Alice By Heart - Perusal Script

Book by Steven Sater and Jessie Nelson

Music by Duncan Sheik

Lyrics by Steven Sater

W WAIT! AIT!

BEFORE REHEARSING

OPYRIGHT W C WARNING (SOME THINGS NEVER CHANGE) ARNING

All music, lyrics and dialogue from the Play contained in this book are the property of the Authors and are fully protected by copyright Your or our organization’s per o ormance license prohibits making any changes of any kind to the Play, including:

• changes of music, lyrics, dialogue, sequence of songs and/or scenes, time period, setting, characters or characterizations or gender of characters in the Play;

• adding new material (such as scenes or framing devices, characters or songs from any other version of the Play, including films); ,

• omitting or adding any music, lyrics or dialogue.

Any unauthorized changes shall constitute a willful infringement of the authors’ copyright and may subject your organization to civil liabilities and criminal penalties under the United States Copyright Act and other applicable statutes.

DO NOT COPY OR DISTRIBUTE

Federal copyright law provides severe penalties for the unauthorized reproduction, distribution or exhibition of these materials. You may not duplicate or distribute any portion of these materials, including digital transmission and posting on the Internet, or use them for performances other than those specified in your organization’s license agreement.

A PERFORMANCE LICENSE IS REQUIRED

Federal and international copyright law prohibit the public performance of the Play without a performance license. MTI's delivery of this script does not authorize you or your group to perform the Play in any manner whatsoever. For example, it does not matter whether your audience pa o or their tickets or not; it does not matter if your group is a school or not.

. T

For further information regarding the penalties for copyright infringement, please visit www.copyright.gov.

To r o report any violation of the above terms, contact MTI at licensing@mtishows.com.

CHARACTERS

Note: Because of the specific connections between the Tube Station characters and those in Wonderland, the following roles are meant to be played by the same performers:

1. ALICE SPENCER ALICE

2. ALFRED HALLAM WHITE RABBIT MARCH HARE

3. RED CROSS NURSE QUEEN OF HEARTS

4. HAROLD PUDDING MAD HATTER

5. TABATHA CHESHIRE CAT

6. DODGY DUCHESS

7. CLARISSA MOCK MOCK MOCK TURTLE

8. NIGEL DORMOUSE

9. ANGUS CATERPILLAR

10. DR. BUTRIDGE KING OF HEARTS JABBERWOCK

11. YOUNG ALICE

12. YOUNG ALFRED

The following roles can be cast as best suits the needs of any given production: CATERPILLAR 2

KNAVE OF SPADES

KNAVE OF HEARTS

KNAVE OF CLUBS

QUEEN OF DIAMONDS

MOCK TURTLE

MOCK MOCK TURTLE

MOCK MOCK MOCK MOCK TURTLE

For our premiere at MCC Theater, the roles were divided as follows:

1. ALICE SPENCER ALICE

2. ALFRED HALLAM WHITE RABBIT MARCH HARE

3. RED CROSS NURSE

QUEEN OF HEARTS

4. HAROLD PUDDING MAD HATTER

KNAVE OF SPADES

MOCK MOCK TURTLE

5. TABATHA CHESHIRE CAT

6. DODGY DUCHESS

MOCK MOCK MOCK MOCK TURTLE

7. CLARISSA

QUEEN OF DIAMONDS

MOCK MOCK MOCK TURTLE

8. NIGEL DORMOUSE

KNAVE OF CLUBS

9. ANGUS

CATERPILLAR

KNAVE OF HEARTS

10. DR. BUTRIDGE

KING OF HEARTS JABBERWOCK MOCK TURTLE

Note on Vocal Score: The ensemble harmonies in our score reflect those we used in our New York premiere at MCC Theater. They of course can be altered, according to the particular cast of each production.

TIME & PLACE

London, 1941, an Underground Station—a make-shift shelter from the Blitz of World War II. And, one golden afternoon in Wonderland.

Please note: there is no song #6.

LONDON, 1941. NIGHT.

The sound of bombs falling. Music rises. Through a curtain made of a parachute, we see a shadowy figure, the 15-year-old ALICE, digging through a rubble-heap of what was once her home. At last, she unearths a treasured book.

A siren sounds. ALICE runs off. Lights rise, revealing that we are underground—a make-shift shelter in a Tube Station. War cots stretch across the platform. And now, YOUNG PEOPLE seeking cover run into the shelter, wearing gas masks. ALICE removes her mask, and seems to stand somewhere out of time. Holding tightly to her book, she looks upon this ghostly world. “West of Words.”

#1—West of Words

ALICE

THERE’S A WORLD I KNEW AS ME, BEFORE BEFORE—

MY ROOM, MY PICTURES, A SKY NO FIRE BURNED, WEST OF WORDS.

A BOOK OF WONDER CALLED ME ONWARD TO MUSIC HEARD, WEST OF WORDS…

(A siren sounds. As music underscores, everyone removes their gas mask and ducks beneath their cot—everyone except ALICE, who sits, immersed in her book.

Then, with a synchronized gesture, all the youths lift one side of their cot and set it on the platform with a bang, bringing us back into the present. We realize that these youths have settled into a makeshift home, a ward of the ailing and wounded, encamped in this Station.

At the side of the stage, a make-shift quarantine area. Through a parachute curtain, we see an ailing young teen, ALFRED, lying on a cot. ALICE looks over to him repeatedly as she reads.

The fey but weary DODGY turns to the posh young CLARISSA.)

DODGY

Darling, I’ve forgotten—is it day or night?

CLARISSA

You pick.

(On her round of passing out grey war blankets, the RED CROSS NURSE trundles through. She passes the anxious, newly orphaned NIGEL.)

RED CROSS NURSE

Chilly night tonight.

NIGEL

(Quietly, to himself)

My Mummy’s coming for me today.

My Mummy’s coming for me today…

(We see the street-tough TABATHA, perched high on a ladder.)

TABATHA

(Not buying it)

Oh do you think?

Just like mine and yours, and his and hers.

(The antediluvian DR. BUTRIDGE reads from his clipboard to the RED CROSS NURSE:)

DR. BUTRIDGE

Hallam. Alfred Hallam.

(ALICE rises, starts with concern toward ALFRED. DR. BUTRIDGE shuts the quarantine curtain in her face. ALICE reaches for the quarantine curtain, but the RED CROSS NURSE stops her.)

RED CROSS NURSE

Alice! Back to your bed.

DR. BUTRIDGE

Superventrical Tachycardia, with Hypovolemia—

ALICE

What does that mean?

DR. BUTRIDGE

Hyperhydrosis—

That means he’ll be all right?

Right?

ALICE

DR. BUTRIDGE

Due to Mycobacterium Tuberculosis—

RED CROSS NURSE

We must move that boy—to the end of the line.

ALICE

Alfred? No!

RED CROSS NURSE

Catch that cough, he’ll be your death.

Ward D.

(Aside to DR. BUTRIDGE)

The good-as-dead.

(Hard of hearing)

Whaaaat?

Good-as-dead.

DR. BUTRIDGE

RED CROSS NURSE

ALICE

What are you talking about? He’s not dying.

RED CROSS NURSE

Is there family?

None left.

DR. BUTRIDGE

She found him in the gutter, buried in the rubble. Whole block went down.

ALICE

He has me. He’ll get better near me. Please. Don’t move him. He’s my dearest friend.

RED CROSS NURSE

Today he is your dearest friend. Tomorrow, a statistic.

ALICE

Don’t listen to them, Alfred. I’ll read to you.

You’ll feel better.

Alice Spencer!

RED CROSS NURSE

Thirty-thousand dead up there—and you, with your head in Wonderland.

(The RED CROSS NURSE makes a grab for ALICE’s book—but ALICE holds onto it.)

Back! To! Your! Bed!

And button up that blousey, Mousey.

(Heads to her cot)

ALICE

But it is—all buttoned. It’s just grown smaller, really.

TABATHA

(With a knowing, survivor’s grin)

Funny how that happens, when the boys start growing bigger.

CLARISSA

(Suddenly panicked)

Oh my God—my pearls! Where are my pearls?

DODGY

(Withdrawing the strand from his neck)

They insisted.

(DODGY begrudgingly hands CLARISSA the pearls. As NIGEL rocks, ALICE looks again toward ALFRED.)

NIGEL

My Mummy’s coming for me today.

My Mummy’s coming for me today.

My Mummy’s coming for me today…

(HAROLD PUDDING, a young soldier with PTSD, reaches for ALICE, thwarting her cross to ALFRED and leading her to his own cot.)

HAROLD PUDDING

Shall we have some tea? Shall we?

Tea for two? For him and me—and me.

CLARISSA

(Ironic)

Absolutely.

With just a spit of jam—

And a spot of Spam.

Spam! Spam! What is Spam?

DODGY

HAROLD PUDDING

Spam is ham that didn’t pass its physical.

But me, I’m sound. I’m all sound now, me.

This time I’ll pass…

(ANGUS—edgy, working-class—leans toward HAROLD.)

ANGUS

You’ve passed, Harold. It’s past.

HAROLD PUDDING

I have? Sir, yes, Sir!

Pudding. Harold Pudding, reporting for duty, Sir.

(DODGY and CLARISSA exchange a look. ANGUS chastens them:)

ANGUS

You try losing your wits on the front, then coming home to the Blitz.

(ALICE is about to head to ALFRED’s cot, but DR. BUTRIDGE is right there.)

Misplaced Wits:

Hypnagogic Hallucinations due to—

DR. BUTRIDGE

RED CROSS NURSE

Dr. Butridge!

DR. BUTRIDGE

(Hard of hearing)

Whaaaaaat?

DODGY (Making fun)

Whaaaaaaat?

TABATHA

Oh that’s funny, is it?

Would that a bomb blew out your eardrum.

Mad, mad—we’ve all gone mad here.

“O let me not be mad, not mad… ”

My essay on King Lear—it’s due at noon!

NIGEL

DODGY

(Waves it away)

I’ll write you a note, darling. You have a good excuse.

(Music in. ALICE makes her move toward ALFRED, but ANGUS circles her, flirtatiously blowing smoke from his opium pipe into her face.)

ANGUS

One puff—and all this fades away. You’re in some other dream.

Anywhere but here.

CLARISSA

(Song light rises. As ALICE sings, light falls over the ensemble, creating Wonderland images: the soldier becomes a Hatter taking tea; tall Birds appear, with gas masks for beaks.)

ALICE

THERE’S A HATTER HOLDING TEA

ON A MADDER LAWN; A WALTZ OF CHILDREN WITH TALL AND TALKING BIRDS—

WEST OF WORDS.

(ANGUS rises as a Caterpillar, and puffs from a cigarette. He blows smoke into CLARISSA’s face.)

ALICE

THERE’S A GOLDEN–SILVER SONG OF THE AFTERNOON; A CATERPILLAR—POOF!—HE’S CALLING YOU.

PAGES TURN—

WEST OF WORDS.

ALL HMM… HMM…

ALICE & ALFRED

WEST OF WORDS…

(The ensemble forms an enormous shell, DR. BUTRIDGE peeks his head out as an ancient Tortoise.)

ALICE & ALFRED

THE LONELY TORTOISE CRAWLING ONWARD; A MOON THAT BURNS, WEST OF WORDS…

ALL HMM… HMM…

ALICE AND SOMETHING WHISPERS OF SOMETHING GONE,

ALICE & TABATHA

A LITTLE CHESHIRE PURR…

ALICE, ALFRED & TABATHA

WEST OF WORDS…

WEST OF WORDS…

ALICE

(Music fades. The lights shift and real-world time resumes. As the song concludes, ALICE sees the RED CROSS NURSE pushing through, distributing rations, and settles back on her cot.)

RED CROSS NURSE

Tin tomatoes with your bacon, and more of you than rations—not a word about it.

(TABATHA drops a tin can in the RED CROSS NURSE’s path. The NURSE trips on it, rations go flying.)

DODGY

(Screams in fear—a bomb?!)

Aaah!

(But everyone just stares at him. HE covers:)

Just trying to get the party started.

RED CROSS NURSE

Tabatha! Such a trial!

(As the RED CROSS NURSE kneels to clean up the mess, TABATHA points ALICE toward ALFRED. ALICE crosses quickly to him.)

CLARISSA

(Indicating TABATHA)

Well, we all know who gets that Tabby’s vote for “Orphan of the Year.”

DODGY

Has to save somebody. Since she couldn’t save her sister.

TABATHA (A hiss)

Sssssssss.

(ALICE has reached ALFRED.)

Alfred!

ALICE

ALFRED (Feverish)

Alice, I’m falling away.

The stars are so bright, they hurt my eyes—

ALICE

That’s the fever talking, not you.

Let me read to you. I went back, I found our book. I’ll bring you to our world again.

ALFRED

Our world. What world?

ALICE

Come with me.

You can run there. You can breathe there.

You’ll be well again. Then they won’t take you away.

We’ll have each other, always.

ALFRED

We’ll start reading, I won’t even reach The End.

ALICE

Of course you will!

All this—we can make it disappear.

(The lights shift, dimming on the Tube Station, and rising on a scene from Alice’s memory: we see the six-year-old YOUNG ALICE chasing the six-year-old YOUNG ALFRED through the cots in the Station, as they act out Alice chasing the White Rabbit in the Book.)

YOUNG ALFRED

Oh my ears and whiskers. I’m late! So late!

YOUNG ALICE

White Rabbit! White Rabbit!

(She can’t catch him.)

Dear, dear. How queer everything is today!

(The present-day ALFRED addresses ALICE:)

ALFRED

I won’t start what I can’t finish.

ALICE

I know—since forever.

(ALICE gazes into that memory. In a pool of light, the six-year-old YOUNG ALICE and YOUNG ALFRED sit and read silently from the Book. We hear YOUNG ALFRED’S MOTHER calling from offstage.)

YOUNG ALFRED’S MOTHER

Alfred, time for supper!

(YOUNG ALICE and YOUNG ALRED ignore her call and remain immersed in the Book.)

ALICE

Even when you were six, staying well past dark, ignoring your mother’s calls—you so had to finish it. Come there with me.

ALFRED

I’ve no time left—you understand?

Don’t believe them.

ALICE

(ALICE)

(Music rises)

You can’t let them take this from us. Not this, too. It’s all we have. It’s Wonderland.

(Sings)

THERE’S A WORLD WE KNEW AS WE, OUR GARDEN DOOR;

A STORY ENTERED, A TINY KEY WE TURNED, WEST OF WORDS…

ALICE & ALFRED

NOW WE’RE FALLING THROUGH THE GROUND, AND FALLING SLOW;

THE HOUSES TUMBLING DOWN, STILL WE KNOW WE KNOW ALL THAT YEARNS —

WEST OF WORDS, WEST OF WORDS…

A ROSE REMEMBERED DRAWS US ONWARD—

ALICE

ALICE & ALFRED

A WORLD ADJOURNED, WEST OF WORDS…

(The pool of light fades. YOUNG ALICE and YOUNG ALFRED disappear. The lights rise again on the Tube Station.)

ALFRED

You go there, without me now.

ALICE

You can’t… lose heart.

ALFRED

Oh really? After everything else we’ve lost?

(ALFRED coughs, violently. As the music recedes, ALICE settles him on his cot and begins reading to him)

ALICE

“Chapter One: Down the Rabbit Hole:

Alice was beginning to get very tired of sitting by her sister on the river bank—”

RED CROSS NURSE

Alice!

ALICE

“Once or twice she had peeped into the book—”

RED CROSS NURSE

Alice Spencer!

Take a look around—we’re well past make-believe. No wonder they are burning books.

(With that, the RED CROSS NURSE grabs the book from ALICE, and rips it apart— dusty pages fall from it. ALICE lunges for them.)

ALFRED & ALICE

Don’t!

ALICE

It’s mine. It’s all that’s mine.

TABATHA

Then, she can’t take it from you, can she?

No one can.

(This remark lands on ALICE.)

Clinging to some kiddie book?

DODGY

Appalling.

CLARISSA

HAROLD PUDDING

Duck! London Bridge is falling.

(ALICE starts toward ALFRED. The RED CROSS NURSE clocks it.)

RED CROSS NURSE

OFF OF THAT BED!

ALICE

No. Off with your head!

(Music rises. With that, ALICE jumps upon her bed, and enters her imagination. No one but ALFRED can hear her.)

Stop! Stop! You—and you—and you!

I’ll show you. Every one of you.

(To ALFRED)

I’ll bring you.

I know it all by heart.

(ALICE catches ALFRED’s eye. She begins to recite, summoning him to their imagined world.)

#2—Down the Hole

“And so, with nothing to do, Alice was considering what to do, on this golden afternoon, when suddenly… ”

(Pointedly, to ALFRED)

“a White Rabbit ran close by… ”

(The ENSEMBLE turns to face ALICE from their cots, like children listening to a story.)

JUST SOME SUMMER BOOK, GOD, AND IT WAS HOT TOO…

(With a whirl, ALICE reveals her Wonderland dress.)

WHO KNEW WHERE TO LOOK, WHAT TO DO, AND NOT DO.

ALFRED

(Hesitant)

NOW SOME RABBIT BROODS, LIKE THERE’S NO TOMORROW.

ALICE

HOW CAN YOU REFUSE, WHEN I TELL YOU FOLLOW?

(ALICE gestures, and transforms ALFRED into the WHITE RABBIT.)

ALICE & WHITE RABBIT AND NOW WE’RE DOWN THE HOLE— AND CALLING FROM THE SOUL. AND SOMETHING ON THE SHELVES

(ALICE & WHITE RABBIT) HOLDS SOMETHING OF OURSELVES.

WHITE RABBIT

DOWN AND DOWN WE FALL—

NOW WHERE HAVE WE WANDERED? PICTURES, BOOKS, AND ALL, TUMBLING FROM THE CUPBOARDS.

(One by one, as they are introduced in song, our Tube Station crew transform into their Wonderland characters. HAROLD PUDDING becomes the MAD HATTER. NIGEL becomes the DORMOUSE; CLARISSA, the QUEEN OF DIAMONDS; ANGUS, the CATERPILLAR; the RED CROSS NURSE, the QUEEN OF HEARTS; DR. BUTRIDGE, the KING OF HEARTS; DODGY, the DUCHESS; TABATHA, the CHESHIRE CAT.)

MAD HATTER

HIT THE GROUND BELOW, EVERYTHING SO TINY.

