CAST
IN ORDER OF APPEARANCE

Alice - Sylvia Padgett*
White Rabbit - Callie Crawford*
Mouse - Gabby Marmon
Lory  - Theresa Bagley
Dodo - Abigail Stallbaumer
Eaglet - Katie Schieferecke*
Caterpillar - Bailey Ramos
Fish Footman - Rosemary Huseth
Frog Footman - John Meinhardt
Duchess - Corey Cochran*
Cook - Katlynne Hobart
Cheshire Cat - Megan Farrington
March Hare - Katie Schieferecke*
Mad Hatter - Jackson Schrickel*
Dormouse - Samantha Ford
Two of Spades - Kassy Short*
Five of Spades - Caitlyn Gardner
Seven of Spades - Savannah Schrickel
Queen of Hearts - Ann Baldridge*
King of Hearts - Corbin Eakes*
Knave - Michael Soza
Gryphon - Katherine Moore*
Mock Turtle - Tori Everett
Red Queen - Sarah Fletcher*
Train Guard - Abigail Stallbaumer
Man Dressed in White Paper - John Meinhardt
Tweedledum - John Kyle*
Tweedledee - Mike Quaney*
White Queen - Marya Feldt*
Sheep - Katlynne Hobart
Humpty Dumpty - Anthony Maldonado
White Knight - Aaron Broxterman*  

Mr. Mark Radziejeski, Director

PRODUCTION CREW
Kelsie Bigenwalt, Amanda Evans
  Brooke LaRue, Jenni McNary
  Catherine Padgett*

SET/COSTUME CONSTRUCTION 
Callie Crawford*, Corbin Eakes*
  Marya Feldt*, Sarah Fletcher*
  John Meinhardt, Catherine Padgett*,
  Sylvia Padgett*, Vickie Ruiz
  Katie Schieferecke*, Kassy Short*

* denotes member of Thespian Troupe 7275

ABOUT THE PLAY
Notes from the Playwright

It was not without considerable trepidation that I started work on my first “Alice” production at the Civic Repertory Theatre. I realized that the word “faithful” must be the keynote of any such venture if it were to find favor with an audience. The love that countless people feel for the “Alice” books amounts to fanaticism, and I felt a deep and solemn responsibility to Carroll and the public.
Carroll is not one of those writers for children who become “as children” themselves. He presents the problem as seen by a child, but comments upon it as an adult mathematician on a holiday. Hence the bewildering and fascinating texture of his story; half adventure, half chop-logic and shrewd caricature.
This production, therefore, is not designed primarily for children. The “pretty-pretty,” the “cute” and the “saccharine” must be as drastically eliminated on the stage as in the books. They are by no means children’s books, in the sense of being “kid-stuff.” On the contrary, it seems to me that no child could possibly appreciate or understand the wit and wisdom of their nonsensical logic. The “adventures” part of the books is of course fascinating to children; the fact of going through a looking-glass, of talking to caterpillars, cats and rabbits, of using flamingoes as croquet mallets, and the hundreds of other strange happenings that make Alice solemnly exclaim: “Curiouser and curiouser!” are absorbing and delightful. On the other hand, who but a grown-up could possibly appreciate the bitter truth of such a remark as: “Jam tomorrow and jam yesterday, but never jam today.”
It seems to me that a stage presentation of “Alice,” in order to be faithful to the books, must appeal equally—though for different reasons—both to children and adults.
Through the use of various devices of modern stagecraft the action is continuous, Alice never leaving the stage. I felt it important to devise a technical scheme whereby all the places and characters of Alice’s dream come to her—that since we experience these through her mind, she must never disappear from our sight.

E. Le Gallienne
Westport, Connecticut, 1948