another mysterious appearance, Alice uses the distraction to follow the Knave.
The White Rabbit prepares the courtroom for the trial. The witnesses are brought in, followed by Alice, and the members of the Court take their places. The Knave is brought in and the proceedings begin.
The first witness is the Mad Hatter, followed by the Caterpillar, the March Hare, the Dormouse, the footmen, the Duchess and the Cook. They all accuse the Knave. The King offers the Knave the chance to speak in his own defence. When his testimony produces little effect, Alice intervenes with all the force she can muster. The Knave is innocent, she insists: if anyone is guilty, it is she. Together, they deliver a final testimony and win the hearts of everyone but the Queen.
Unmoved by the Court’s entreaties, the Queen seizes an axe in order to strike the fatal blows herself. The White Rabbit and the witnesses attempt to hide the Knave and Alice, but the Queen discovers them and does her best to turn the Court against them. With no escape in view, Alice pushes a witness over, which results in the collapse of the entire Court: they’re only playing cards, after all.
In the midst of the chaos, Alice awakes.
We are working hard on our commitment towards becoming more sustainable and are striving for our net zero goal of 2035. By using digital cast sheets and e-tickets, we have reduced our paper consumption by over five tonnes per year. You can view our digital cast sheets on a computer, tablet or smartphone by scanning the QR codes displayed around the building using your smartphone’s camera app. They are also displayed on screens outside the auditoria. Cast sheets are generously supported by the Royal Opera House Endowment Fund.
Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.
Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.
Please do not place any personal belongings on the ledges in front of you.
Only bottled water and ice cream purchased from the premises can be taken into the auditorium.
If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.
Smoking and vaping are not permitted anywhere on the premises.
The safety of our visitors, staff and artists is our priority. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.
Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.
We rely on your support to make world-class ballet and opera for everyone. With your donations we can ensure a bright future for the Royal Ballet and Opera, bringing communities together and inspiring future generations up and down the country.
For people, not profit.
Royal Opera House Covent Garden Foundation, a charitable company limited by guarantee incorporated in England and Wales (Company number 480523) Charity Registered (Number 211775)