WHITE RABBIT

NOW, WHERE DID IT GO— THE WORLD I LEFT BEHIND ME?

ALICE, SOPRANOS & ALTOS

FOR, NOW WE’RE DOWN THE HOLE— AND DONNING ALL OUR ROLES.

TENORS & BASES (ECHOING)

DOWN THE HOLE… ALL OUR ROLES…

DORMOUSE

GOD KNOWS WHERE WE’RE AT.

CHESHIRE CAT SHOULD HAVE BROUGHT THE CAT.

ALL BUT NOW WE’RE DOWN THE HOLE A STORY TO BE TOLD.

CATERPILLAR

THE WALLS ARE ALL SO TALL,

QUEEN OF DIAMONDS

THEY’RE TOO SMALL FOR THE HALL.

WHITE RABBIT

THESE HANDS ARE NOT MY HANDS— SO, IS THIS WONDERLAND?

ALICE

NO RABBIT CAN BEGIN TO KNOW THE STATE I’M IN.

ALL HMM… HMM…

KING OF HEARTS

YOU MEET A MARBLE CAKE, YOUR HEART BEGINS TO ACHE.

QUEEN OF HEARTS

BUT ONCE YOU START TO EAT, YOU’RE TOO TALL FOR YOUR FEET.

DUCHESS

THE BOTTLE TELLS YOU, “DRINK,”

YOU NEVER STOP TO THINK

DUCHESS, QUEEN OF HEARTS & QUEEN OF DIAMONDS

HOW QUICKLY YOU WILL SHRINK, THE MORE AND MORE YOU DRINK.

ALICE

BUT NOW YOU’RE DOWN THE HOLE—OH

NOW YOU’RE DOWN THE HOLE…

CHESHIRE CAT & QUEEN OF DIAMONDS

TELLS YOU, “DRINK… ”

CHESHIRE CAT

YOU NEVER STOP TO THINK…

CHESHIRE CAT & DORMOUSE

AND YOU WILL SHRINK… YOU DRINK.

SOPRANOS & ALTOS DOWN THE HOLE…

NOW YOU’RE DOWN THE HOLE…

TENORS & BASSES

DOWN YOU’RE DOWN THE HOLE…

DOWN THE HOLE…

ALL

NOW YOU’RE DOWN THE HOLE, ALL CALLING FROM THE SOUL: WHAT HAPPENS IF I CAN’T GET OUT OF WONDERLAND?

WHITE RABBIT (ECHOING)

NOW YOU’RE DOWN THE HOLE...

CALLING FROM THE SOUL:

IF I CAN’T...

GET OUT OF WONDERLAND?

ALICE & WHITE RABBIT

NOW WE’RE DOWN THE HOLE…

(Members of the ensemble create a garden door by setting two cots upright. ALICE and the WHITE RABBIT stand, bathed in the golden light of afternoon. The ensemble members transform into a tree in a Wonderland garden, waving torn pages like leaves.)

ALICE

So there you are!

WHITE RABBIT

And there you are.

I’m just so… pleased to see you. Here, that is.

ALICE

So pleased to see you too.

(Enjoying his role)

In brief: I’m late. You know?

WHITE RABBIT

ALICE

Oh. I know. Sorry. Sorry. It’s all just been so…

Of course. Of course. Oh my ears and whiskers! I must go.

WHITE RABBIT

ALICE

No!

(This is out of the ordinary. Throughout this scene, the WHITE RABBIT regards ALICE with a tender curiosity.)

WHITE RABBIT

What?

I don’t know what. Honestly. It’s… just…

ALICE

WHITE RABBIT

What?

(Catches himself, checks his pocket watch.)

(WHITE RABBIT)

It’s time—it’s well past time—you know.

(The WHITE RABBIT starts away. But the page-leaves sway, sending him back to ALICE.)

ALICE

But… here we are.

WHITE RABBIT

Yes—what? How long can we spend on this same page?

ALICE

One moment. Please.

WHITE RABBIT

And then?

We stop, when it’s the end. In the beginning, we begin

But surely, books are made to linger in.

ALICE

(The WHITE RABBIT taps his watch, shakes his head “No.”)

Come, we’ll find that tiny golden key and enter that loveliest garden…

The key is key, yes. But not yet.

But why not?

It’s still the story.

We’re still here in the story.

WHITE RABBIT

ALICE

WHITE RABBIT

No. If we’re here in the story, we must be in the story. And so… if so, I better go. I mean, that is the story…

ALICE

Is it?

(Neither one moves. Such a strange new chemistry between them.)

WHITE RABBIT

Perhaps you ate a bit more marble cake today, and you grew bigger?

ALICE

Is that so bad… ?

#3—Still

WHITE RABBIT

The Queen will be just savage. If I’ve kept her waiting.

ALICE

But she doesn’t even know you’re here yet.

WHITE RABBIT

STILL…

THE STORY GOES, AS STORIES WILL:

ONE AFTERNOON, BESIDE SOME BOLTED GARDEN GATE, ONE HOWDY-DO, AND SOON SO SOON, I’M LATE, I’M LATE, SO LATE!

OHH, I’M AHEAD OF MY TIME STILL, IF I KEEP MOVIN’. FALL, AND I FALL BEHIND STILL—SO MUCH TO-DO-IN’! BUT HOW CAN I STOP THE CLOCK IN ME, WHEN I’M CHASIN’ ME STILL?

TIME IS CHASIN’ ME STILL…

ALICE

STILL.

CAN’T STORIES GO, WHERE STORIES WILL?

HERE, HERE, THEY DO—EACH AFTERNOON STAYS ROSY LATE. JUST ME AND YOU, OUR GOLDEN ROOM, LET THE MAD QUEEN WAIT.

STAY WHERE THE GRASSES SWAY, THE RIVER’S STOPPED MOVIN’; HERE, WITH THE LAZY BLUE DAY, YOUR ROSES JUST BLOOMIN’. SO, WHY CAN’T WE LINGER AND DREAM?

WALK WITH ME STILL.

LINGER ON WITH ME STILL…

WHITE RABBIT

STILL.

OUR STORY’S KNOWN—

IT ISN’T, TILL WE RUN IT THROUGH.

ALICE

WHITE RABBIT

SO MUCH ADO. ADIEU, ADIEU. AWAY, AWAY!

ALICE

ONE LOOK AT YOU, AND WHAT’S THE USE? I’VE GOT MY DAY. RUN AND PLAY WITH ME STILL.

ALICE & WHITE RABBIT

ON THIS PAGE WITH ME STILL.

ALICE

STAY, AND STAY WITH ME STILL.

WHITE RABBIT

TIME IS CHASIN’ ME STILL…

ALICE & WHITE RABBIT STILL.

(As the song concludes, the WHITE RABBIT holds out his gloves to ALICE, as in the Storybook.)

WHITE RABBIT

I believe I… leave you these?

(ALICE nods, reaches for the tiniest of gloves. The WHITE RABBIT exits, disappearing as rabbits tend to do. ALICE tries on the gloves—alas, they are too small.)

ALICE

(From the Book)

“‘Dear dear,’ Alice said, ‘how queer everything is today…

I wonder if I’ve been changed in the night.’

Curiouser and curiouser!”

(With her shadow appearing on the Tube Station wall or a parachute-like curtain, ALICE examines her newly-developing body.)

Oh goodness me! I’m huge!

“Where have my… shoulders got to?”

(ALICE)

I mean, “This can’t be me—not as I was yesterday.”

Still, it’s no use going back to yesterday.

I was a different person then.

But, if I am not me

(A trunk from the Tube Station encampment opens, and the CATERPILLAR emerges from a cloud of smoke.)

CATERPILLAR

Whooooo are yooooou?

Remind me.

ALICE

Well, once upon a time, I knew. Mr. Caterpillar.

But, I find I’ve changed today.

CATERPILLAR

Do you mean—you’ve changed your mind?

ALICE

And body too.

CATERPILLAR

Oh don’t I know.

ALICE

I’m afraid I’m some new me.

CATERPILLAR

Well, you are some new you to me—

CATERPILLAR 2

No matter really who you are to you.

(ALICE looks. Another CATERPILLAR emerges from behind the trunk.)

ALICE

But… who are you?

CATERPILLAR 2

Come, look.

ALICE

But, are you part of him?

CATERPILLAR

(To ALICE)

Or, is she part of you?

ALICE

Now, I’m confused.

You?

Or the new you?

CATERPILLAR

CATERPILLAR 2

ALICE

(From the Book)

“’The first thing I must do as me,’ Alice said, ‘is to find that tiny golden key, and make my way to that loveliest of gardens…’”

CATERPILLAR

(To ALICE)

You you you must put put down that book. In your head, that is.

CATERPILLAR 2

Yes, do.

Set it down a minute— all that Alice-ness…

That By-the-Bookness…

CATERPILLAR

CATERPILLAR 2

One puff… ?

CATERPILLAR

ALICE

But it’s not like that—in the pictures. Not as I remember.

CATERPILLAR 2

A girl can’t change the pictures?

(The CATERPILLAR takes a puff from a hookah, and offers it.)

CATERPILLAR

Just one?

(ALICE shakes her head.)

Stops time, it does.

CATERPILLAR 2

ALICE

It does?

CATERPILLAR 2

To whom Time may concern, it does.

ALICE

(An idea dawning)

But, does it work on… other creatures too?

CATERPILLAR

Let’s start with you.

ALICE

I have a friend, you know—my dearest friend—spends so much time, pursuing time…

CATERPILLAR 2

Always thinking forward, and remembering backward?

CATERPILLAR

Chasing before, and chasing after?

ALICE

Yes. Exactly.

CATERPILLAR

One puff—

CATERPILLAR 2

—and all one golden afternoon.

ALICE

But will it really… ?

CATERPILLAR

You tell us.

#4—Chillin’ The Regrets

Come. Shall we… disappear?

The way, some say, a lover disappears into the kiss… ?

ALICE

Ohhhh, but it’s taken me so long just to appear…

CATERPILLAR

HEY, COOL—JUST THIS CATERPILLAR.

LOOKS AT YOU SO BLUE—

AS IF HE’D LOOK AT YOU FOREVER.

PUFFS UPON HIS PIPE AND KIND OF STARES YOU DOWN. DRAWS YOU TO HIS BLUER SHROOM AND EVEN BLUER CLOUD…

OHH… EVEN BLUER CLOUD…

HE SAYS:

(The ENSEMBLE gather, and form themselves into the shape of a long, inviting Caterpillar-body.)

CATERPILLAR & CATERPILLAR 2

WHERE HAVE YOU GONE—

OR HAVE YOU BEEN THERE YET, WHERE THE MIND WINDS DOWN, CHILLIN’ THE REGRETS…

CATERPILLAR & CATERPILLAR 2

O, THE WIND IS WONDERFUL—

O, REALLY, WHEN IT GREETS THE RAIN…

CATERPILLAR, CATERPILLAR 2 & QUEEN OF DIAMONDS

YOU’LL HOLD ANOTHER VIEW ON ALL YOU KNOW YOU KNEW, AS IF IT LET YOU IN SOME OTHER DREAM—

(The CATERPILLARS pass around the hookah)

AAH…

AHH…

ENSEMBLE

AAH…

AHH…

AHH…

CATERPILLAR & CATERPILLAR 2

CHILLIN’ THE REGRETS…

ALL CHILLIN’…

CATERPILLAR & CATERPILLAR 2

CHILLIN’ THE REGRETS…

ALL CHILLIN’… (ALICE takes a puff from the hookah.)

CATERPILLAR 2

HEY, COOL—SO YOU THINK, “WHATEVER”

DRIFT INTO THAT FUME, YOU’LL FEEL YOUR NECK GO ON FOREVER.

CATERPILLAR & CATERPILLAR 2

NOTHING BUT ANOTHER BLUE, AND DOWN THERE ON THE GROUND,

CATERPILLAR 2

NOTHING BUT ANOTHER YOU AND OTHER LOVELY CLOUDS…

CATERPILLAR, CATERPILLAR 2 & QUEEN OF DIAMONDS

OHH, OTHER LOVELY CLOUDS…

CATERPILLAR 2

I SAY: WHERE HAVE YOU GONE— OR DID YOU GET THERE YET,

(CATERPILLAR 2)

WHERE THE SOUL GOES SOUTH,

CATERPILLAR 2, SOPRANO & ALTO ENSEMBLE

CHILLIN’ THE REGRETS…

CATERPILLAR & CATERPILLAR 2

O, THE WIND’S SO WONDERFUL—NO, REALLY— JUST AS SWEET AS RAIN;

ALICE

O, THE WIND’S SO WONDERFUL—

IT’S JUST AS SWEET AS RAIN;

CATERPILLAR & CATERPILLAR 2

YOU’LL HOLD ANOTHER VIEW, ON WHO YOU HOLD IS YOU, AS IF IT MET YOU IN WHOEVER’S DREAM… CHILLIN’ THE REGRETS…

ENSEMBLE

OHH…

OHH…

ENSEMBLE OOH…

OOH…

OOH OOH… ALL CHILLN’…

ALICE & CATERPILLARS

CHILLIN’ THE REGRETS… ALL CHILLIN’…

CATERPILLAR & CATERPILLAR 2

CHILLIN’ THE REGRETS…

ALICE

O, THE WIND IS WONDERFUL—

O, REALLY— WHEN IT GREETS THE RAIN; CHILLIN’…

CATERPILLARS

CHILLIN’…

CHILLIN’ THE REGRETS… CHILLIN’ THE REGRETS… AAH…

ALICE

CHILLIN’ THE REGRETS…

ENSEMBLE

CHILLIN’ THE REGRETS… CHILLIN’…

CHILLIN’ THE REGRETS…

CHILLIN’ THE REGRETS…

CHILLIN’…

CHILLIN’ THE REGRETS… AAH…

(As the song concludes, the ensemble of CATERPILLARS has wound around ALICE. That moment, the WHITE RABBIT appears—anxious to claim what’s his. He clears his throat, and interrupts them.)

WHITE RABBIT

I believe you have my gloves… ?

ALICE

(Out of it)

I do?

WHITE RABBIT

You don’t?

ALICE

(Attempting to snap to)

I do. I must.

Me, I’ve been waiting for our scene.

You know the bit—?

(Off her blank look)

The page you skipped?

WHITE RABBIT

ALICE

I did?

WHITE RABBIT (”Duh”)

“The Crash of Broken Glass”— the big “Alas”— when your hand is just so big, you knock down my entire house… ? And, I call you “Mary Ann”… ?

ALICE

(Finally getting it, with a wild laugh) And send me off to fetch your gloves and fan.

WHITE RABBIT

I’m frantic for them, actually.

Of course. So sorry. Oh so sorry.

Mary Ann—right. I suppose I…

ALICE

(The CATERPILLARS reassemble into a line beside ALICE, as if they were an extension of her.)

CATERPILLAR

Got distracted?

ALICE

Yes.

WHITE RABBIT

(Prompting her to the scene)

So, shall we?

ALICE

Now?

(The WHITE RABBIT takes a grand thespian “moment.” He assumes his most WHITE RABBIT manner, and enters the Storybook “scene.”)

WHITE RABBIT

“Oh Mary Ann! Mary Ann!

Fetch me my gloves, this instant.”

But, is that really why you’ve come?

To fetch your gloves?

And fan?

ALICE

CATERPILLAR

CATERPILLAR 2

As if you meant no more to him than random Mary Ann.

CATERPILLAR

& CATERPILLAR 2

Oh Mary Ann… ?

Back a bit, where we began…

WHITE RABBIT

Where what began?

(Alfred peeking through:)

Time, time—I have so little time.

Oh why did I come down at all?

Is this what you know by heart?

ALICE

Perhaps I’m looking through a different glass.

You followed me, now follow me.

No, follow me

WHITE RABBIT

Come, aren’t we a bit too big for this?

But this…

(Offers the hookah.)

Stops time, it does.

ALICE

WHITE RABBIT

It does?

ALICE

To whom Time may concern it does.

“Drink me.”

(The WHITE RABBIT hesitates, tempted.)

That is the scene.

You’ll never find the key!

WHITE RABBIT

ALICE

(From the Mary Ann scene)

“’Something interesting is sure to happen,’ Alice said.”

(The WHITE RABBIT leans toward the hookah, but pulls himself back.)

WHITE RABBIT

Oh my dear dear fur—and whiskers!

(WHITE RABBIT)

The Queen! The Queen!

She’ll have my head—you understand?

(Skeptical)

She will?

ALICE

WHITE RABBIT (”Yes”)

As sure as ferrets are ferrets. Executed.

ALICE

Then, go.

WHITE RABBIT

I will.

(The WHITE RABBIT doesn’t move.)

And so?

ALICE

WHITE RABBIT

I am rather fearful of losing my head.

ALICE

I know.

(All the CATERPILLARS nod, smiling knowingly at the WHITE RABBIT.)

WHITE RABBIT

You know how Her Majesty is.

#5—The Key Is

How loud she gets.

(ALICE leans toward the WHITE RABBIT.)

ALICE

LEAVE THE TALKERS TALKING.

(ALICE)

THE HUM IS WHAT WE WANT, A SONG BEYOND THOUGHT.

ALICE & CATERPILLAR 2

LET THE WORRY FADE, NO MORE HURRY HURRY, THE SUMMER IS PURRING.

ALL BUT WHITE RABBIT

WE’RE GOIN’ HIGHER, ‘CAUSE…

ALICE

WE CAN RISE BEYOND WHAT’S GONE, THROUGH A WORLD THEY GOT SO WRONG, TILL WE KNOW THE SKY BEYOND. THE KEY IS, THE KEY WITHIN YOU.

THE SUNRISE IS ME, THE SEA AND THE SHORE, THE SIGH OF THE WIND AND THE DIM BLUE STARS.

ALICE, CATERPILLAR & CATERPILLAR 2 ONE TURN OF THE KEY, THE GARDEN DOOR, THE FLOWERS AND LEAVES, CHANTING WHO WE ARE.

ALL BUT WHITE RABBIT AND WE’RE CLIMBIN’, ‘CAUSE…

ALICE

I WON’T LET THEM MOVE YOU ON, PLAY YOU LIKE SOME GHOSTLY PAWN. COME, WE’LL HOLD THE STILL BLUE DAWN. THE KEY IS, TO BE WITHIN YOU.

