Directed by JOSIF JOVANOVSKI
Musical Direction by LEXIE GEDGE | Choreography & Movement by HOLLY PRESTWIDGE
Costume Design by RENEE BRIGHTON | Production Management by JOSHUA HANNELLY
Musical Direction by LEXIE GEDGE | Choreography & Movement by HOLLY PRESTWIDGE
Costume Design by RENEE BRIGHTON | Production Management by JOSHUA HANNELLY
SEASON: NOVEMBER 20 - DECEMBER 6
AUDITIONS: AUGUST 10-12, 6pm - 10pm (by appt only)
AUDITIONS: AUGUST 10-12, 6pm - 10pm (by appt only)
NEW AUDITION SPOTS OPEN:
AUGUST 17 & 19, 6pm - 10pm (by appt ONLY)
AUGUST 17 & 19, 6pm - 10pm (by appt ONLY)
Before we get started, PLEASE TAKE NOTE OF THE SEASON CHANGE - this has been advertised as Nov 13-29 - it has been pushed back by one week to allow another production to slot in before hand.
Everyone knows the story. The rabbit. The hole. The girl who fell.
Nobody tells you what's waiting for her.
Behind the laughter, behind the seven-years-frozen tea table, the most beloved man in Wonderland is hiding something even he can't quite look at. And somewhere past the looking-glass, a Queen is trying to force the whole story to a stop — one ending, no arguments, no mess.
Alice and her brother Theo didn't come here to fix anyone. They came here to get home.
They may not get a choice.
ALICE. Coming November 2026.
Some stories aren't finished — they're just waiting for the right person to turn the page.
Nobody tells you what's waiting for her.
Behind the laughter, behind the seven-years-frozen tea table, the most beloved man in Wonderland is hiding something even he can't quite look at. And somewhere past the looking-glass, a Queen is trying to force the whole story to a stop — one ending, no arguments, no mess.
Alice and her brother Theo didn't come here to fix anyone. They came here to get home.
They may not get a choice.
ALICE. Coming November 2026.
Some stories aren't finished — they're just waiting for the right person to turn the page.
AUDITION PROCESS
Auditions will be available to book from Wednesday 29th July - right here, on THIS page!!
Auditions will take place in person at the Roo, on Monday 10th, Tuesday 11th, and Wednesday 12th August - by appointment only - with Call Backs taking place Thursday 13th August.
Due to demand and exhaustion of current audition spaces - TWO additional days of auditions have opened - August 17 and August 19, by appointment only! These will be held at the Roo.
Video Audition deadline will now be 6:00pm, Wednesday 19th August.
ALL auditions will be filmed, and your photograph will be taken at your audition time.
There will be a DANCE CALL - and though there are no major dance requirements, there will be some character movement and small chorey based numbers. Ensure to book into one of the sessions so we can see if you can move.
Vocal audition:
Prepare 16–32 bars of a song that shows off your voice in the style of the role(s) you're auditioning for — a musical theatre ballad or up-tempo is ideal.
Bring a backing track on a USB - we won't be accepting someone playing the track on their phone. The backing track should not contain vocals to sing along with. Ensure tracks are in MP3 format.
Those auditioning for The Hatter, Alice, Theo, Queen of Hearts, Red Queen, or The Blank should be prepared to sing a slightly longer cut (up to 32 bars)
We may stop you during your song, this is no indication of your audition, this is just us saying thank you, we've seen enough.
Movement:
There will be a Dance Call which EVERYBODY should attend. Please wear comfortable clothing and supportive shoes. No formal dance training required, but you should be comfortable learning a simple pattern and moving with a group.
Cold reading:
Sides (short script excerpts) will be provided at the audition — no need to memorize anything in advance. Callbacks may include reading scenes opposite other auditionees, so be ready to stay flexible and take direction in the room.
Video auditions will be accepted, however, any person submitting a video MUST attend the call back date should they be required.
Call backs will be THURSDAY 20th AUGUST, by appointment only, from 6pm - 10pm. Video auditions are ONLY for vocals, so make sure you choose the correct song to showcase your talent and blow us away. Movement & Cold Read will take place at the Call Back. NB: Not all Video Auditions will be invited to Call Backs.
NB: In the event of Call Backs - these will now take place Thursday 20th August, from 6:00pm - 10:00pm - due to the additional audition dates opened.
Auditions will take place in person at the Roo, on Monday 10th, Tuesday 11th, and Wednesday 12th August - by appointment only - with Call Backs taking place Thursday 13th August.
Due to demand and exhaustion of current audition spaces - TWO additional days of auditions have opened - August 17 and August 19, by appointment only! These will be held at the Roo.
