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The Royal Ballet
Director
Kevin O'Hare CBE
Founder
Dame Ninette de Valois OM CH DBE
Founder Choreographer
Sir Frederick Ashton OM CH CBE
Founder Music Director
Constant Lambert
Prima Ballerina Assoluta
Dame Margot Fonteyn DBE

Alice’s Adventures in Wonderland

Cast sheet

Friday 1 November 2024

|

7.30pm

Ballet in Three Acts
The 80th performance by The Royal Ballet at the Royal Opera House.
Please note that casting is subject to change up until the start of the performance. Please continue to check the website for the most up-to-date information.

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.  

Approximate timings

The performance lasts approximately 2 hours and 50 minutes, including two intervals
ACT I
45 minutes
INTERVAL
20 minutes
ACT II
30 minutes
INTERVAL
25 minutes
ACT III
50 minutes
Credits

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

Cast

Alice

Meaghan Grace Hinkis

Jack/The Knave of Hearts

Calvin Richardson

Lewis Carroll/The White Rabbit

Joseph Sissens

Mother/The Queen of Hearts

Mayara Magri

Father/The King of Hearts

Thomas Whitehead

Magician/The Mad Hatter

Liam Boswell

Rajah/The Caterpillar

Francisco Serrano

The Duchess

Bennet Gartside

Vicar/The March Hare

Valentino Zucchetti

Verger/The Dormouse

Ginevra Zambon

The Cook

Ashley Dean

Footman/Fish

Téo Dubreuil

Footman/Frog

Daichi Ikarashi

Alice's Sisters

Marianna Tsembenhoi, Bomin Kim

Butler/Executioner

Blake Smith

The Three Gardeners

Martin Diaz, Harrison Lee, Taisuke Nakao

Wonderland Characters

Artists of The Royal Ballet

Actors

Rain de Rye Barrett, Damien Lee Stirk, Daniel Swan

Junior Associates of The Royal Ballet School appear by kind permission of the Artistic Director Iain MacKay
Music

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 ...

ACT I

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.

 

ACT II

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.

 

ACT III

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.

 

Guidance

Suitable for all, subject to House rules. There are optical illusions that may affect those with epilepsy. There is also a gunshot in Act I.
Children under the age five are not permitted into our theatres. Children over age five must have their own ticket and sit next to an accompanying adult.
Further information

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. Mobile phones should be turned off and stored away safely during performances.

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.

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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.

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For people, not profit.

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