ALICE

ALL AAH…

AAH…

AHH…

AHH…

WE’LL SLOW SLOW TIME. TUMBLE INTO MY HEART, A SKY SO WIDE, ALWAYS LIGHT, ALWAYS DARK.

WHITE RABBIT

BUT BUT BUT—

ALICE

JUST PLEASE.

(The WHITE RABBIT takes a puff.)

WE’LL TURN THE LOCK. WITH THIS KEY SUBLIME, WE’LL UNWIND THE CLOCK.

WHITE RABBIT

AND WE’RE RISIN’ UP…

ALL

LET THEM PLAY THEIR GHOSTLY FRAUD, WOUND US IN THE NAME OF GOD; STILL, WE’LL BUILD THAT SKY SO BROAD— TO SEE IS, TO DREAM WITHIN YOU.

(ALICE and the WHITE RABBIT climb an A-Frame ladder.)

ALL

WE WILL RISE BEYOND WHAT’S GONE, SLOW THE NIGHT AND HOLD THE DAWN, IN A WORLD WHERE WE BELONG, THE KEY IS, TO BE WITHIN YOU…

AAH AAH AAH AAH…

ALICE, WHITE RABBIT & CATERPILLARS

LEAVE OUR SHADOWS ON THE LAWN, LEAVE A WORLD THEY GOT SO WRONG. THERE’S A SKY WHERE WE BELONG, THE KEY IS,

ALICE & WHITE RABBIT

THE KEY IS IN YOU.

WHITE RABBIT RISE… SLOW THE DAWN… WE BELONG… TO BE WITHIN YOU…

ALL

ALL AAH…

(Everyone but ALICE and the WHITE RABBIT disappears. HE ascends to the top of the ladder, as if to the treetops; she climbs after.)

ALICE

“‘Ohhh, my head—free at last!,’ said Alice with delight, looking down from an immense stretch of neck.

‘Good-bye, Feet!’”

(ALICE catches sight of the shadow of her head on the Tube Station wall or parachutecurtain, floating away)

(ALICE)

Whoa, my head! Whoooa!

Even curiouser.

(The CHESHIRE CAT appears high above.)

Whoa!

Whoa, hello.

Cheshire Puss?

I fear I’ve lost my head.

The world has lost its head.

CHESHIRE CAT

ALICE

CHESHIRE CAT

What have I done—to him, them, me?

Have I just gone mad?

Not to worry—we’re all mad here.

I’m mad, you’re mad.

So, I am mad.

ALICE

CHESHIRE CAT

ALICE

CHESHIRE CAT

It’s a perfectly appropriate response.

(The CHESHIRE CAT nods, and begins to disappear.)

ALICE

Cheshire Puss? Don’t go—please!

(The CHESHIRE CAT hovers.)

“Please” and “Puss”? I like that.

CHESHIRE CAT

ALICE

But my old me, my old head, will I ever get it back?

CHESHIRE CAT

Then, do you want it back? It took so long to lose it as it is. You can’t keep looking back, to fit the head you had.

ALICE

But my whole life was in that head.

(From the Book:)

“’And yet, it is rather curious, this new sort of… feeling.’”

CHESHIRE CAT

(With a nod toward the treetops.)

Think too much, my dear, you’ll forget what you know by heart.

(Still, ALICE hesitates.)

What’s the point of turning the key, if you won’t go through the door?

(With that, the CHESHIRE CAT disappears. ALICE begins climbing the ladder-tree.)

ALICE

“Alice climbed that massive tree as best she could, for her head kept getting entangled among the branches… ”

(ALICE joins the WHITE RABBIT in the treetops.)

Sorry—so sorry. I just…

(Stoned)

Have you ever imagined yourself to be otherwise than what it might appear to others you might not otherwise have been—or appeared to them to be?

WHITE RABBIT

(Equally stoned)

Exactly.

(The two of them hover together, mid-air, rapt with wonder.) Alice, look—the tree tops. Have you ever seen such tree tops?

#7—Those Long Eyes

ALICE

From the treetops.

WHITE RABBIT

Or such a lovely wandering cloud…

(Music rises. A golden parachute-tide wafts over the stage, and the LOBSTERS waltz on.)

ALICE

Or such a golden waltz of gorgeous Lobsters.

WHITE RABBIT

Such such Lobsters… !

(Then:)

I am finding myself oddly hungry.

Not the Lobsters!

I mean, I do so love the Lobster Dance.

ALICE

(A long, awkward pause. The CHESHIRE CAT reappears—only ALICE can see or hear her.)

CHESHIRE CAT

(A beloved bit, from the Storybook:)

“Will you, won’t you, will you, won’t you… ”

ALICE

(Prompted by the CAT; to ALFRED)

“Won’t you join the dance?”

WHITE RABBIT

But I’m not in that Dance.

Not yet.

(To the WHITE RABBIT)

Not yet.

(A pause)

CHESHIRE CAT

ALICE

WHITE RABBIT

(Suddenly self-conscious)

You wouldn’t want to, really—with these ears?

ALICE

The dearest ears.

WHITE RABBIT

(Meaning: two left feet)

I’m all paws.

CHESHIRE CAT

Aren’t we all.

(A pause. Neither ALICE nor the WHITE RABBIT moves.)

Well, you can pause, and pause… and pause…

(A beat)

Pause too long, the moment’s gone. The dance is done.

ALICE

(To the WHITE RABBIT)

Come. “You really have no notion how delightful it will be, When they take us and they throw us, with the Lobsters, out to sea!”

(The CHESHIRE CAT hovers. ALICE and the WHITE RABBIT climb down from the tree, drawn by the dance.)

CHESHIRE CAT

WHEN YOU PARTNER WITH A LOBSTER, ALL THE WORLD’S YOUR SHORE…

SUMMER DANCES WITH SOME SALMON HAUNT YOUR HEART NO MORE.

WATCH THE WAVES REACH FOR THE GREY BEACH AND THOSE YELLOW SANDS…

DRIFT POLITELY

CHESHIRE CAT & ALICE

BY THE WHITING, LET THE SORROW DANCE…

CHESHIRE CAT

JUST HOLD HER BY THE CLAWS AND WHISPER, “LOBS, LET’S SKIP THIS TIDE.”

DANCE AND GIVE YOURSELF

TO HIS HARD SHELL

AND THOSE LONG EYES…

(ALICE takes the WHITE RABBIT’s paw. They waltz.)

ALICE

LET THE SEAGULLS FOLLOW SEAGULLS, DOWN THOSE YELLOW SANDS.

CHESHIRE CAT & ALICE

TALK OF BRUSSELS WITH THE MUSSELS.

LET THE SORROW DANCE.

ALICE, WHITE RABBIT & CHESHIRE CAT

JUST HOLD HER BY THE CLAWS AND WHISPER, “LOBS, LET’S WALTZ ALL NIGHT.”

DANCE AND GIVE YOURSELF

TO NOTHING ELSE

BUT THOSE LONG EYES…

WALTZ AND WALTZ ALL NIGHT, IGNORE THE TIDE, IN THOSE LONG EYES…

(Just as the WHITE RABBIT surrenders fully to ALICE’s embrace, an alarm sounds. An air-raid warning. Everyone else disappears. The WHITE RABBIT anxiously checks his watch, shutting off the alarm.)

WHITE RABBIT

Oh dear dear.

So much—such a muchness still to finish.

ALICE

Just… please. One minute more, on this page.

WHITE RABBIT

This page?! What page?!

We’re not even on a page!

We can change what’s on the page.

ALICE

WHITE RABBIT

No no. You can change. The page can’t change. And, so.

(The WHITE RABBIT starts off.)

Please! No! One minute.

(ALICE’s words stop him.)

ALICE

WHITE RABBIT

(At a rapid pace)

Oh we all know about minutes. How they start out, merely minutes—seeming minutes.

Soon, each second, it’s a minute, and the minutes run like seconds till they’re hours—running, slipping— years and years—gone, gone, gone.

But they’re not. Not here, they’re not.

ALICE

WHITE RABBIT

Gone. Gone.

I’M LATE, I’M LATE, I’M LATE!!!

For what? Croquet? I’ll come.

ALICE

WHITE RABBIT

(Dropping his guard, with a raw urgency.)

Stop. Please.

This isn’t just some silly game.

I have no time left.

Not for this.

There’s time. There will be time.

ALICE

WHITE RABBIT

No.

If you knew time as I do…

(The WHITE RABBIT runs through the garden door, and disappears through the quarantine sheets to his cot.)

ALICE

White Rabbit!

(No reply.)

Alfred!

(ALICE runs to the garden door, but is now too big to get through.)

Ohhhh! “How I wish I could shut myself up like a telescope!”

(The DUCHESS enters, wearing an enormous dress made of a parachute and a strand of pearls. She carries an old-fashioned truncheon.)

DUCHESS

Too late, Pig.

ALICE

The Duchess. I’m sorry, I’d forgotten this chapter entirely.

DUCHESS

Well, welcome to my world. Set a bookmark on my heart—but don’t mind me.

ALICE

It’s just that, you make no sense.

And the moral is: Stop Making Sense!

DUCHESS

(DUCHESS)

It’s Wonderland, my pet. (Launching the scene from the Book:)

Now, now.

This Little Piggie just could not stay home. All grown up, are you?

ALICE

Not all, my Duchess.

DUCHESS

Not what I hear.

ALICE

From whom?

DUCHESS

From youm

wallowing through the afternoon, trailing bunny tails and doing shrooms?!

ALICE

But—

DUCHESS

Were.

ALICE

They—

I can see it in your eyes, Pig. I can smell it in your hair.

DUCHESS

ALICE

But the Caterpillars said—

DUCHESS

Blaming insects, dear?

ALICE

Ouch!

DUCHESS

Rule 42—you know it, dear—

you so: “Oh I know it all by heart!”— and I quote: “You have no right to grow here.”

ALICE

But I can’t help it. I’m growing!

(The DUCHESS spanks ALICE’s bottom.)

DUCHESS

Can!

(The DUCHESS catches ALICE, spanks her again with the truncheon.)

ALICE

Really, I’m too old for this.

DUCHESS

Exactly!

(The DUCHESS spanks ALICE again.)

ALICE

Then, shall I never get any older than I am?

DUCHESS

Wretched Pig— grew yourself such breasts and hips, my lovelies sagged, just watching them.

You ripped the plumpy from my butt and left me fat and flatulent!

You broke my heart, you selfish tart, and now my day’s just fart fart fart!

(DUCHESS)

And so I’m left—with no one left.

You stole my soul and made me old, you pig!

You stripped the sheets, and stole my sleep, and left my youth a dream!

I’ll see you at the Trial!

You PIIIIIIIIG!!!!

PIIIIIIIIIIIIIGGGGGGGGGG!!!!!

ALICE

“I’m not your pig!” Alice said.

DUCHESS

PIIIIIIIIIIIIIIIIIIIIIIGGGGGGGGGGGGGG!!!!!!

(Then:)

‘Tis so.

‘Tis so.

And thus: ‘Tis is! (Self-satisfied:)

I shall make you a present of everything I’ve said. In the meantime, Bacon Bitty, we’ve been invited by the Queen to play Croquet.

So, when that bunny breezes by, and you’re seizing on that butt cheek and that tail he trails behind, just—

#8—Manage Your Flamingo

(The DUCHESS gestures. Music begins. Three KNAVES emerge from beneath the DUCHESS’ dress. THEY hold up gas masks which serve as flamingo beaks for their croquet mallets. The DUCHESS sings to ALICE, counseling her to tuck in her budding sensuality.)

MANAGE YOUR FLAMINGO,

IF YOU’D PLAY CROQUET, DEAR.

WHEN YOU PLAY CROQUET, DEAR,

(DUCHESS)

YOU HAVE TO DO THE DO.

DUCHESS & KNAVE OF SPADES

YOU TUCK IT ALL IN, FROM FEET TO THE CHIN,

DUCHESS

THEN BATTER YOUR HEDGEHOG AGAIN AND AGAIN.

QUEEN OF DIAMONDS

OHHHH, MANAGE YOUR FLAMINGO, LIKE THE QUEEN IS PASSING.

KING OF HEARTS

WHEN THE QUEEN IS PASSING, YOU HAVE TO DO THE DO.

(The QUEEN OF HEARTS enters, grandly.)

DUCHESS & KNAVE OF HEARTS

YOU PLANT A ROSE WHITE, YOU’D BEST PAINT IT RED.

KNAVE OF CLUBS & KNAVE OF SPADES WHITE! RED!

KNAVE OF HEARTS

OR SOON AS SHE PASSES—

QUEEN OF HEARTS

IT’S OFF WITH YOUR HEAD.

(The CHESHIRE CAT appears.)

But would she really?

ALICE

DUCHESS

If you tell a lie long enough—and loud enough…

(The CHESHIRE CAT disappears.)

QUEEN OF DIAMONDS

KNAVES LOSE THEIR FACES, THE FACELESS MUST DIE.

DUCHESS & KNAVE OF CLUBS

FIVES CLUB THEIR ACES,

(DUCHESS & KNAVE OF CLUBS)

DIAMONDS ASK WHY…

KING OF HEARTS & KNAVES WHY?

ALICE

DON’T THEY ASK WHY?

QUEEN OF HEARTS

OH, MANAGE YOUR FLAMINGO, OR IT’S DONE FOR YOU, MY LOVE.

DUCHESS

OH, SHE’S DONE WITH YOU, MY LOVE,

QUEEN OF HEARTS (”Indeed”)

UNLESS YOU DO THE DO.

KING OF HEARTS AND TELL HER HOW FINE A DAY FOR CROQUET.

KNAVES

TELL HER HOW FINE…

DUCHESS & KNAVE OF HEARTS

THEN, WHO BUT A QUEEN COULD CONCEIVE SUCH A GAME?

KNAVE OF HEARTS

GATHER YOUR HEDGEHOG, SET HIM ON THE GREEN.

DUCHESS & KNAVE OF HEARTS

SWING YOUR FLAMINGO—

DUCHESS, QUEEN OF DIAMONDS & KNAVES

GOD SAVE THE QUEEN.

DUCHESS

WILL GOD SAVE THE QUEEN?

ALL

WILL GOD SAVE THE QUEEN?

DUCHESS

WILL GOD SAVE THE QUEEN?

ALL

WILL GOD SAVE THE QUEEN?

ALICE & DUCHESS

WILL GOD SAVE THE—

(A bomb sounds. At once, the Wonderland world disappears, and we are once more in the gloomy Tube Station.)

RED CROSS NURSE

Under your beds!

ALICE

Alfred!? Alfred!

(As the young people duck under their cots, ALICE starts toward ALFRED.)

HAROLD PUDDING

(Cries out in a fit of PTSD)

Evacuate the trenches. Guard the rear!

NIGEL

Mummy! I want my Mummy! I want my Mummy!

RED CROSS NURSE

Pray God, we get through this night.

Pray to God?

After what he’s put me through?

CLARISSA

DODGY

God is dead.

Meanwhile, I’m not feeling so well myself.

ANGUS

At this point, God’s only excuse is, he doesn’t exist.

He doesn’t. We killed him.

TABATHA

NIGEL

(Suddenly raising his hand as if in class.)

Number 7 on our Lit Exam:

“Who says, ‘God is the Imagination’?”

(ALICE has reached ALFRED.)

Alfred.

ALICE

ALFRED

(From the Book)

“’Hush! Hush!’ said the Rabbit. ‘The Queen will hear you!’”

ALICE

Calm yourself. You’re skipping to the end.

ALFRED

(Still from the Book)

“He sent them word I had not gone; We knew it to be true.

If she should push the matter on, What would become of you?”

(Then:)

What would become of you, Alice?

ALICE

I—I’ll be Alice still, and chasing after you— my “Dear, oh dear!” White Rabbit.

(YOUNG ALFRED and YOUNG ALICE emerge like apparitions from underneath ALFRED’s bed. YOUNG ALFRED runs playfully amongst the cots. YOUNG ALICE chases after him, and they exit.)

ALFRED

No, I won’t be here again. We must, must reach the end, before I end.

ALICE

Before you end?

Stuff and nonsense! Alfred, catch your breath.

ALFRED

No. I have to put a period. The sentence has no meaning, if it does not end—

ALICE

It will. Again, again. We’ll come here still.

ALFRED

You will.

(A beat)

And for you to carry on, you must care less for me.

ALICE

Never. No.

ALFRED

Then I’ll make that easier for you.

(Reciting:)

“It broke his heart to hurt her so, and yet he had to do.”

I have to help you let me go:

Now, follow me, I followed you.

#8A—Tea Party Intro

(With a shift of the lights, ALFRED rises from his cot, and transforms into the MARCH HARE. He joins the MAD HATTER and DORMOUSE at the table for a Wonderland tea-party, with helmets for teacups.)

MAD HATTER (To MARCH HARE)

Do we see that little tweeb down there?

DORMOUSE

(To ALICE)

My dear, what have you done to your hair?

ALICE

Dormouse! Don’t be rude.

MARCH HARE

Then don’t offend us—with that hair.

ALICE

(To ALFRED/the HARE)

What are you doing? The White Rabbit isn’t at the Mad Hatter’s Tea.

WHITE RABBIT

But the March Hare is. And today he’s me.

(Then, as the MARCH HARE)

Sorry—no room.

There’s plenty of room.

ALICE

Not here.

DORMOUSE

MAD HATTER

(To MARCH HARE)

You give the goon some room, the next thing that you know she wants your chair.

Can’t bear these chairs.

DORMOUSE

MAD HATTER

(To ALICE)

One place on, please.

#8B—Tea Party Tableau 1

(ALICE attempts to take a seat at the table. But the MAD HATTER and DORMOUSE push on, effectively blocking her access.)

MARCH HARE

(To MAD HATTER; re: ALICE)

Did you hear how mean she was to Mary Ann?

DORMOUSE

Love Mary Ann.

ALICE

I skipped her scene. I wasn’t mean.

MAD HATTER

Then, you should say what you mean.

ALICE

But I did.

MAD HATTER

(To MARCH HARE)

She means: she means what she says.

MARCH HARE

It was mean what she said.

MAD HATTER

And did.

But then, that’s how she is.

MARCH HARE

DORMOUSE

Hate how she is.

(The MAD HATTER turns to ALICE, sweetly.)

MAD HATTER

More tea?

One place on. And more tea, please.