Video Audition deadline will now be 6:00pm, Wednesday 19th August.
ALL auditions will be filmed, and your photograph will be taken at your audition time.
There will be a DANCE CALL - and though there are no major dance requirements, there will be some character movement and small chorey based numbers. Ensure to book into one of the sessions so we can see if you can move.
Vocal audition:
Prepare 16–32 bars of a song that shows off your voice in the style of the role(s) you're auditioning for — a musical theatre ballad or up-tempo is ideal.
Bring a backing track on a USB - we won't be accepting someone playing the track on their phone. The backing track should not contain vocals to sing along with. Ensure tracks are in MP3 format.
Those auditioning for The Hatter, Alice, Theo, Queen of Hearts, Red Queen, or The Blank should be prepared to sing a slightly longer cut (up to 32 bars)
We may stop you during your song, this is no indication of your audition, this is just us saying thank you, we've seen enough.
Movement:
There will be a Dance Call which EVERYBODY should attend. Please wear comfortable clothing and supportive shoes. No formal dance training required, but you should be comfortable learning a simple pattern and moving with a group.
Cold reading:
Sides (short script excerpts) will be provided at the audition — no need to memorize anything in advance. Callbacks may include reading scenes opposite other auditionees, so be ready to stay flexible and take direction in the room.
Video auditions will be accepted, however, any person submitting a video MUST attend the call back date should they be required.
Call backs will be THURSDAY 20th AUGUST, by appointment only, from 6pm - 10pm. Video auditions are ONLY for vocals, so make sure you choose the correct song to showcase your talent and blow us away. Movement & Cold Read will take place at the Call Back. NB: Not all Video Auditions will be invited to Call Backs.
NB: In the event of Call Backs - these will now take place Thursday 20th August, from 6:00pm - 10:00pm - due to the additional audition dates opened.
ABOUT THE SHOW
ALICE is a full-length, two-act book musical based on Lewis Carroll's Alice's Adventures in Wonderland and Through the Looking-Glass. When Alice and Theo Liddell fall down a rabbit hole together, they land in a Wonderland whose funniest, most beloved figure — the Hatter — has spent seven years hiding a grief he can't outrun. To find their way home, the siblings help him face it, standing between a Red Queen who wants the story locked into one tidy ending and a Wonderland that would rather stay wonderfully, messily unfinished.
- Style: Warm, funny, and adventurous, with real emotional depth underneath — grief, identity, and reconciliation handled through a family-friendly Wonderland lens.
- Length: Two acts, with musical numbers, approx. 2 hours 15 minutes including intermission.
- Company size: 33 named speaking roles; a full company of 44–50 with ensemble, or as few as 30 with doubling. All ages and experience levels encouraged to audition, including first-time performers — this is a large-ensemble show built to welcome a big, varied community cast.
REHEARSALS
There will be a rehearsal schedule provided at the first rehearsal where only CERTAIN cast will be required on particular days, the days we will be rehearsing are;
Wednesdays - 7pm - 10pm | Sundays 1pm - 5pm
If you are not available on Wednesday evenings OR Sundays, this production is not for you. As we get closer, we may introduce a Monday evening however this should not be necessary if we're all available and attend every rehearsal required. Any successful cast, please block out Wednesday evenings and Sunday's, and from October 19, Monday evenings. The roles of ALICE and THEO will be the ONLY child roles required Wednesday evenings up until we schedule Full Run rehearsals.
NB: Sunday rehearsals will become 10:00am - 5:00pm from October 25
Tech Week: Saturday 14th November 10am - 5pm, Sunday 15th November 10am - 5pm,
Monday 16th November 6pm - 10pm, Tuesday 17th November 6pm - 10pm, Wednesday 18th November 6pm - 10pm
Wednesdays - 7pm - 10pm | Sundays 1pm - 5pm
If you are not available on Wednesday evenings OR Sundays, this production is not for you. As we get closer, we may introduce a Monday evening however this should not be necessary if we're all available and attend every rehearsal required. Any successful cast, please block out Wednesday evenings and Sunday's, and from October 19, Monday evenings. The roles of ALICE and THEO will be the ONLY child roles required Wednesday evenings up until we schedule Full Run rehearsals.
NB: Sunday rehearsals will become 10:00am - 5:00pm from October 25
Tech Week: Saturday 14th November 10am - 5pm, Sunday 15th November 10am - 5pm,
Monday 16th November 6pm - 10pm, Tuesday 17th November 6pm - 10pm, Wednesday 18th November 6pm - 10pm
HOUSE RULES
- All those who are successfully cast in ALICE are required to become financial members of Roo Theatre Company. Our membership is annual, and is $33 for Adults, $28 for Concession. Financial members receive discounted ticketing to our productions, and this fee covers insurance and administrative costs and costuming costs (ie: script print outs, music print out, and costume hire). Membership must be finalised by the FIRST rehearsal.
