Behind the Curtain: An Interview with Alice in Wonderland adapter Penny Farrow

Behind the Curtain interviews are back! In this behind the curtain interview we speak to Alice in Wonderland adapter Penny Farrow, to find out more about the show and why Penny thinks stories like Alice in Wonderland have stood the test of time... Returning to London after its UK premiere last year, Penny tells us what it is like adapting a classic for the stage.

In your own words how would you describe Alice in Wonderland?

If we are talking about the story itself, Alice In Wonderland is the story of a child growing up—moving from one phase of childhood to the next. Alice courageously makes her way through this new world that doesn’t make any sense, trying to find her way to a place she understands, while discovering who she is now. It is one big, nonsensical adventure, and she’s never sure what will happen next. Our version of this story is packed with puppets, larger-than-life characters, physical story-telling, and loads of joy!

What was it about Lewis Carroll's Alice in Wonderland that made you want to adapt this into a new stage show?

I jumped at the chance to adapt Alice in Wonderland. When I was first asked, I was heavily involved in all apsects of theatre for young people. I was Artistic Director of a Children’s Theatre Company, directing and writing their touring productions, and teaching in the youth program, so it was a good fit. Like many people, I’d grown up with Alice’s Adventures in Wonderland and I loved it. By chance, my mum had just given me a copy of the beautiful book The Annotated Alice* and this became my go-to source material—it still is. I read, reread, and kept rereading, and fell in love with the story in a new way. Alice is packed with

wonderful, absurd characters to explore. And the episodic nature of the Alice stories gave me freedom to reorder events and pull characters and dialogue into different scenes, while still feeling true to the essence of the source material.

(For anyone who wants to check it out: The Annotated Alice, The Definitive Edition, Lewis Carroll, Introduction and notes by Martin Gardner, ALLEN LANE, THE PENGUIN PRESS. It even has original John Tenniel illustrations and a facsimile of a hand-written chapter that was cut before Looking Glass was published.)

With the material being so popular, how did you approach the material to make sure it contained what fans love but still make it new and exciting?

There were some essential characters I knew I had to include, both for the fans and for the narrative arc. The White Rabbit is the catalyst for Alice to enter Wonderland in the first place, and helps propel her through the world. The Cheshire Cat also moves her along. The tyranical Queen of Hearts is the impetus for Alice to go back home. And the Tea Party Trio provide quintessential Wonderland chaos and create a strong centrepiece for the play. All 6

are crowd favourites, so there was definitely no leaving them out! After that, I wanted to put in as many characters as I could. The continual parade of new characters moving through the world, many of them puppets, and the reappearance of several characters, keeps the story bubbling along while staying true to the episodic nature of Carroll’s Alice books.

(Those 9 actors are working their hearts out and backstage is a continual flurry of activity as they change costumes, ready their puppets, and play a multitude of characters.) I say books because I’ve pulled dialogue and characters from both Alice’s Adventures In Wonderland and Alice Through The Looking Glass. There’s unexpected dialogue in scenes that people may know well and characters can pop up in unexpected places. It was also important to me

that the actors had room to play. Children love seeing grown-ups be silly… play is the great equalizer! And there are moments written into the script where the actors have the opportunity to insert something topical or find a physical gag or moment, so that definitely keeps it fresh. This is all explored in the rehearsal room and lets the director and actors find something new each season.

Since the show's premiere back in 2025 and its other previous runs, how has the show evolved?

Once of the biggest changes is how much the role of the story tellers has shifted. For a long time they were called Narrators and stood quite apart from the story, commenting from outside looking into the world. I’ve now renamed them Players, and rather than describing the world and observing Alice in the world, they speak the world into being, building it with their bodies, interacting with it and interacting with Alice to a far greater degree. It’s brought more play, more energy, and even more space for the actors to bring in their personalities

and senses of humour.

Originally you were a performer before moving to be a writer, teacher and director. What made you have a change of career?

I don’t see myself as having left performing behind, rather I’m simply on some side quests right now. I started writing, teaching and directing while I was still performing. It became my bread and butter(flies) by happenstance: it just took on a life of its own and I followed. I see it all as quite a fluid thing. I’m looking for the way I want to tell a particular story, whether that’s me on stage, me writing the thing, me directing the thing, or even me painting the thing. I think all artists are simply looking for the right vehicle to tell the current burning story. I love

creative spaces no matter how I’m involved: rehearsal rooms, art studios, scene workshops, classrooms, an empty theatre. I’m still involved in new Australian work play readings, so I get to stretch my acting muscles there. I will tread the boards again. **Whispers** I may be working on some things right now…

The production has established London audiences plus international audiences, how would you say the different audiences have responded to the show?

I’ve been thinking about this question a lot recently. After having worked with Australian casts of Alice for many years and now working with British casts over the last 12 months or so, I’ve realised it’s like comparing apples to oranges. This show really allows the cast to bring so much of themselves into the work in a way that can shift tone and humour, so every cast brings something unique. There are always varying degrees of this in any theatre piece, and Alice allows this to a large degree. That means that an Australian cast brings an Aussie

sense of humour into the work and a British cast does likewise, so a London audience sees a very British version of the show and a Brisbane audience sees a very Aussie version of the show. And I love that.

Why do you think classic stories like Alice in Wonderland have stood the test of time universally and are loved by so many generations?

Coming-of-age stories like Alice endure because for adults they mirror our own experiences, and for children they help navigate the way. Growing up is a universal experience. And growing up can feel like the world is against you: the world no longer quite makes sense or perhaps doesn’t feel as safe as it once did. Yes, we all have our personal growing up story but essentially that’s a journey of self-discovery, testing our moral compass, and finding our own agency. We understand a child protagonist alone in the world is vulnerable and we want

to protect them, cheer for them. We are drawn in and are on their side. Everything is urgent and high stakes for a child against the world—an excellent ingredient for story telling. And even as grown-ups we can see ourselves in these young protagonists: we still experience times of powerlessness, we sometimes have to take journeys of self-discovery or re-discovery, we have to test our moral compass. Aren’t we all still essentially muddling our way through the world no matter how old we are? Perhaps that’s just me!

How important would you say that shows like Alice in Wonderland are seen right now?

We are so plugged into our phones, and life moves so fast. And the world is quite

overwhelming right now… not just for kids… for us all. Having the chance to stop, exhale, and envelop ourselves in something a little silly and wildly imaginative for a moment is a gift. We need escape. We need the ridiculous. Shows like Alice In Wonderland allow us that escape. They give us space to laugh at, and enjoy, ridiculous things. And Alice reminds us that tyrants like the Queen of Hearts can be vanquished; that we have the capacity to be tenacious even in a world of confusion and nonsensical law makers; that we can hold true to our course and find our way ‘home’.

What other classic story would you like to adapt next?

I’m really drawn to the various subgenres of Gothic literature: stories that have darkness and danger lurking. I have loose sketches of things I’m toying with; several very well thumbed copies of Edgar Allan Poe’s work are a testament to that. The Secret Garden by Frances Hodgson Burnett has been on my mind for a while too.

Describe the show in one sentence

A glorious, colourful world of imagination, silliness, and play!

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Alice in Wonderland plays at the Riverside Studios from 16 July – 2 August before playing at Soho Walthamstow from 5 – 16 August:

https://www.aliceinwonderlandlive.com/home

Photo Credit: Steve Gregson