MARCH HARE

(Everyone pushes on a place. Then they pull the seat out from ALICE, making sure there’s no room for her at their table.)

MAD HATTER

So, now we all explore: The Girl Who Wanted More.

ALICE

But, I haven’t had any yet.

So, how could I take more?

No. How can you take less?

(A beat)

You selfish brat, go taste regret.

MARCH HARE

(ALICE is stung. The MARCH HARE becomes the WHITE RABBIT.)

WHITE RABBIT

Hate me yet?

ALICE

I never would or could.

WHITE RABBIT

You should.

MAD HATTER

So, shall we have a riddle?

(The WHITE RABBIT turns back into the MARCH HARE.)

ALICE

Yes.

Now, she wants a riddle.

MAD HATTER

That, and tea.

MARCH HARE

Loathe tea.

All right, then. Since you insist: Why is a raven like a writing-desk?

DORMOUSE

MAD HATTER

ALICE

You tell me.

MAD HATTER

I haven’t the faintest idea.

(The MAD HATTER, MARCH HARE, and DORMOUSE mock ALICE with their laughter.)

ALICE

I think you might do something better with your time than waste it asking riddles with no answer.

DORMOUSE

You’re the one who’s asking.

MAD HATTER

(With a look to the MARCH HARE)

If you knew Time as we do, child, you wouldn’t talk of wasting it.

(To MARCH HARE)

You waste time by not spending it.

ALICE

DORMOUSE (”Spare us!”)

Dear. Dear. Me.

MARCH HARE

(To ALICE)

I dare say, you have never spoken to Time.

MAD HATTER

We, we’ve spent so many years with him, and you, you are just meeting him.

DORMOUSE

So, prithee: pass the scones.

MARCH HARE

Time for you to riddle yourself home.

DORMOUSE

Leave us alone.

ALICE

No, I won’t.

It’s you, who talk in riddles.

MAD HATTER

Come, we live in riddles, Child— and sometimes there’s no answering them.

(The lights and feeling shift; a sense of the shattered world of London suffuses the party. A riddle:)

What leaves home as Mummy’s hero, then crawls back a less-than-zero:

like a teacup chip-chip-chipped, like an egg God dropped for kicks?

(ALICE stares at the MAD HATTER with a new compassion.)

ALICE

You?

MAD HATTER

Ahh, but I am no longer me.

(A beat)

My mate, you know, was drop-dead funny. Then he dropped dead—isn’t that funny?

MARCH HARE

Indeed.

Indeed.

DORMOUSE

MAD HATTER

Indeed.

(A bomb sounds. The MAD HATTER abruptly pulls ALICE under the table with him.)

Aaaaah!

(The rumble recedes. The MAD HATTER turns, sugar sweet, to ALICE. The mad TeaParty has resumed.)

More tea?

Hate tea.

DORMOUSE

WHITE RABBIT

(Aside to ALICE)

Hate me?

ALICE

No!

MAD HATTER

No tea??!!

(A beat. Everyone reacts as if ALICE had just asked for more tea.)

MARCH HARE

She, and her incessant need.

MAD HATTER

For cream.

And sugar.

Ham.

MARCH HARE

MAD HATTER

MARCH HARE

Smoked ham.

MAD HATTER

And jam.

Cold jam.

And cheese.

Butter on her every sad sardine.

MARCH HARE

DORMOUSE

MAD HATTER

MARCH HARE

The next thing you know, she’ll be demanding herbal tea.

ALICE

I don’t like herbs.

DORMOUSE

Or Herb?

ALICE

Or tea

(The MAD HATTER, MARCH HARE, and DORMOUSE gasp. As music rises, they bang the table with their helmets—providing their own percussion.)

#9—Sick to Death of Alice–ness

MAD HATTER

SO YOU TELL US NOW YOU’VE GOT A THING FOR TEA, WANDER THROUGH THE WORLD, AS IF IT WERE YOUR DREAM.

WASN’T LONG BEFORE, BEFORE YOU STARTED SEEING THINGS, TALKING ANIMALS AND NASTY, ACID, VICIOUS QUEENS.

HOW DO WE PUT YOU BACK TO BED?

MAD HATTER, MARCH HARE & DORMOUSE

TAKE THIS, TAKE THIS CUP FROM US OF EVERYTHING YOU’VE SAID.

(MAD HATTER, MARCH HARE & DORMOUSE)

NO MORE SUCKING UP TO US—WE DON’T WANT IN YOUR HEAD.

WE’RE SICK TO DEATH OF ALICE–NESS. YES, WE’RE SICK TO DEATH.

MAD HATTER

IT’S ALL ABOUT YOUR PAIN,

MARCH HARE

SICK TO DEATH…

DORMOUSE

YOU’RE SUCH A BORING PAIN.

MAD HATTER

ALICE–NESS…

MARCH HARE

AND SO NOT WORTH THE PAIN,

DORMOUSE

SICK TO DEATH…

MAD HATTER, MARCH HARE & DORMOUSE

IT’S MAKING US INSANE!

DORMOUSE

SO, YOU THINK YOU’VE GOT THE HANG OF WONDERLAND, DORMOUSE & MAD HATTER

TELLING RIDDLES NOW AS IF YOU UNDERSTAND.

MARCH HARE

TIME TO GET BACK ABOVE THE GROUND— NOT THAT THEY KNOW YOU’RE NOT AROUND. NOT THAT THEY WANNA HEAR A SOUND FROM YOU.

MAD HATTER, MARCH HARE & DORMOUSE

NOT A SOUND FROM YOU…

STOP THE ANALYZING OF EVERYTHING YOU’VE READ, NO MORE MAKING NICE WITH US— WE DON’T WANT IN YOUR HEAD.

(By now, ALICE and the MARCH HARE are standing on top of the table, facing off.)

ALICE

YOU’RE SICK TO DEATH?—SURE, TELL YOU WHAT, OH, I’M SICK TO DEATH.

MARCH HARE

YOU OUGHT TO BE ASHAMED,

MAD HATTER & DORMOUSE

SICK TO DEATH.

ALICE

IT’S ALL ABOUT YOUR PAIN.

MAD HATTER & DORMOUSE

ALICE–NESS.

MARCH HARE

SORRY BUT, WHOSE PAIN?

MAD HATTER & DORMOUSE

SICK TO DEATH.

ALICE

YOU’LL LEAVE ME, ALL THE SAME.

MAD HATTER & DORMOUSE

ALICE-NESS.

OH I’M SICK—

I’M SICK—

MARCH HARE

MARCH HARE, MAD HATTER & DORMOUSE —TO DEATH.

ALICE

(To the HARE)

I hate you!

I hate you for getting sick. I hate you!

(Angry, ALICE pushes the MARCH HARE, and he tumbles off the table—once again, ALFRED. He falls onto a medical stretcher made of the ensemble’s arms. The RED CROSS NURSE enters.)

Away with him—Ward D.

RED CROSS NURSE

(ALICE struggles to follow ALFRED. The RED CROSS NURSE blocks her path.)

ALICE

Oh no no no—

RED CROSS NURSE

There’s no time for farewell.

LET. HIM. GO.

(ALFRED is taken off.)

ALICE

Nooooooo! I didn’t mean it, Alfred. I didn’t!

(ALICE breaks free and chases after. DR. BUTRIDGE appears—stopping her.)

DR. BUTRIDGE

Stay away.

ALICE

Dr. Butridge, no. Bring him back!

DR. BUTRIDGE

There’s no returning. Terminal prognosis. Awaaaay.

(As he speaks, DR. BUTRIDGE transforms into the JABBERWOCK.)

#10—Brillig Braelig

DR. BUTRIDGE

From that Haemoptystic Hare, that Buck Tubercular. “’Twas brillig, and the slithy lobes”—

ALICE

The Jabberwock!? That’s not what’s next.

(As if to banish him:)

“Then came a pattering of feet on the stairs, and Alice knew it was the Rabbit coming to look for her, and she trembled—”

DR. BUTRIDGE

Trembling Sickness. Delirium Tremens. Orthostatic Tremor…

ALICE

What?

DR. BUTRIDGE

(Hard of hearing)

Whaaaat?

ALICE

What?

(DR. BUTRIDGE is now fully the JABBERWOCK:)

JABBERWOCK

“Beware the Jabberwock!”

ALICE

No! Alfred!

JABBERWOCK

“Beware the frumious Bandersnatch, the jaws that bite, the claws that catch!”

(Music rises. A hallucinatory dance sequence unfolds. The ENSEMBLE morphs into a nightmare. Wielding rifles and crutches, they become the expansive limbs and claws of the Jabberwock.)

BRILLIG BRAELIG UFFISH-NESS, UND CRYPTIC DIAGNOSIS. STREPTOMISIS GRISEUS, THEN TOO, TUBERCULOSIS. WORDS MEAN WHAT WE SAY THEY MEAN— AND THAT’S THE WAY IT GOES-ES.

SO, HAVE A WEE, A SPOT OF TEA, AND DINE ON YOUR ALONENESS.

ALL BUT ALICE

COME, SICKY, SICKY, SICKY—FRONT OF THE LINE. SPINE UP, YOU ICKY SICKY—SIGN UP TO DIE.

JABBERWOCK

UNRAVEL ALL YOU’VE EVER LEARNED, AND WHO KNOWS WHAT IT MEANT?

THE THOUGHTS YOU HAD, OR THOUGHT YOU HAD, AND WHO KNOWS WHERE THEY WENT?

SO, WHO IS THERE, QUA YOU—WHO CARES?— IF YOU ARE, QUOTE, “AT SEA?”

(JABBERWOCK)

AND WHO IS HERE, BEFORE YOU HERE, QUA YOU, QUA HIM, QUA ME?

JABBERWOCK, SOPRANOS & ALTOS OOH… OOH…

ALL BUT ALICE

BRILLIG BRAELIG UFFISH-NESS, UND PSEUDO-PNEUMO-GNOSIS.

TWO DAYS ‘TIL HIS HEART DROPS DEAD— A PROMISING PROGNOSIS.

SENSELESS TWIT, GO GRIEVE A BIT, AND SOON WE’LL HAVE SAMOSAS.

JABBERWOCK

BRILLIG IS: YOU SHARE A KISS, AND SOON YOU CHUCK HIS BONES-ES.

ALL (BUT ALICE)

COME, SICKY, STICKY SICKY—SIGN UP YOUR MIND. SPINE UP, YOU TRICKY–DICKIES—LINE UP TO DIE.

JABBERWOCK

THERE WAS A DAY THE WORLD WAS MADE OF YOU AND ROOM AND CAT.

BUT THEN ONE DAY, THE SORROW CAME, AND YOU MOVED INTO THAT.

BUT THEN—CALLAY!—THE JABBER CAME AND MADE HIS ROOM YOUR MIND.

AND JABBER ATE AND JABBER PLAYED: ALL JABBER ALL THE TIME.

JABBERWOCK, SOPRANOS & ALTOS OOH…

ALL (BUT ALICE)

BRILLIG BRAELIG UFFISH–NESS.

O FRABJOUS DAY!

YOU KNOW WHAT?

ALICE

WORDS AREN’T WHAT YOU SAY THEY MEAN— HE’S NOT SOME DIAGNOSIS.

ALL (BUT ALICE)

THIS IS WHERE THE STORY ENDS— GO DOWN YOUR HOLE AND HOLE UP.

ALICE

SENSELESS, HEARTLESS IDIOT—I WILL NOT GIVE HIS SOUL UP!

(With that, ALICE banishes the JABBERWOCK. HE disappears behind ALFRED’s quarantine curtain and everyone else disappears as well. Now ALICE pulls back the curtain —only ALFRED’s empty cot remains. She looks about a blank and darkened stage, unsure what world she’s in, and where to go next.)

“’Which way? Which way?’ Alice asked.” But no one answered. (Silence. ALICE looks about. She calls out:)

Cheshire Puss! Cheshire Puss!

Tell me, which way I ought to go from here. (The CHESHIRE CAT appears, from a perch above.)

CHESHIRE CAT

That depends a good deal on where you want to get to.

ALICE

To him.

Though, in truth, I’m now so lost.

CHESHIRE CAT

Then does it matter, really, which way you go?

ALICE

Yes, it does. Of course. It must

CHESHIRE CAT

Well, I’m sure you’ll wind up somewhere. (The CHESHIRE CAT disappears.)

ALICE

Stay. Tell me. Where?

It all keeps disappearing. The pages turn so quickly…

Why can’t he stay?

(The CHESHIRE CAT reappears beside ALICE.)

CHESHIRE CAT

The question is: when someone needs to go, “whoooo are youu” to make them stay?

ALICE

But there’s so much left—of our story!

CHESHIRE CAT

Perhaps that is the story.

It isn’t hard to say hello, it’s how we say good-bye.

ALICE

“I shall find that tiny golden key,” Alice said—and bring him with me, into that “loveliest garden, among the roses”—

CHESHIRE CAT

Alice!

You cannot keep believing impossible things.

ALICE

“’Sometimes,’ Alice says, ‘I’ve believed in as many as six impossible things before breakfast.’”

CHESHIRE CAT

You want too much—

ALICE

All I want is time with him. More time.

CHESHIRE CAT

It isn’t how much time. It’s how we use the time.

ALICE

But he is always out of time.

Perhaps he hasn’t much to give. (Music rises)

CHESHIRE CAT

Alice, pause, and let the picture in. To be there, Puss, that’s to be in Wonderland.

(Over the course of the song, the CHESHIRE CAT tosses dust into the light—as if the rubble left behind, or the glimmering sand of time, were slipping through the hand of a survivor.)

#11—Some Things Fall Away

YOU CAN KICK AT HEAVEN, OR CRY OUT TO THE SKY.

YOU CAN GO BELOW WORDS, AND STILL, THERE’S NO REPLY.

AND NO, THERE IS NO REASON, SOME THINGS FALL AWAY–AY…

THE HEAVENS ARE FOREVER, OUR DAYS PASS WITH THE LIGHT. WE RISE UP WITH THE MORNING, AND THEN WE BID GOOD–NIGHT.

AND NO, THERE IS NO REASON, SOME THINGS FALL AWAY–AY…

SORROW CALLS WITH THE EVENING, WITH THE WIND BENEATH YOUR DOOR. SHADOWS PAUSE AT THE WINDOW, MEET THEIR GAZE—THEIR GRIEF IS YOURS.

YOU CLOSE THE BOOK AT MIDNIGHT, YOU DREAM IT CAN’T BE TRUE.

YOU LOOK AGAIN, NEXT MORNING, THEY’RE STILL NOT THERE WITH YOU.

AND NO, THERE IS NO REASON NO ONE COMES TO STAY–AY…

SORROW CALLS WITH THE EVENING, TROUBLE KNOCKS ON EVERY DOOR. SHADOWS FADE FROM THE WINDOW; ON THEIR WAY—THE GRIEF IS YOURS.

(The CHESHIRE CAT disappears, in a final wisp of dust. Music out. ALICE casts about.)

ALICE

’It was so dark overhead,’ Alice said, and she could hear the White Rabbit calling: ‘Time, time, so little time! How late it’s getting…!’”

Oh Alfred, I thought we’d come down here again and again. This is not what I know by heart.

(Calling out, lost)

Now, what’s next? What’s next?

(A page drifts down like a leaf from above. ALICE reaches for it. She reads it, through tears:)

“And soon, Alice found, she had cried herself into a pool of her own tears… ”

(Music rises. A steel drum)

#11A—Mock Turtle Intro

MOCK TURTLE (FROM OFF)

Boo hoo!

(The CAST streams on, wearing army helmets. They form themselves into the shape of an enormous turtle. The MOCK TURTLE pushes his head and neck through the seeming shell.)

Boohoooooo.

(ALICE approaches.)

ALICE

Turtle? My Poor Turtle?

Turtle? Me?

No, I am no longer a Turtle. Only a Mock Turtle.

MOCK TURTLE

ALICE

Oh dear dear me.

MOCK TURTLE

(Ducks his head back into the shell.)

You mock me!

ALICE

Oh no no, I assure you.

(The MOCK TURTLE pushes his head out again.)

MOCK TURTLE

Ahhh, If only you knew who I used to be.

ALICE

A terribly grand turtle, I should think.

MOCK TURTLE

A baby grand, perhaps.

ALICE

But, what…

Such a salty story, really. I can’t tell it.

Really?

Not a word, until I finish. Please.

MOCK TURTLE

ALICE

MOCK TURTLE

(ALICE nods, and waits. The MOCK TURTLE sobs uncontrollably. She waits. He weeps.)

ALICE (Politely)

Sorry.

I don’t see how you can finish if you never start.

MOCK TURTLE

Once… (He sobs.)

Once… (He sobs.)

Once, when I—like you

ALICE

Not I.

MOCK TURTLE

(Insistent)

When, like you—

ALICE

Not me, yet.

(With a gutteral glare)

Not yet you.

MOCK TURTLE

(MOCK TURTLE)

When I had my Tortoise still with me…

Well, we called him “Tortoise,” because, of course, he taught us:

Coral, Shells, and Fractions, Addition and Subtraction, Reeling and then Writhing…

ALICE

(Nods)

My friend and I, we read together in our garden, every day, but now all that’s been blown away.

MOCK TURTLE

Your garden? I’m talking about my entire coral reef! I’m floundering! You see, I—

(The MOCK MOCK TURTLE pokes his head out from under the ensemble shell.)

MOCK MOCK TURTLE

Ayyyyyy meeee!!

ALICE

(To MOCK TURTLE)

Now, who is he?

A Mock Mock me.

MOCK TURTLE

A mockery!

I knew Tortoise too, you see.

(MOCK TURTLE)

MOCK MOCK TURTLE

MOCK TURTLE

But not like me.

MOCK MOCK TURTLE

And yet, it all began with me.

MOCK TURTLE

Nay, me!

MOCK MOCK TURTLE

In truth, he thought you were a drama queen.

MOCK TURTLE

Me?!

MOCK MOCK TURTLE

Ah, the life my Torty and I had, before the crash.

MOCK TURTLE

“Torty?”

MOCK MOCK TURTLE

How huge we hoped to be!…

(The MOCK MOCK MOCK TURTLE pokes her head out from the shell.)

MOCK MOCK MOCK TURTLE

You think you know from misery?

My Torty passed on my birthday!

Your Torty?

MOCK TURTLE

(The MOCK MOCK MOCK MOCK TURTLE pokes his head out.)

MOCK MOCK MOCK MOCK TURTLE

My Tortsy. Like the sea— so wise, so deep. Swallowed by a whale. Oy me!

ALL MOCK TURTLES

(Competing in grief)

Ayyy meee! Ayyyy meeee! Ayyyyy meeeee!

ALICE

Stop! Enough!

No one has ever loved like me. I’ve lost everything. And now… I’ve lost him too.

MOCK TURTLE

You see, we are a we!

ALICE

But… I don’t know how to let him go.

MOCK MOCK TURTLE

Don’t.

If you never move forward…

MOCK TURTLE

You never have to leave your friend behind.

(The MOCK TURTLE leads ALICE to the turtles, inviting her to become part of them.)

JUST CRY, AND IT’S A CRISIS.

YOU SIGH AND PUT THE SIGH BACK IN SILENCE. MY TORTOISE TAUGHT, DON’T PEE IN THE SEA. GIVE INTO YOUR GRIEF LIKE ME.

MOCK MOCK TURTLE

DON’T BOTHER WITH DENIAL, BEREAVEMENT IS THE KEY TO SURVIVAL. THAT TORTOISE WAS MY HUSBAND, YOU SEE— LIVE AND BREATHE YOUR GRIEF LIKE ME.

ALICE

MOCK ME, I’M LIVING IN SHOCK HERE—

#12—Your Shell of Grief

(ALICE)

MY CHEEKS THICK WITH TEARS…

MOCK MOCK MOCK TURTLE

MY HEART IS A DARK POLAR BLOCK, DEAR. NO ONE COMES NEAR…

MOCK MOCK MOCK MOCK TURTLE

NO LOSS COULD EVER MATCH MINE— THEY WEEP THE WEEP, BUT I LOST MY RABBI.

MY TORTOISE TAUGHT US TORAH, YOU SEE.

MEET YOURSELF IN GRIEF LIKE ME.

ALICE

MOCK ME, I’M LIVING IN SHOCK HERE.

ALICE & MOCK TURTLE

SUCH PEARLS ARE MY TEARS.

MOCK MOCK MOCK TURTLE

MY HEART IS A MOCK–LOCH NESS MONSTER,

MOCK MOCK MOCK TURTLE & ALICE

JUST DON’T COME NEAR…

MOCK MOCK TURTLE

MY LIFE HAS LOST ALL PORPOISE.

ALICE

I LOST MY HARE—

MOCK MOCK TURTLE

I LOST MY HAIR!

MOCK TURTLE

BUT I LOST MY TORTOISE.

SO, SO, I SING, KING LEARIALLY,

MOCK MOCK MOCK MOCK TURTLE

DWELL WITHIN YOUR SHELL LIKE ME.

(The TURTLES form a shell around ALICE. She merges into their hard, grieving shell.)

MOCK MOCK TURTLE

JUST BUILD YOUR WALL,

MOCK, MOCK MOCK, & MOCK MOCK MOCK MOCK TURTLE THAT’S BETTER—

MOCK MOCK MOCK TURTLE

RETRACT YOUR HEAD—

MOCK TURTLE

YOU WON’T GET WETTER!

MOCK MOCK MOCK MOCK TURTLE

LOVE IS BRIEF—

MOCK TURTLE

AND TIME’S A THIEF.

ALL MOCK TURTLES

CLIMB INTO YOUR SHELL OF GRIEF.

BACKUP TURTLES

TELL THE SHELL OF GRIEF, THE WONDER.

TELL THE SHELL OF GRIEF.

SWELL THE SHELL OF GRIEF, DUCK UNDER.

SWELL THE SHELL OF GRIEF.

MOCK TURTLE

So sweet.

(A siren sounds. Blackout. A searchlight prowls the space. The TURTLES separate and race madly across the stage—en route to the Trial. ALICE kneels, unmoving, bowing her head beneath a shell-helmet of her own. And now that helmet is stripped from her, as a KNAVE cries out:)

KNAVE OF HEARTS

The Trial! The Trial!

(As the characters dash about, ALFRED appears, in a white medical gown—like an apparition. Only ALICE sees him. The others have gone, ALICE and ALFRED stand alone.)

ALICE

Alfred?! Alfred! You’re here!

I had to—finish it. With you. We could not end like that. Come!

ALFRED

ALICE

No! I won’t. I know what’s next.

ALFRED

Then, please. The Trial. We’re late.

(Bits of torn pages drift from above, turning to white rose petals, which fall upon them.)

ALICE

I’m staying here. With you. In our garden of roses. There cannot be a Trial without me there.

ALFRED

Alice!

I shall never turn this page.

If we never move forward, I never have to leave you behind. We’ll simply stop the story here.

ALICE

ALFRED

I caaaan’t.

(A beat)

Perhaps we were never, really, meant to…

ALICE

Yes, we were.

We are. We still can be.

Forever. Here.

(ALFRED begins coughing. The light shifts to crimson, as if the blood from ALFRED’s cough were turning all the white roses red.)

Alfred!!

(ALFRED lifts his hand, silencing her.)

ALFRED

Please!

ALICE

But, your roses… !

ALFRED

Yes.

They are as roses are. As roses, here, must be. (ALICE takes this in.)

I’ve got to reach the end. Just this once more.

ALICE

I thought that when you knew a book, you had the chance to have it as you always want to have it in your head.

ALFRED

It doesn’t always end as books would have it end.

I’m a rabbit in a waist–coat, really. Running out of time in Wonderland.

#13—Another Room in Your Head

ALICE

But how shall I be here without you, now?

ALFRED

That is the riddle.

(This lands. A silence. ALICE’s cot appears, within some blank space of Wonderland, as if they were between both worlds. ALFRED leads her to it.)

WHAT WILL YOU DO, WHEN I’M NOT HERE WITH YOU, AND YOU SIT HERE AND YOU’RE NOT WITH ME?

HOW WILL YOU DO, FINDING SOMETHING TO DO, WHEN THERE’S SO MUCH YOU THOUGHT THAT WE’D SEE?

WILL I STILL SLEEP IN SOME PART OF YOUR MIND, IN SOME WAY I MAY NEVER KNOW?

ALICE

WILL I STILL DREAM THAT YOU’RE HERE AND YOU’RE MINE, AND I NEVER HAVE TO LET YOU GO?

ALFRED & ALICE

OH—WILL YOU FIND ANOTHER ROOM IN YOUR HEAD?

ALFRED, ALICE, DUCHESS & QUEEN OF DIAMONDS SPEND SOME TIME IN ANOTHER ROOM IN YOUR HEAD?

ALFRED, ALICE, & CHESHIRE CAT WONDERING WHY IN ANOTHER ROOM IN YOUR HEAD?

CATERPILLAR WONDERING WHY?

(ALFRED’s quarantine curtain billows, beckoning him like a ghost.)

ALFRED

WILL YOU DREAM IT’S LIKE ALWAYS—HAUNTING AS ALWAYS, YOU STILL THERE, WANTING MY LOVE?

ALICE

WILL YOU DREAM I’M STILL WATCHING, FULL OF SUCH LONGING? WANTING SO MUCH STILL, MY LOVE?

ALICE & ALFRED

IN MY DREAMS, WHEN I’M FALLING—FALLING AND FALLING, YOU’LL BE THERE, WANTING MY LOVE… IN MY DREAMS, YOU’LL BE CALLING—CALLING WITH LONGING, NOTHING THERE, HAUNTING OUR LOVE.

ALFRED

YOU STILL THERE, WANTING MY LOVE. ALL OOH…

ALFRED

WHAT WILL YOU DO, WHEN I’M NOT HERE WITH YOU, AND YOU SIT HERE AND YOU’RE NOT WITH ME?

ALICE

HOW WILL YOU DO, WHEN THERE’S NOTHING TO DO, AND THERE’S SO MUCH WE THOUGHT THAT WE’D SEE?

ALICE & ALFRED

WHEN THERE’S SO MUCH WE THOUGHT WE WOULD BE?

ALL

OH—WILL YOU FIND

ANOTHER ROOM IN YOUR HEAD?

LOSE YOUR MIND IN ANOTHER ROOM IN YOUR HEAD?

LEFT BEHIND IN ANOTHER ROOM IN YOUR HEAD?

ALFRED IN ANOTHER ROOM IN YOUR HEAD…

IN ANOTHER ROOM, ANOTHER ROOM IN YOUR HEAD…

CATERPILLAR

LEFT BEHIND…

TENORS & BASSES IN ANOTHER ROOM…

IN ANOTHER ROOM…

ALICE, SOPRANOS & ALTOS OOH, OOH…

IN ANOTHER ROOM… A ROOM…

ALL BUT ALFRED IN ANOTHER ROOM… HMM…

(The vocal arrangement lingers, like a hymn. ALICE and ALFRED are seated on a cot. She moves closer to him.)

ALICE

Take me with you.

(ALICE leans close—for a kiss. ALFRED pulls back, for fear of infecting ALICE.)

ALFRED

Alice! No—you mustn’t get too close.

ALICE

Drink me.

ALFRED And lose you too?

ALICE

I’ll be there. Always. With you.

ALFRED

They’re calling me, not you.

ALICE

I hear them calling, too.

(ALICE urges forward for the kiss. ALFRED almost surrenders to it, but catches himself, grabs her shoulders, stopping her. Assuming his role as Court Herald, he summons Wonderland around them.)

WHITE RABBIT

Silence in the Court!

ALICE

Don’t! No!

#13A—Intro to the Trial

(Music out. The WHITE RABBIT leaps into position as the Herald. The entire Court assembles around them, holding medical clipboards like ledgers)

WHITE RABBIT

All rise for the Queen.

#13B—Wonderland Fanfare

(A fanfare sounds. The QUEEN OF HEARTS enters like a vision of royal majesty. The KING OF HEARTS follows. The entire Court falls flat on their face, like a deck of playing cards.)

QUEEN OF HEARTS

(Benignly)

As you were.

(The crowd rises again to their feet. The QUEEN basks in her reflected glory.)

Well, I am proud—so proud, to behold this record-breaking crowd. Which of you, can we say, loves us most?

(A silence. The QUEEN OF HEARTS glares at the KING OF HEARTS.)

Yes?

Never has there been a Queen…

KING OF HEARTS

QUEEN OF HEARTS

(Glares more glaringly)

Mm?

KING OF HEARTS

Who has accomplished so much…

QUEEN OF HEARTS

And?

KING OF HEARTS

And has done… so many things.

(The KING OF HEARTS prompts applause from the crowd and the QUEEN OF HEARTS basks in it. ALICE rises and curtsies.)

ALICE

Your Majesty.

QUEEN OF HEARTS

You?

Well. At least, she’s brought her head. That’s good.

(The KING OF HEARTS gestures to the Court. They all pull out slates to take notes on.)

KING OF HEARTS

Brought her head. That’s Important.

(They note it on their slates.)

#13C—Notes from the Jury

QUEEN OF HEARTS

Ssh!

(To ALICE)

Come back for another look, have you? And found yourself too big for picture-books?

Too huge for fools like us?!

ALICE

But I just want—

QUEEN OF HEARTS

You want!

I wanted… just one moment—

ALICE

QUEEN OF HEARTS

Love love love love love—make me puke.

You shameful girlish thing.

You hate the part that’s tiny still in you. And yet, you want to hide within the child in you.

#14—Isn’t It a Trial?

ALICE

I won’t.

You caahn’t, you mean.

QUEEN OF HEARTS

ALICE

I—

QUEEN OF HEARTS

You can no longer not know what we mean.

TALK AND TALK AND TALK, STILL, YOU’RE NEVER NOT YOU. ALL THE SAME OLD WANTS— NOW WHERE HAVE THEY BROUGHT YOU?

SHUFFLE ALL YOUR HEARTS, PLAY LIKE SISTER TAUGHT YOU. NO ONE WINS AT CARDS— OR PLAYS LIKE THEY OUGHT TO.

QUEEN OF HEARTS

ISN’T IT A TRIAL, TO TRY AND STAY A CHILD?

WHEN EVERYTHING YOU’VE READ

SWELLS YOUR LITTLE HEAD.

SOPRANOS & ALTOS

ISN’T IT?

TO STAY A CHILD…

TRIAL… CHILD…

KNAVES

SWELLS YOUR LITTLE HEAD

QUEEN OF HEARTS

SHALL WE HAVE A SONG FOR THE GIRL GONE NAUGHTY?

SOMEHOW FEELS SO WRONG NOW TO HAVE THAT BODY.

RABBIT GOT SO BIG— WHAT’S HIS MAMA FED HIM? THOUGH YOU FEEL A PIG, STILL YOU WANT TO PET HIM.

QUEEN OF HEARTS

ISN’T IT A TRIAL

TO TRY AND STAY A CHILD?

THE WORLD NO LONGER FITS, AND STILL YOU’RE STUCK IN IT.

OH, ISN’T IT A TRIAL?

NO CHILD CAN STAY A CHILD.

GOD KNOWS WHAT YOU DID, BUT NOW YOU’RE NOT A KID.

SOP & ALTO ENSEMBLE ISNT’ IT?

TO STAY A CHILD…

ISN’T IT?

TO STAY A CHILD…

CATERPILLAR SO, NOW YOU HAVE A PAST, AND NO ONE UNDERSTANDS.

KNAVES

TRIAL… CHILD…

AND STILL YOU’RE STUCK IN IT.

TRIAL… CHILD…

BUT NOW YOU’RE NOT A KID.

CATERPILLAR & QUEEN OF DIAMONDS

JUST TURN ANOTHER PAGE, MY DEAR, YOU LOOK YOUR AGE…

CATERPILLAR

(Ad libs, riffing) AAAAAGE!

(Off his vocal riff)

Really?

AAAAAND!!

QUEEN OF HEARTS

—ISN’T IT A TRIAL,

TO TRY AND STAY A CHILD?

AND NO ONE, NO ONE KNOWS THE WAY OUT OF THE HOLE?

ISN’T IT A TRIAL?

NO CHILD CAN STAY A CHILD.

QUEEN OF HEARTS

SOP & ALTO ENSEMBLE

ISN’T IT?

TO STAY A CHILD…

ISN’T IT?

TO STAY A CHILD…

QUEEN OF HEARTS

THE STORY NEVER TOLD, HOW WONDERLAND GROWS OLD.

KNAVES

IT’S A TRIAL, IT’S A TRIAL CATERPILLAR

TO TRY AND STAY A CHILD.

KNAVES

NO ONE KNOWS

THE WAY OUT OF THE HOLE?

IT’S A TRIAL, IT’S A TRIAL CATERPILLAR

NO CHILD CAN STAY A CHILD

KNAVES

TOLD… GROWS OLD…

QUEEN OF HEARTS

OH ISN’T IT A TRIAL?

(The QUEEN OF HEARTS gathers dust and whitens her hair with it.)

ISN’T IT A TRIAL?

(As the song concludes, the KING OF HEARTS gestures. A TRUMPET sounds.)

KING OF HEARTS

Herald—Read the Accusations.

ALFRED / WHITE RABBIT

(Barrelling through his text)

“The High Court of Her Majesty Against the Heartless Alice.”

ALICE

Heartless?

(Pressing on)

For two Treasonous Offenses:

ALFRED / WHITE RABBIT

“Recklessly Rewriting the Tale to Suit Her Selfish Self. “ And: Breaking Rule 42”—

DUCHESS

“You have no right to grow here!”

QUEEN OF HEARTS

(Snapping her fingers)

Item.

ALFRED / WHITE RABBIT

“Item: She went reading, then proclaimed she’d dreamed us.”

Who did?

You did.

ALICE

QUEEN OF HEARTS

KING OF HEARTS

And the Verdict is?

(The QUEEN OF HEARTS glares at him.)

QUEEN OF HEARTS

Pay attention when your Rabbit’s reading. (Turns to the WHITE RABBIT, snaps her fingers)

Item.

ALFRED / WHITE RABBIT

“Item. First she bragged she’d brought us here—“

QUEEN OF HEARTS

Louder!

ALFRED / WHITE RABBIT

“First she bragged she’d brought us—”

Faster!

“First she bragged she’d—“

QUEEN OF HEARTS

ALFRED / WHITE RABBIT

QUEEN OF HEARTS

Funnier!

ALFRED / WHITE RABBIT

“First she—“

QUEEN OF HEARTS

Guilty!

ALICE

Well, this certainly is a trial.

MAD HATTER

She added a big “Un” to everything “Important.”

KING OF HEARTS

(To the Court)

Un-Important. That’s very Important. (The ENSEMBLE notes it.)

#14A—Notes

from the Jury (Part 2)

And the Verdict is—

QUEEN OF HEARTS

First the Sentence, then the Verdict. (Snaps her fingers)

Item!

Why these Items?

ALICE

Now, she wants to choose her Items.

DORMOUSE

MAD HATTER

Mad. She’s mad.

ALICE

I’m not!

CHESHIRE CAT

You’re here. They make us all mad here.

QUEEN OF DIAMONDS

Oh dear.

You little tweeb.

MAD HATTER

QUEEN OF HEARTS

Guilty! (Snaps her fingers)

Item!

“Item: She went chasing tail—“

ALFRED/WHITE RABBIT

ALICE

But—

CATERPILLAR

Well, she certainly held my Hedgehog, and wriggled my Flamingo.

QUEEN OF HEARTS

Acting as if she were some mock me?

KING OF HEARTS

A mockery!

A royal Jabberwockery.

She thought she was

CHESHIRE CAT

QUEEN OF DIAMONDS

What Was.

Still does.

(QUEEN OF DIAMONDS)

DORMOUSE

MAD HATTER

The riddle?

She could barely even read it.

Tit tot. You tart.

DUCHESS

DORMOUSE

You tit without a heart!

DUCHESS

She was my pig— I loved my pig!— and then she made me old and big!

QUEEN OF HEARTS

(Surveying the DUCHESS)

Indeed, she did.

DUCHESS

Well, I’m hardly the only thing she’s turned into an aging Queen.

(A beat. The DUCHESS and the QUEEN size one another up.)

KING OF HEARTS

How exactly does one get out of jury duty?

(Off the QUEEN OF HEART’S glare:)

And the Verdict is?

(QUEEN OF HEARTS glares at him.)

QUEEN OF HEARTS

Keep up, Leonard!

(Then, to ALICE)

Now we shall decide if you can leave here.

ALICE

Do you mean you’d keep me here?

QUEEN OF HEARTS

Someone, write down “duh”—and then add “praved.”

(The ENSEMBLE notes it.)

I mean, really. Every syllable she wastes—

DUCHESS

(Re: the QUEEN)

You age.

OFF WITH YOUR HEAD!

QUEEN OF HEARTS

CHESHIRE CAT

Let them scream— a heart can trump a Queen.

(Re: the CHESHIRE CAT)

QUEEN OF HEARTS

Can someone silence that rather unfortunate grin?

(With a royal sigh)

I cannot exert myself with another word.

(To the KING OF HEARTS)

You, tell her for me.

(Clears his throat; to ALICE)

KING OF HEARTS

Every dream would love to hold its dreamer. It’s—

QUEEN OF HEARTS

—the dreamer who can’t bear to know she’s dreaming.

ALICE

But I know!

I know the dream—by heart. This is my heart. My dream.

Oh do you think? Then—

KING OF HEARTS

QUEEN OF HEARTS

—who, and what, are we?

ALICE

Part of it.

You think?

QUEEN OF HEARTS

KING OF HEARTS

Then, where are we, when you’re not here?

You think we just appear—

—because you read us?

QUEEN OF HEARTS

KING OF HEARTS

The truth is, we are here, and sometimes we let you into our dream.

ALICE

I won’t believe you.

QUEEN OF HEARTS

Do you think our dream needs you to dream it?

You, who are no longer you.

(All the Witnesses in Wonderland bolt to the opposite side of the stage and become the Jury. As they do, ALICE turns privately to ALFRED.)

ALICE

How can you bow to their madness?

Why did you turn the page?

That is the story.

Time to close the Book.

WHITE RABBIT

KING OF HEARTS

DO YOU THINK WE THINK YOU’RE ALICE?

WONDERLAND (ECHOING)

OOH, YOU THINK WE THINK YOU’RE ALICE?

QUEEN OF HEARTS

YOU’RE SOME ONE AND ONLY ALICE.

WONDERLAND (ECHOING)

SO THE ONE AND ONLY ALICE.

KING OF HEARTS

AND WE’RE NOTHING WHEN YOU’RE NOT HERE?

WONDERLAND (ECHOING)

NO NO, NOTHING WHEN YOU’RE NOT HERE.

DUCHESS

AND SO SOMETHING ONCE YOU’VE GOT HERE?

WONDERLAND (ECHOING)

SO SO SOMETHING ONCE YOU’VE GOT HERE.

QUEEN OF DIAMONDS

DO YOU THINK WE THINK, “OH DUCKIE!”

WONDERLAND (ECHOING)

NOW YOU’RE HERE—DEAR GOD, WE’RE LUCKY!

MAD HATTER

“NOW YOU’RE HERE, WE’LL ALL GO PUNTING!”

WONDERLAND (ECHOING)

NOW YOU’RE HERE, MY HEART IS THUMPING!

CATERPILLAR

LIKE, WE’RE WAITING TILL YOU TURN THE PAGE, DUCHESS

TO POP OUT OF OUR DISMAL BEIGE.

KING OF HEARTS

‘CAUSE WONDERLAND WAS SILENT,

WONDERLAND (ECHOING)

ALL OUR MINDS BECAME SO MINDLESS…

QUEEN OF HEARTS

TILL SOME VISIT FROM YOUR HIGHNESS.

WONDERLAND (ECHOING)

FIRST, YOU’RE HIGH, AND NOW, “YOUR HIGHNESS.”

MAD HATTER, QUEEN OF DIAMONDS & CATERPILLAR

EVERYTHING JUST WAITING HERE IN PLACE,

ALL BUT ALICE

A HOPELESS PLACE…

ALICE

WELL, YOU’RE NO ONE WITHOUT ALICE.

QUEEN OF HEARTS (ECHOING)

OH, WE’RE NO ONE WITHOUT ALICE.

DUCHESS

SUCH A NO ONE.

NO, I’M ALICE.

ALICE

DORMOUSE & MAD HATTER (ECHOING)

NO NO NO NO NO, NO ALICE.

ALICE

I FELL DOWN THE HOLE TO GET HERE.

WONDERLAND (ECHOING)

YES, YOU’VE DUG A LOVELY DITCH, DEAR.

DUCHESS

DO YOU THINK WE GIVE A FIG, DEAR?

KING OF HEARTS

DO YOU THINK WE HOLD NO WISDOM,

WONDERLAND (ECHOING)

DO YOU THINK WE HOLD NO WISDOM,

QUEEN OF HEARTS

TILL OUR PAGES HOLD YOU IN THEM?

WONDERLAND (ECHOING)

TILL OUR PAGES HOLD YOU IN THEM?

LIKE, WE’RE HERE TO SCRATCH YOUR ALICE ITCH.

QUEEN OF HEARTS

GUILTY BITCH!

(Spoken)

Suppress her! Suppress her!

(The QUEEN’s henchmen set a red hood of execution over ALICE’s head.)

On your knees! Get her head!

Watch her shrink!

(The blade of the truncheon-guillotine hovers above ALICE’s neck. Suddenly, with a defiant gesture, she stops time. Music out. Everyone freezes.)

ALICE

Watch me shrink? I don’t think so.

(With that, ALICE gestures again. The world of the Trial resumes, but she is taking a stand.)

#16—I’ve

Shrunk Enough

NO, I’M NOT GONNA PLEAD, SO YOU CAN JUDGE, IF LOVING IS THE THING I’M GUILTY OF.

I’VE SHRUNK ENOUGH, TO PUFF AND PUFF YOU UP. IT’S DONE—I’M DONE,

I’VE SHRUNK ENOUGH.

QUEEN OF HEARTS

Hold your tongue! Cut out her tongue!

ALICE

NO QUEEN CAN MAKE OF ME A MOUTH WITHOUT A SCREAM. YOU DO KNOW WHAT I MEAN, YOU INTRODUCED THE THEME.

(ALICE)

I HOLD THE HAND I HOLD, NO SHUFFLING WITH MY SOUL.

MY HIGHNESS IS YOUR LOW. STAND BACK AND WATCH ME GROW.

ALICE & CHESHIRE CAT

OH, AND I AM HUGEST, FACED WITH FOOLS LIKE YOU, YES; SCHOOLED BY YOUR ABUSES, BUT YOU’RE OUT OF TIME— GROWING UP IS NOT A CRIME.

ALICE

AND I AM GONNA SPEAK WHAT YOU WON’T SPEAK; HOW YOU FEAR THE STRONG AND MOCK THE WEAK. I’M NOT TURNING ANY OTHER CHEEK.

QUEEN OF HEARTS ENOUGH’S ENOUGH!

GO, LOCK HER UP.

WONDERLAND (ALL BUT ALICE, WHITE RABBIT & CHESHIRE CAT) MOCK, MOCK— TURN THE LOCK!

MOCK, MOCK— TURN THE LOCK!

(The WHITE RABBIT / ALFRED cannot bear to see all of Wonderland attacking ALICE. He mutinies.)

WHITE RABBIT

SORRY, QUEEN, I HOPE YOU UNDERSTAND WHY I’D PULL THE RABBIT FROM YOUR HAND. NOW, ALICE HOLDS THE CARDS IN WONDERLAND. THE GAME IS UP—

WHITE RABBIT & ALICE I’VE SHRUNK ENOUGH.

WONDERLAND

“OH, ALICE FELL, HOT AND BOTHERED, DOWN OUR WELL. SUCH A NASTY GIRL—THINKS SHE’S RULER OF THE WORLD.”

QUEEN OF HEARTS & KING OF HEARTS

“BUT TIME WILL PROVE, WE OWN HER LIKE THE TRUTH: WE OWN THE FUTURE TOO, BECAUSE WE OWN THE YOUTH.”

ALICE

NO. NO.

ALICE & CHESHIRE CAT NO. YOU DON’T!

WHITE RABBIT

NO. NO. NO. YOU DON’T!

(The ENSEMBLE create a tableau as in the opening scene: the HATTER holding tea, the DUCHESS, the CATERPILLAR…)

ALICE, CHESHIRE CAT & WHITE RABBIT GO BACK TO BEING PICTURES IN MY DREAM! YOU’RE NOTHING BUT A HATTER HOLDING TEA, TELLING RIDDLES NOT WORTH ANSWERING.

IT’S DONE—I’M DONE, I’VE SHRUNK ENOUGH.

YOU CAN “TURN THE LOCK,” I HOLD THE KEY, I’M NOT YOUR LITTLE PIG, WE’RE NOT A “WE.” CATERPILLAR—POOF!—I’M SOME NEW ME.

GO, HUFF AND PUFF, I’VE SHRUNK ENOUGH.

DUCHESS, KING OF HEARTS & QUEEN OF HEARTS YOU’VE HAD ENOUGH? WELL, SUCK IT UP.

ALICE & WHITE RABBIT BUT BUT BUT BUT—

ALICE

I’VE SHRUNK ENOUGH.

QUEEN OF HEARTS

YOU FAT-FACED RUNT,

QUEEN & KING OF HEARTS & DUCHESS WE’LL ROUGH YOU UP.

ALICE & WHITE RABBIT

DONE DONE AND DONE.

WHITE RABBIT

I’VE SHRUNK ENOUGH.

ALICE, CHESHIRE CAT & WHITE RABBIT ENOUGH’S ENOUGH—

I’VE SHRUNK ENOUGH.

I’VE SHRUNK ENOUGH. AND TIME IS UP!

(A whirlwind of pages falls from above. Blackout. The Court disperses—everyone disappears. And then, the light of afternoon rises on ALICE and ALFRED, alone in Wonderland. They look to one another, for the last time.)

ALICE

You.

(A beat)

Still here.

Somehow.

ALFRED

ALICE

Yes.

(A beat)

So little left, and still you gave me that. You changed the page.

ALFRED

A parting gift.

(ALICE nods.)

#17—Still (Reprise)

(From the Book:)

“Don’t let them know he loved her best, For this must ever be

A secret kept from all the rest, Between yourself and me.”

ALICE

Yes.

ALFRED

I can’t tell you what it’s meant, to come here once again—to run here once again.

(In a pool of light, YOUNG ALFRED appears and addresses the older ALICE.)

YOUNG ALFRED

I hope you will remember how it was… ?

ALICE

RUN AND PLAY WITH ME STILL…

(In a pool of light, YOUNG ALICE appears.)

ALICE & YOUNG ALICE ON THIS PAGE WITH ME STILL…

ALFRED

BUT TIME IS CHASIN’ ME STILL…

ALFRED, ALICE, YOUNG ALICE & YOUNG ALFRED STILL…

ALFRED

In the story, there’s no moment of farewell, you know.

(The music shifts.)

#18—Afternoon

And so.

(YOUNG ALICE and YOUNG ALFRED sit in a pool of light beside an imaginary river bank, reading from their book.)

ALICE

A LITTLE TALK COULD HOLD ME FOR A LITTLE WHILE; ANOTHER BRUSH OF WHISKERS AND THAT DISTANT SMILE…

SO LITTLE LIGHT REMAINING, AND THE SHADOWS WON’T CONTAIN ME…

(ALICE)

THE BOOK OF NIGHT IS CLOSING FOR THE CHILD.

ALFRED

I KNEW YOU WERE A STRANGE GIRL— OR I THOUGHT YOU WERE.

YOU SUMMONED ALL THE WONDER FROM A ROOM OF HURT.

WE KNEW THE WORLD OF SUMMER, LIKE A SISTER, LIKE A BROTHER, AND THE MELODIES WERE SWEETER LEFT UNHEARD… (The lights fade to black on YOUNG ALICE and YOUNG ALFRED.)

ALFRED

WE FELL DOWN A HOLE— DON’T YOU REMEMBER?

WE FELL SO FAR BELOW, AND NEVER FOUND THE CENTER;

TWO…

KNEW… AFTERNOON.

AFTERNOON…

ALICE

HOLE… REMEMBER? BELOW… AND NEVER FOUND THE CENTER;

ANOTHER WORD OR TWO, AND ALL THE SUMMER KNEW, IN THE SONG OF THE AFTERNOON.

AFTERNOON…

(As they sing, ALICE leads ALFRED back to his cot, and they sit.)

ALICE

YOU NEVER PLAY SEPTEMBER IN A WINTER GAME.

ALFRED

THE HEART WILL NOT REMEMBER WHAT IT WILL NOT NAME.

ALICE

THE CATERPILLAR GAZES ON A WORLD OF OLDER FACES,

ALFRED

BUT THE BUTTERFLIES GO FLOATING, ALL THE SAME…

ALFRED

WE FELL DOWN A HOLE— WON’T YOU REMEMBER?

FELL SO FAR BELOW, WE NEVER FOUND THE CENTER;

ALICE HOLE… REMEMBER?

BELOW… WE NEVER FOUND THE CENTER;

ALL OOH… OOH… OOH… OOH…

(During this final chorus, ALFRED departs as if his spirit were ascending.)

ALICE

AND WHO KNEW WHAT TO DO WITH ALL I FELT FOR YOU, IN THE SONG OF THE AFTERNOON…

AFTERNOON…

ALL OOH…

ALL (BUT ALFRED)

(As the song concludes, the shadowy form of the Underground station slowly fills in around ALICE. She sits alone on ALFRED’s cot. Hearing the tick-tock of his pocket watch—she finds it, shuts it off.)

DODGY

Nurse Cross, she took him off.

NIGEL

(Re: heaven)

In a better place, he is.

(ALICE takes this in)

Amen, then.

ANGUS

CLARISSA

Nothing to be done.

For him, that is.

For me, I’ll have another bit of bun.

ANGUS

(To ALICE)

More tea?

For you—with me, and me?

HAROLD PUDDING

ALICE

(Concluding the story)

“And all the cards rose suddenly into the air, and disappeared; and Alice found herself again beside a river bank…”

ANGUS

Let’s be done with that, love. Boy is gone.

He wanted so to finish it.

ALICE

“And she told her Sister, as best she could remember… ”

CLARISSA

Listen to her—still reading to him.

DODGY

Somehow, I doubt he’ll be chiming in.

TABATHA

It isn’t that the dead don’t talk, we’ve just forgotten how to listen.

HAROLD PUDDING

Talk, talk, talk!

TABATHA (”Yes”)

Through time.

That’s the riddle of the pages left behind.

ALICE

“So Alice sat, and tightly closed her eyes—“

CLARISSA

Dear God.

NIGEL

(To CLARISSA)

Shhh!

(To ALICE)

Go on.

(ALICE hesitates)

DODGY

Do.

ALICE

(From the Book)

“’Oh what a curious dream I’ve had,’ Alice said.”

TABATHA

“’Curious, yes. But… wonderful.’”

(An uncustomary silence falls over the Tube Station. ALICE looks searchingly to TABATHA.)

Sometimes we overcome, you know, just by going on.

(ALICE crosses, begins gathering the scattered pages from the floor.)

CLARISSA

Well, at least that story’s done.

ALICE

(More to herself)

No, never done.

(ALICE gathers pages from the platform.)

#19—Winter Blooms

WINTER BLOOMS IN AUTUMN LIGHT, AFTERNOONS ONCE SUMMER WHITE, FADING BLUE THROUGH THE NIGHT.

ROSES LINGER WITH A SIGH, WITH THE EVENING IN THEIR EYES.

EVERY BLOOM BIDS GOOD-BYE.

ALICE & TABATHA

NOTHING COMES OR GOES WITHOUT A SHADOW.

SOMEWHERE IN THE SOUL YOU HOLD THE CANDLE.

LET THE SORROW GO, IT’S HALF THE BATTLE.

ALICE

& TABATHA

DOWN THE HOLE YOU GO, TO WHERE YOU ARE.

DOWN THE HOLE YOU GO, TO WHERE YOU ARE.

ALL

NOTHING COMES OR GOES… SOMEWHERE IN THE SOUL…

LET THE SORROW GO…

SOPRANOS & ALTOS

OHH…

OHH…

TENORS & BASSES

DOWN THE HOLE…

DOWN THE HOLE…

ALICE

THERE ARE ROOMS YOU LEAVE BEHIND, OTHER WOUNDS OF OTHER TIMES. OTHER SONGS FILL YOUR MIND.

ALICE

RABBITS LEAD YOU FOR A WHILE, PICTURE BOOKS, A CHESHIRE SMILE; SUMMER DRIFTS, LIKE A CHILD.

ALICE & TABATHA

NOTHING COMES OR GOES WITHOUT A SHADOW.

SOMEWHERE IN THE SOUL YOU HOLD THE CANDLE.

LET THE SORROW GO, IT’S HALF THE BATTLE

TABATHA

DOWN THE HOLE YOU GO,

ALICE TO WHERE YOU ARE.

ALICE & TABATHA

DOWN THE HOLE YOU GO, TO WHERE YOU ARE.

ALL

HMM… HMM…

NOTHING COMES OR GOES… SOMEWHERE IN THE SOUL… LET THE SORROW GO…

SOPRANOS & ALTOS

OHH…

WHERE YOU ARE…

OHH…

WHERE YOU ARE…

TENORS & BASSES

DOWN THE HOLE…

DOWN THE HOLE…

DOWN THE HOLE YOU GO, TO WHERE YOU ARE.

ALICE

DOWN THE HOLE YOU GO, AND THERE YOU ARE.

(ALICE holds out the pages she’s gathered, an offering to the audience. The lights fade. The End.)

#20—Bows (Winter Blooms)

Please note: there is no song #6.

West of Words 1

LONDON, 1941. NIGHT.

The sound of bombs falling. [MUSIC GO]

Through a curtain made of a parachute, we see a shadowy figure, the 15-year-old ALICE, digging through a rubble-heap of what was once her home. At last, she unearths a treasured book.

A siren sounds. ALICE runs off. Lights rise, revealing that we are underground – a make-shift shelter in a Tube Station. War cots stretch across the platform. And now, YOUNG PEOPLE seeking cover run into the shelter, wearing gas masks. ALICE removes her mask, and seems to stand somewhere out of time. Holding tightly to her book, she looks upon this ghostly world.

2X

ALICE: (to 5)

(A

sounds. As music underscores, everyone removes their gas mask and ducks beneath their cot –everyone except ALICE, who sits immersed in her book.

Then, with a synchronized gesture, all the youths lift one side of their cot and set it on the platform with a bang, bringing us back into the present. [BEGIN FADE OUT] We realize that these youths have settled into a makeshift home, a ward of the ailing and wounded, encamped in this Station.

Repeat & fade quickly on cue "

At the side of the stage, a make-shift quarantine area. Through a parachute curtain, we see an ailing young teen, ALFRED, lying on a cot. ALICE looks over to him repeatedly as she reads.

The fey but weary DODGY turns to the posh young CLARISSA)

DODGY:

Darling, I’ve forgotten – is it day or night?

CLARISSA:

You pick.

(On her round of passing out grey war blankets, the RED CROSS NURSE trundles through. She passes the anxious, newly orphaned NIGEL)

RED CROSS NURSE:

Chilly night tonight.

NIGEL: (Quietly, to himself)

My Mummy’s coming for me today. My Mummy’s coming for me today…

(We see the street-tough TABATHA, perched high on a ladder)

TABATHA: (Not buying it)

Oh do you think?

Just like mine and yours, and his and hers.

(The antediluvian DR. BUTRIDGE reads from his clipboard to the RED CROSS NURSE:)

DR. BUTRIDGE:

Hallam. Alfred Hallam.

(ALICE rises, starts with concern toward ALFRED.

DR. BUTRIDGE shuts the quarantine curtain in her face. ALICE reaches for the quarantine curtain, but the RED CROSS NURSE stops her)

RED CROSS NURSE:

Alice! Back to your bed.

DR. BUTRIDGE:

Superventrical Tachycardia, with Hypovolemia–

ALICE:

What does that mean?

DR. BUTRIDGE:

Hyperhydrosis –

ALICE:

That means he’ll be all right?

Right?

DR. BUTRIDGE:

Due to Mycobacterium Tuberculosis –

RED CROSS NURSE:

We must move that boy – to the end of the line.

ALICE:

Alfred? No!

RED CROSS NURSE:

Catch that cough, he’ll be your death. Ward D.

(Aside to DR. BUTRIDGE) The good-as-dead.

DR. BUTRIDGE: (Hard of hearing) Whaaaat?

RED CROSS NURSE: Good-as-dead.

ALICE:

What are you talking about? He’s not dying.

RED CROSS NURSE: Is there family?

DR. BUTRIDGE:

None left. She found him in the gutter, buried in the rubble. Whole block went down.

ALICE:

He has me. He’ll get better near me. Please. Don’t move him. He’s my dearest friend.

RED CROSS NURSE:

Today he is your dearest friend. Tomorrow, a statistic.

ALICE:

Don’t listen to them, Alfred. I’ll read to you. You’ll feel better.

RED CROSS NURSE:

Alice Spencer!

Thirty-thousand dead up there – and you, with your head in Wonderland.

(The RED CROSS NURSE makes a grab for ALICE’s book – but ALICE holds onto it)

RED CROSS NURSE: (cont’d)

Back! To! Your! Bed!

And button up that blousey, Mousey.

ALICE: (Heads to her cot)

But it is – all buttoned. It’s just grown smaller, really.

TABATHA: (With a knowing, survivor’s grin)

Funny how that happens, when the boys start growing bigger.

CLARISSA: (Suddenly panicked)

Oh my God – my pearls! Where are my pearls?

DODGY: (Withdrawing the strand from his neck)

They insisted.

(DODGY begrudgingly hands CLARISSA the pearls. As NIGEL rocks, ALICE looks again toward ALFRED)

NIGEL:

My Mummy’s coming for me today.

My Mummy’s coming for me today.

My Mummy’s coming for me today…

(HAROLD PUDDING, a young soldier with PTSD, reaches for ALICE, thwarting her cross to ALFRED and leading her to his own cot.)

HAROLD PUDDING:

Shall we have some tea? Shall we?

Tea for two? For him and me – and me.

CLARISSA: (Ironic)

Absolutely.

With just a spit of jam –

DODGY:

And a spot of Spam.

HAROLD PUDDING:

Spam! Spam! What is Spam?

Spam is ham that didn’t pass its physical.

But me, I’m sound. I’m all sound now, me.

This time I’ll passs…

(ANGUS – edgy, working class – leans toward HAROLD.)

ANGUS:

You’ve passed, Harold. It’s past.

HAROLD PUDDING:

I have? Sir, yes, Sir!

Pudding. Harold Pudding, reporting for duty, Sir.

(DODGY and CLARISSA exchange a look. ANGUS chastens them:)

ANGUS:

You try losing your wits on the front, then coming home to the Blitz.

(ALICE is about to head to ALFRED’s cot, but

DR. BUTRIDGE is right there.)

DR. BUTRIDGE:

Misplaced Wits:

Hypnagogic Hallucinations due to –

RED CROSS NURSE:

Dr. Butridge!

DR. BUTRIDGE: (Hard of hearing) Whaaaaaat?

DODGY: (Making fun) Whaaaaaaat?

TABATHA:

Oh that’s funny, is it? Would that a bomb blew out your eardrum. Mad, mad – we’ve all gone mad here.

NIGEL:

“O let me not be mad, not mad…”

My essay on King Lear – it’s due at noon!

DODGY: (Waves it away)

I’ll write you a note, darling. You have a good excuse. [MUSIC GO]

ANGUS:

One puff – and all this fades away. You’re in some other dream.

CLARISSA:

Anywhere but here.

ALICE: (vocal last x) -

There’s a Hat ter

(ALICE makes her move toward ALFRED, but ANGUS circles her, flirtatiously blowing smoke from his opium pipe into her face)

(As ALICE sings, light falls over the ensemble, creating Wonderland images: the soldier becomes a Hatter taking tea; tall Birds appear, with gas masks for beaks)

(The lights shift and real-world time resumes. As the song concludes, ALICE sees the RED CROSS NURSE pushing through, distributing rations, and settles back on her cot.)

60A

& # # # #

(to 61) U

RED CROSS NURSE:

Tin tomatoes with your bacon, and more of you than rations – not a word about it.

(TABATHA drops a tin can in the RED CROSS NURSE’s path. The NURSE trips on it, rations go flying.)

DODGY: (Screams in fear – a bomb?!) Aaah!

(But everyone just stares at him. He covers:) Just trying to get the party started.

RED CROSS NURSE: Tabatha! Such a trial!

(As the RED CROSS NURSE kneels to clean up the mess, TABATHA points ALICE toward ALFRED. ALICE crosses quickly to him.)

CLARISSA: (Indicating TABATHA)

Well, we all know who gets that Tabby’s vote for “Orphan of the Year.”

DODGY:

Has to save somebody. Since she couldn’t save her sister.

TABATHA: (A hiss) Sssssssss.

(ALICE has reached ALFRED)

ALICE:

Alfred!

ALFRED: (Feverish)

Alice, I’m falling away.

The stars are so bright, they hurt my eyes –

ALICE:

That’s the fever talking, not you. Let me read to you. I went back, I found our book. I’ll bring you to our world again.

ALFRED:

Our world. What world?

ALICE:

Come with me. You can run there. You can breathe there. You’ll be well again. Then they won’t take you away. We’ll have each other, always.

ALFRED:

We’ll start reading, I won’t even reach The End.

ALICE:

Of course you will!

All this – we can make it disappear.

(The lights shift, dimming on the Tube Station, and rising on a scene from Alice’s memory: we see the six-year-old YOUNG ALICE chasing the six-year-old YOUNG ALFRED through the cots in the Station, as they act out Alice chasing the White Rabbit in the Book.)

YOUNG ALFRED:

Oh my ears and whiskers. I’m late! So late!

YOUNG ALICE:

White Rabbit! White Rabbit!

(She can’t catch him)

Dear, dear. How queer everything is today!

(The present-day ALFRED addresses ALICE:)

ALFRED:

I won’t start what I can’t finish.

ALICE:

I know – since forever.

ALICE:

(ALICE gazes into that memory. In a pool of light, the six-year-old YOUNG ALICE and YOUNG ALFRED sit and read silently from the Book. We hear YOUNG ALFRED’S MOTHER calling from offstage.)

YOUNG ALFRED’S MOTHER:

Alfred, time for supper!

(YOUNG ALICE and YOUNG ALFRED ignore her call and remain immersed in the Book.)

ALICE:

Even when you were six, staying well past dark, ignoring your mother’s calls – you so had to finish it.

Come there with me.

ALFRED: I’ve no time left – you understand?

Don’t believe them. [MUSIC GO] You can’t let them take this from us. Not this, too. It’s all we have. It’s Wonderland.

ALICE: You can’t…lose heart.

ALFRED:

Oh really? After everything else we’ve lost?

Repeat & fade

(The pool of light fades. YOUNG ALICE and YOUNG ALFRED disappear. The lights rise again on the Tube Station.)

ALFRED: You go there, without me now.

(ALFRED coughs, violently. As the music recedes, ALICE settles him on his cot and begins reading to him)

ALICE:

“Chapter One: Down the Rabbit Hole:” [MUSIC OUT]

Down the Hole

2

Cue:

RED CROSS NURSE: OFF OF THAT BED!

ALICE:

No. Off with your head! [MUSIC GO]

(With that, ALICE jumps upon her bed, and enters her imagination. No one but ALFRED can hear her.)

ALICE: (cont’d)

Stop! Stop! You – and you – and you!

I'll show you. Every one of you.

(To ALFRED)

I’ll bring you.

I know it all by heart.

(ALICE catches ALFRED's eye. She begins to recite, summoning him to their imagined world.)

ALICE: (cont’d)

“And so, with nothing to do, Alice was considering what to do, on this golden afternoon, when suddenly…”

(Pointedly, to ALFRED)

“…a White Rabbit ran close by…” With Excitement! (

V-

(One by one, as they are introduced in song, our Tube Station crew transform into their Wonderland characters. HAROLD PUDDING becomes the MAD HATTER. NIGEL becomes the DORMOUSE; CLARISSA, the QUEEN OF DIAMONDS; ANGUS, the CATERPILLAR; the RED CROSS NURSE, the QUEEN OF HEARTS; DR. BUTRIDGE, the KING OF HEARTS; DODGY, the DUCHESS;

VHit the ground be low,

ALICE: (WHITE RABBIT)

SOP: ALTO: (+DORMOUSE)

Now you’re down the hole… œ œ œœ œ œ œj œ œœ œj œ

Now you’re down the hole…

w Down

97 . œ œj . œ œj

Now you’re down the ∑ œ œj œ œj

Now you’re down the œ J œ J

. œ œj . œ œj

. œ J œ . œ J œ

Now you’re down the

WHITE RABBIT:

w w ww the

98 . ˙ ‰ œj hole, And Œ œ œ . œ J œ

Now you’re down the . ˙˙ ‰ œj hole, And . ˙ J œ ˙ ‰ œj hole, And

. ˙ J œ

99 œj œ œj œj œ œj

call ing from the soul: w hole… œj œ œj œj œ œj

call ing from the soul: J œ œ J œ J œ œ J œ œj œ œj œj œ œj

call ing from the soul: J œ œ J œ J œ œ J œ

100 . ˙ ‰ œj What Œ œ œ # . œ J œ

--

101

# # # # # # # # # # # #

œj œ œj œj œ œj hap pens if I can’t w soul: œj œ œj œj œ œj hap pens if I can’t J œ œ J œ J œ œ J œ œj œ œj œj œ œj hap pens if I can’t J œ œ J œ J œ œ J œ

102

. ˙ ‰ œj Get Œ œ œ . œ J œ If I can’t… Get ˙ ‰ œj Get

˙ J œ . ˙ ‰ œj Get

. ˙ J œ

103 œj œ œj œj œ J œ out of Won der land? J œ œ J œ J œ œ J œ out of Won der land? œj œ œj œj œ œj out of Won der land? J œ œ J œ J œ œ J œ œj œ œj œj œ œj out of Won der land? J œ œ J œ J œ œ J œ

104

J

# # # # # #

(freely, but with intensity) (freely, but with intensity)

105 . œ œj . œ œj

Now we’re down the œ J œ œ J œ

Now we’re down the

hole…

U U

Still 3

Cue:

WHITE RABBIT:

Perhaps you ate a bit more marble cake today, and you grew bigger?

ALICE:

Is that so bad…? [MUSIC GO]

WHITE RABBIT:

The Queen will be just savage. If I’ve kept her waiting.

ALICE:

But she doesn't even know you’re here yet.

Chillin’ the Regrets 4

Cue:

ALICE: But will it really…?

CATERPILLAR: You tell us. [MUSIC GO]

CATERPILLAR: (cont’d)

Come. Shall we…disappear?

The way, some say, a lover disappears into the kiss…? ALICE: Ohhhh, but it's taken me so long just to appear…

& V b b

(The ensemble gather, and form themselves into the shape of a long, inviting Caterpillar-body)

. œ b œj œ œ œ

Where have you gone–

. œ œj œ œ œ b

Where have you gone–

˙

Ó ˙ Œ ‰ œj Or

Ó

˙

˙ Ó & V b b

Where the mind winds down, œ œ œ œj œ œj b

Where the mind winds down,

30 ˙ Ó ˙ Ó

31

J œ œ œj b œ œ

-

Chill in’ the re

32 w grets… w grets…

34 ˙ Ó ˙ Ó

35 (CATERPILLAR 1)

& V & V

b b b b

(CATERPILLAR 2) SOP/ALTO: TEN/BARI:

36 J œ œ œj b œj œ J œ won der ful– O, real J œ œ œj b œj œ J œ won der ful– O, real w w

-

38 J œ œ œj b œ œ œ when it greets the rain… J œ œ œj b œ œ œ when it greets the rain… w w- -#4—Chillin’ the Regrets

-

87

& V & & V

b b b b b

b b b b b

œ œj œ œj

O, the wind’s so

CATERPILLAR 1:

. œ J œ . œ J œ

ALICE:

CATERPILLAR 2: SOP/ALTO: TEN/BARI:

O, the wind’s so Œ œ œ œ b œ

O, the wind’s so w b Ohh… w b Ohh…

91 ˙ Ó ˙ Ó ˙ Ó w b Ohh… w b Ohh…

88 œj œ œj œj œ œj

won der ful– No, real J œ œ œj b œj œ J œ won der ful– No, real œ œ ˙ won der ful–w w

- -- -

- -& V & & V

92 Ó Œ ‰ œj

You’ll Ó Œ ‰ œj

You’ll ∑ w w

89 œ Œ Ó ly–œ Œ Ó ly–Œ œ œ œ It’s just as w Ohh… w b Ohh…

90 œj œ œj œj œ œj b

just as sweet as rain; J œ œ œj b œj œ œj just as sweet as rain; ˙ . œ J œ sweet as rain; w w

93 œ b œ œ œj œ œj hold an oth er view, œ œ œ œj œ œj b hold an oth er view, ∑ w b Ooh… œ œ œ œ Ooh…

-- -

104 œj œ j œ b œ œ

b b b b b

(CATERPILLAR 2) (CATERPILLAR 1)

Chil lin’ the re J œ œ œj b œ œ

ALICE:

Chil lin’ the re J œ œ œj b œ œ

Chil lin’ the re ∑ ∑

105 w b grets… w b grets… w grets…

106 ˙ Œ ‰ œj b

Chil ˙ Œ ‰ J œ b

Chil ˙ Œ ‰ J œ

- -- - -

Chil Ó Œ ‰ J œ œ b

Chil Ó Œ ‰ J œ œ

Chil

107 w b lin’… w lin’… w lin’… w w lin’… w w lin’…

108 J œ œ œj b œ œ

b b b b b

Chil lin’ the re J œ œ œj b œ œ

Chil lin’ the re ∑ ∑

- --& V & & V

109 w b grets… w b grets… . œ J œ . œ J œ O, the wind is ∑ J œ œ b œœ œj œ b œ œ œœ

Chil lin’ the re

-

110 ˙ Œ ‰ œj b

Chil ˙ Œ ‰ J œ b

Chil J œ œ œj b œj œ J œ won der ful– O, real ˙ ˙ b Œ ‰ œj œ Mmm… Chil ˙ ˙ Œ ‰ œj œ b grets… Chil

111 w b lin’… w lin’… œ Œ Ó ly–w w lin’… w w lin’…

(CATERPILLAR 2)

112 ∑ ∑ J œ œ œj b œ œ œ when it greets the rain; J œ œ b œœ œj œ b œ œ œœ

& V & & V

b b b b b

(CATERPILLAR 1)

(ALICE)

Chil lin’ the re ∑

116 œj œ j œ b œ œ

b b b b b

Chil lin’ the re J œ œ œj b œ œ

Chil lin’ the re w œj œ œ œ œj œ b b œ œ œ œ

-

114 œj b œ œj œ œ

Chil lin’ the re J œ œ œj b œ œ

& b

113 ∑ ∑ w w w b grets… J œ œ b œœ œj œ b œ œ œœ

Chil lin’ the re

-- - -

Chil lin’ the re w ˙ ˙ Œ ‰ œj œ Chil ˙ ˙ Œ ‰ œj œ b grets… Chil

-& V & & V

115 w grets… w grets… œ b œ ˙

-

- - -

Chil lin’… w w lin’… w w lin’…

(like a sigh)

(like a sigh)

(like a sigh) - -

Chil lin’ the re J œ œ œj b œ œ

Chil lin’ the re

119 ˙ Ó Aah… ˙ Ó Aah… ∑ ˙ ˙ Ó Aah… ˙ ˙ n Ó Aah… - -

w w b b grets… w w b grets…

(like a sigh)- -

œ

The Key Is 5

Cue:

WHITE RABBIT:

I am rather fearful of losing my head.

ALICE: I know.

(All the CATERPILLARS nod, smiling knowingly at the WHITE RABBIT)

WHITE RABBIT:

You know how Her Majesty is. [MUSIC GO]

den door, The

ALICE:

#

œ Still, we’ll build ˙ ‰ œj œ œ b

Still, we’ll build ˙ ‰ œj œ œ b

Still, we’ll build

œ œ œj œ n œj that sky so broad–

œ œ œ J œ œ J œ that sky so broad–

œ œ œ œj œ n œj that sky so broad–

œ œ œ œj œ n œj that sky so broad–

#5—The Key Is

Wound

Wound

Wound

Wound us in

. œ n œj œj . œ

To see is, . œ J œ J œ . œ

To see is,

. œ n œj œj œ

To see is,

. œ n œj œj

. œ

To see is,

& V & V

# # # #

69 Œ ‰ œj œj œ J œ n

to dream with in Œ ‰ J œ J œ œ J œ

to dream with in Œ ‰ œj œj œ J œ n

to dream with in Œ ‰ œj œj œ J œ n

to dream with in

70 œ œ ˙ œ œ you. We will œ œ ˙ Œ you. œ œ ˙ œ œ you. We will œ œ ˙ Œ you.

71 œ œ œ œj œ J œ rise be yond what's gone,

72 ˙ ‰ œj œ œ

73 œ œ œ œ œ œ and hold the dawn, . ˙ œ

# # # #

Slow the œ œ œ œ œ œ and hold the dawn, Œ œ œ . œ œj

Slow the night and

74 ˙ ‰ œj œ œ b

In a world w dawn… ˙ ‰ œj œ œ b

---& V & V

œ # œ œ ˙ hold the dawn,

Slow the night w ˙ ‰ œj œ œ

Slow the night œj œ J œ ˙ what's gone,

(ALICE and the WHITE RABBIT climb an A-Frame ladder) w Rise… œ œ œ œj œ J œ rise be yond what's gone, Œ œ œ œ œ œ We will rise be yond

In a world

75 . œ œj

-#5—The Key Is

œ œ n œ œ where we be long, . ˙ œ œ We be . œ œj œ œ n œ œ where we be long, œj ‰ œ œ ˙ b

-

The key is, w long… . œ œj n œj . œ

The key is,

œ œ n œ ˙ where we be long,

To be with in

‰ J œ J œ œ J

œ 79 80 Œ œ œ œ Aah ∑ w w ˙ ˙ w

V

--œ ˙ œ

To be with in

‰ œj œj œ J œ n

To be with in

‰ œj œj œ J œ n

œ . ˙ you… œ œ ˙ you… œ œ . ˙ you… 81 w ˙ ˙ Aah ˙ ˙ Aah w ˙ ˙ Aah

. ˙ you… ∑ ∑ w w Aah œ œ œ œ œ œ œ œ Aah

V 82 Œ œ œ œ Aah ˙ ˙ w ˙ ˙ w # w #5—The Key Is

Please

Those Long Eyes 7

Cue:

WHITE RABBIT:

Alice, look – the tree tops. Have you ever seen such tree tops?

ALICE:

From the treetops.

WHITE RABBIT:

Or such a lovely wandering cloud… [MUSIC GO]

(A golden parachute-tide wafts over the stage, and the LOBSTERS waltz on.)

ALICE:

Or such a golden waltz of gorgeous Lobsters.

WHITE RABBIT:

Such such Lobsters…! (Then:)

I am finding myself oddly hungry.

ALICE:

Not the Lobsters!

I mean, I do so love the Lobster Dance.

(A long, awkward pause. The CHESHIRE CAT reappears – only ALICE can see or hear her.)

CHESHIRE CAT: (A beloved bit, from the Storybook:)

“Will you, won’t you, will you, won’t you…”

ALICE: (Prompted by the CAT; to ALFRED) “Won’t you join the dance?”

WHITE RABBIT:

But I’m not in that Dance.

CHESHIRE CAT: Not yet.

ALICE: (To the WHITE RABBIT) Not yet.

(A pause.)

WHITE RABBIT: (Suddenly self-conscious)

You wouldn’t want to, really – with these ears?

ALICE:

The dearest ears.

WHITE RABBIT: (Meaning: two left feet)

I’m all paws.

CHESHIRE CAT: Aren’t we all.

(A pause. Neither ALICE nor the WHITE RABBIT moves.)

CHESHIRE CAT: (cont’d)

Well, you can pause, and pause… and pause… (A beat.)

Pause too long, the moment’s gone. The dance is done. [MUSIC OUT]

ALICE: (To the WHITE RABBIT)

Come. [MUSIC GO] “You really have no notion how delightful it will be, When they take us and they throw us, with the Lobsters, out to sea!”

(The CHESHIRE CAT hovers. ALICE and ALFRED climb down from the tree, drawn by the dance.)

-

&

(ALICE) (CHESHIRE CAT)

Let the so rrow dance. Just ‰

Let the so rrow dance.

hold her by the claws And whis per, “Lobs, Let’s

P

‰ œj

J

Just

and give your self To noth

But

œ œ . œ œ Œ

waltz all night

and

waltz

and waltz all night,

and waltz and waltz all night, In

long

long rit.

waltz all night.”

Manage Your Flamingo 8

Cue:

DUCHESS:

So, when that bunny breezes by, and you’re seizing on that butt cheek and that tail he trails behind, just –(The DUCHESS gestures.) [MUSIC GO]

(Three KNAVES emerge from beneath the DUCHESS’ dress. Then hold up gas masks which serve as flamingo beaks for their croquet mallets. The DUCHESS sings to ALICE, counseling her to tuck in her budding sensuality.)

4

V4

DUCHESS:

KNAVE OF SPADES:

(The CHESHIRE CAT appears)

would she really?

long enough – and loud enough…

CHESHIRE CAT disappears)

Cue:

MARCH HARE:

Sick to Death of Alice-ness 9

The next thing you know, she’ll be demanding herbal tea.

ALICE:

I don’t like herbs.

DORMOUSE: Or Herb?

ALICE: Or tea. [MUSIC GO]

(The MAD HATTER, MARCH HARE, and DORMOUSE gasp. As music rises, they bang the table with their helmets – providing their own percussion.)

Brillig Braelig 10

Cue:

DR. BUTRIDGE:

Stay away.

ALICE:

Dr. Butridge, no. Bring him back!

DR. BUTRIDGE:

There’s no returning. Terminal prognosis. Awaaaay. [MUSIC GO]

(As he speaks, DR. BUTRIDGE transforms into the JABBERWOCK.)

DR. BUTRIDGE: (cont.)

From that Haemoptystic Hare, that Buck Tubercular. “’Twas brillig, and the slithy lobes” –

ALICE:

The Jabberwock!? That’s not what’s next. (As if to banish him:)

“Then came a pattering of feet on the stairs, and Alice knew it was the Rabbit coming to look for her, and she trembled –”

VJABBERWOCK:

Trembling Sickness. Delirium Tremens. Orthostatic Tremor…

ALICE: What?

JABBERWOCK: (Hard of hearing) Whaaaat?

ALICE: What?

JABBERWOCK: (Now fully the Jabberwock) “Beware the Jabberwock!”

ALICE:

No! Alfred!

JABBERWOCK:

“Beware the frumious Bandersnatch, The jaws that bite, the claws that catch!” [GO ON]

(JABBERWOCK) (SOP/ALTO) (TEN/BARI)

Two days ’til his heart drops dead

mis ing prog no sis.

Two days ’til his heart drops dead

pro mis ing prog no sis.

Two days ’til his heart drops dead

pro mis ing prog no sis.

Sense less twit, go grieve a bit, and

soon we’ll have sa mo sas.

Sense less twit, go grieve a bit,

Sense less twit, go grieve a bit,

Cue:

Some Things Fall Away 11

CHESHIRE CAT:

It isn’t how much time. It’s how we use the time.

ALICE:

But he is always out of time.

CHESHIRE CAT:

Perhaps he hasn’t much to give. [MUSIC GO]

CHESHIRE CAT: (cont’d)

Alice, pause, and let the picture in.

To be there, Puss, that’s to be in Wonderland.

Your Shell of Grief

Cue:

ALICE:

But…I don’t know how to let him go.

MOCK MOCK TURTLE:

Don’t. [MUSIC GO] If you never move forward…

MOCK TURTLE:

You never have to leave your friends behind.

(The MOCK TURTLE leads ALICE to the turtles, inviting her to become part of them.)

52

V

(The TURTLES form a shell around ALICE. She merges into their hard, grieving shell)

M. TURTLE, M.M. TURTLE, & M.M.M.M. TURTLE:

53

M.M.M. TURTLE:54

& V

# # #

˙ Œ ‰ j œ wall, That’s

BACKUP TURTLES:

SOP/ALTO: TEN/BARI:

. œ œj . œ œj

Tell the shell of . œ J œ . œ J œ

Tell the shell of

œ œ ‰ Œ ‰ œj œ œ bet ter–Re tract your & œ œ œ œ grief, the won der. œ œ œ œ grief, the won der.

œ Œ ‰ œr œ œ head– You won’t get V

M.M.M.M. TURTLE:--

. œ œj . œ œj

Tell the shell of

. œ J œ . œ J œ

Tell the shell of

M. TURTLE: 55 œ œ œj ‰ Œ œ . œ wet ter! Love is œ Œ Ó grief. œ Œ Ó grief.

# # #

56 ˙ ‰ œj . œ œ

brief– And time’s a œ œj œ œj

Swell the shell of . œ J œ . œ J œ

M. TURTLE: 57 ˙ Œ œ œ thief. Climb in œ œ œ œ grief, duck un der.

Swell the shell of

rall.

ALL 4: 58 œ œj œ œ

to your shell of œ œj œ œj

œ œ œ œ grief, duck un der.

Swell the shell of . œ J œ . œ J œ

Swell the shell of

(M.M.M. TURTLE on top note) 59 ˙ ˙˙ ˙ ¿ ¿ grief. So sweet! ˙ Ó grief. ˙ Ó grief.

M. TURTLE:-

Another Room in Your Head

Cue:

ALFRED:

It doesn’t always end as books would have it end. I’m a rabbit in a waist-coat, really.

Running out of time in Wonderland. [MUSIC GO]

ALICE:

But how shall I be here without you, now?

ALFRED:

That is the riddle.

(This lands. A silence. ALICE’s cot appears, within some blank space of Wonderland, as if they were between both worlds. ALFRED leads her to it.)

ALICE: ALFRED:

Oh, will you

head?

Spend some œj

head?

Spend some Ó Œ ‰

QUEEN OF DIAMONDS: (with ALICE)

. œ . œ

DUCHESS: (with ALFRED)

Spend some

œ

œ œ œ time in an oth er room in your

Spend some

head?

Wond’ ring œj

œ œ J œ œ # ‰ œ œ head?

CHESHIRE CAT:

Wond’ ring Ó . Œ . ‰ œ œ

Wond’ ring œj œ . œ œ Œ . head?

œj

œ œ

œ

œ

why in an oth er room in your . œ . œ œ œ œ œ œ œ œ œ why in an oth er room in your . ˙ œ œ œ œ œ œ œ œ why in an oth er room in your ∑

CATERPILLAR:

œ œ J œ . œ # ‰ œ œ head?

Wond’ ring

why

. œ œ œ œ œ # œ Œ head?

ALFRED:

œ œ œ # œ œ . œ ‰ œ œ œ head? Will you dream . ˙ . œ Œ . head?

it’s like al ways, haunt ing as al ways,

You still there, want ing my love?

dream I’m still watch ing, full of such long ing?

dreams, when I’m fall ing, fall ing and fall ing,

dreams, you’ll be call ing, call ing with long ing,

dreams, you’ll be call ing, call ing with long ing,

(ALICE and ALFRED are seated on a cot. She moves closer to him.)

ALICE: Take me with you.

(ALICE leans close – for a kiss. ALFRED pulls back, for fear of infecting ALICE.)

ALFRED: Alice! No – you mustn’t get too close.

ALICE: Drink me.

ALFRED: And lose you too?

ALICE: I’ll be there. Always. With you.

ALFRED: They’re calling me, not you.

ALICE: I hear them calling, too.

(ALICE urges forward for the kiss. ALFRED almost surrenders to it, but catches himself, grabs her shoulders, stopping her. Assuming his role as Court Herald, he summons Wonderland around them.)

WHITE RABBIT: Silence in the Court!

ALICE: Don’t! No! [MUSIC OUT]

Isn’t It a Trial? 14

Cue:

QUEEN OF HEARTS:

Love love love love love – make me puke. You shameful girlish thing.

hate the part that’s tiny still in you. And yet, you want to hide within the child in you. [MUSIC GO]

You caahn’t, you mean.

You can no longer not know what we mean.

Do You Think We Think You’re Alice? 15

Cue:

QUEEN OF HEARTS:

Do you think our dream needs you to dream it?

You, who are no longer you. [MUSIC GO]

(All the Witnesses in Wonderland bolt to the opposite side of the stage and become the Jury. As they do, ALICE turns privately to ALFRED.)

ALICE:

How can you bow to their madness?

Why did you turn the page?

WHITE RABBIT:

That is the story. Time to close the Book.

think we think you’re

we think you’re

& & V

b b b b b b b b b b b b b b b b b b

6 Ó ‰ J œ œ œ

KING OF HEARTS: 7 œ œ œ œ n J œ . œ

VAnd we’re noth

œ œ œ œ œ œ Œ and on ly A lice.

œ œ œ œ œ œ Œ and on ly A lice.

ing when you’re not here? Ó ‰ œj œ œ

- -- - -

No no, noth Ó ‰ J œ œ œ No no, noth

V & V

b b b b b b b b b b b b b b b b b b

8 œ Œ ‰ œj œ œ

DUCHESS: 9 œ œ œ œ J œ . œ thing once you’ve got here?

And so some œ œ œ œ n œj . œ ing when you’re not here.

œ œ œ œ n J œ œ ing when you’re not here.

œ Œ ‰ j œ œ œ

So so some œ Œ ‰ œj œ œ

So so some

QUEEN OF DIAMONDS: 11

10 œ Œ Œ ‰ œ œ 3

b b b b b b b b b b b b b b b b b b

--V & V

Do you & œ œ œ œ œj . œ thing once you’ve got here.

œ œ œ œ J œ œ n think we think, “Oh duck ie!” œ Œ Œ ‰ œ œ 3

-

œ œ œ œ J œ œ thing once you’ve got here.

#15—Do

Now you’re œ Œ Œ ‰ œ œ 3

Now you’re

Think We Think You’re Alice?

12

& & V

b b b b b b b b b b b b b b b b b b

MAD HATTER: 13

œ Œ ‰ J œ œ œ “Now you’re here, V œ œ œ œ œ œ n Œ here, Dear God, we’re luck y!

œ œ œ œ œ œ n Œ here, Dear God, we’re luck y!

--

œ œ œ œ J œ œ we’ll all go punt ing!”

Ó ‰ J œ œ œ

Now you’re here, Ó ‰ J œ œ œ

Now you’re here,

V & V

b b b b b b b b b b b b b b b b b b

14 œ Œ ‰ J œ œ œ

Like, we’re wait œ œ œ œ œ œ Œ

my heart is thump ing! œ œ œ œ œ œ Œ

CATERPILLAR: 15 œ œ œ œ n œ œ œ ing ’til you turn the page, ∑ ∑

my heart is thump ing!

--

DUCHESS: 17

b b b b b b 16 œ Œ Œ œ

V

To pop

œ œ œ out of our dis mal beige.

KING OF HEARTS: -

18 ˙ Œ ‰ J œ ’Cause

V &

b b b b b b b b b b b b b b b b b b

J œ œ

Won der land was si lent, Ó ‰ œj

All our minds

QUEEN OF HEARTS: - - --- -

All our minds

Œ ‰ œj

œ ’Til some vis &

œ œ n œ œ œ Œ be came so mind less… œ œ œ n œ œ

Œ be came so mind less…

’ry thing just wait ing here in

b b b b b b b b b b b b b b b b b b

no one with out A lice. Ó Œ ‰ œ œ Oh, we’re ∑

QUEEN OF HEARTS:

--& V

DUCHESS:

no one with out A lice. Ó ‰ J œ œ œ

Such a no

b b b b b b b b b b b b

b b b b b b b b b b b b b b b b b b

DORMOUSE: MAD HATTER: (DUCHESS)

Œ œ œ œ œ œj ‰ No, I’m A lice. œ œ Œ ‰ J œ œ œ œ œ œ

one.

31 Ó ‰ J œ œ œ

fell down

No no no

-& & V

no no no A lice.

œ œ œ œ J œ œ

the hole to get here. Ó ‰ œj œ œ

Yes you’ve dug Ó ‰ œj œ œ

Yes you’ve dug

33 œ Œ Ó

-

œ œ œ œ œ œ a love

-

‰ ¿j

DUCHESS: 35 ¿ ¿ Œ Œ ‰ œ œ fig, dear?

Do you think we give a

KING OF HEARTS:

Do you

#15—Do You Think We Think You’re Alice?

I’ve Shrunk Enough 16

Cue: [Attaca from #15 – “Do You Think We Think You’re Alice”]

QUEEN OF HEARTS: Suppress her! Suppress her! (The QUEEN’s henchmen set a red hood of execution over ALICE’s head.)

= 186

QUEEN OF HEARTS (cont’d): On your knees! Get her head! Watch her shrink!

(The blade of the truncheon-guillotine hovers above ALICE’s neck. Suddenly, with a defiant gesture, she stops time. [MUSIC OUT] Everyone freezes.)

ALICE: Watch me shrink? I don’t think so.

(With that, ALICE gestures again. The world of the Trial resumes, but she is taking a stand.) [MUSIC GO]

ALICE: (to

QUEEN OF HEARTS:

Still (Reprise) 17

Cue:

ALICE:

So little left, and still you gave me that. You changed the page.

ALFRED:

A parting gift. [MUSIC GO]

ALFRED: (cont’d) (from the book)

“Don’t let them know he loved her best, For this must ever be A secret kept from all the rest, Between yourself and me.”

ALICE:

Yes.

= 142

ALFRED: I can’t tell you what it’s meant, to come here once again – to run here once again. (In a pool of light, YOUNG ALFRED appears and addresses the older ALICE)

YOUNG ALFRED:

I hope you will remember how it was…?

(In a pool of light, YOUNG ALICE appears)

YOUNG ALICE:

. still…

ALFRED:

YOUNG ALICE:

11

YOUNG ALFRED:

U U

Afternoon 18

Cue:

ALFRED:

In the story, there’s no moment of farewell, you know. [MUSIC GO]

ALFRED: (cont’d) And so.

ca. 70 - 74

(YOUNG ALICE and YOUNG ALFRED sit in a pool of light beside an imaginary river bank, reading from their book.)

ALICE:

ALFRED:

(During this final chorus, ALFRED departs as if his spirit were ascending)

(As the song concludes, the shadowy form of the Underground station slowly fills in around ALICE. She sits alone on ALFRED’s cot.)

Winter Blooms 19

Cue:

CLARISSA:

Well, at least that story’s done.

ALICE: (More to herself) No, never done. [MUSIC GO]

TABATHA:

Down the

To

Down the