- This production team work on a 3 strike policy, reminding cast that all roles can be replaced. If you are genuinely sick or unable to attend a scheduled rehearsal, that is completely understandable. We just expect you to contact us to advise. Any persons who miss 3 rehearsals with no contact will be at risk of having their place in the cast forfeited.
- ALL cast, crew, creatives over the age of 18 must have a valid and eligible Working with Children's Check. These are compulsory if you will be working in any part of this team, on stage or behind . They can be obtained via the Service NSW website, and volunteer applications are free. These must be provided by the FIRST rehearsal. So if you're thinking of auditioning and don't have one, it doesn't hurt to apply now.
- The costume team will provide your stage costume, but for hygienic purposes there are a few things we dont provide / stock - so you may be asked to supply some small things yourself, such as your own SOCKS, SHOES, HOSIERY
- This is community theatre and requires EVERYBODY to be a key player - especially when it comes to Bumping In and Bumping Out. You don't have to be a qualified carpenter or an experienced painter to attend, we have odd jobs that require the assistance of everybody. So, the expectation is that ALL cast (over the age of 15) attend bump in. The Bump out will take place immediately after the final show on Sunday 29th November.
- The Roo Theatre Company would like everybody to be aware of our Behavioral Expectations and RTC Code of Conduct as outlined on our website at roo-theatre.com.au/policy - breaches or failure to comply with these policies and procedures will result in expulsion from the company. Everybody deserves to feel safe and appreciated.
Now finally, the part you're all here to see...
CHARACTERS
While reading the character descriptions, please take note of the accent we are looking for!
THE HUMANS
Alice Liddell — Stage age: 11-13 years. The girl who falls into Wonderland and drives the story's questions forward. Curious, stubborn, and quietly grieving in a way she hasn't found words for yet — she asks the questions everyone else in her family is avoiding, and that instinct is what eventually saves Hatter as much as herself. UPPER-MIDDLE CLASS ENLISH - CLASSIC 1950's CINEMATIC
Theo Liddell — Stage age: 15-17 years. Alice's older brother, who appointed himself the responsible one after their father's death and hates the job. Dry, guarded, and quietly exhausted by his own self-appointed control — his arc is about learning that holding everything together isn't the same as healing. UPPER-MIDDLE CLASS ENLISH
Mrs. Liddell — Stage age: 35+. The mother who grounds the "real world" scenes and shows the audience what the family is healing from and toward. Warm, tired, steady — she carries grief without letting it run the household, and her scenes set the emotional tone the rest of the show plays against. UPPER-MIDDLE CLASS ENLISH
WONDERLAND'S HEART
Hatter — Stage age: 40+. Wonderland's most beloved, most performative figure, hiding seven years of guilt behind constant charm and wordplay. Warm, wild, funny — and avoidant to the point that his whole personality has become a way of not looking at something. His arc is the emotional spine of the show. WHIMSICAL, VAUDEVILLE, ECCENTRIC BRITISH
The Blank — Stage age: 40+. Hatter's suppressed self, made visible: a quiet, grey figure who says everything Hatter won't. Still, restrained, precise — his stillness is the point, and as he and Hatter reconcile across the show he's allowed gradually more warmth. SOFTER WHIMSICAL BRITISH
THE STORY KEEPERS
A children's ensemble who frame and narrate the story, doubling into smaller Wonderland roles throughout.
Pip — Kicks off the frame story. Confident and decisive, the one who always starts things. Stage age: 12-15
Nell — Keeps the story "honest." Precise, a little pedantic, enjoys correcting people. Stage age: 12-15
Gus — Comic energy in the framing device. Loud, eager, first to volunteer, terrified of being left out. Stage age: 12-15
Mari — The quiet observer of the group. Watchful, soft-spoken, notices what everyone else missed. Stage age: 12-15
Finn — Comic scatter-energy. Excitable, never finishes a sentence before starting a better one. Stage age: 12-15
Odette — The heart and true believer of the group. Sincere, earnest, a little dreamy. Stage age: 12-15
ALL OF THE STORY KEEPERS WILL HAVE A SLIGHT ENGLISH ACCENT / BUT A NEUTRAL AND NATURAL ACCENT WILL ALSO WORK
WONDERLAND
White Rabbit — Sets the plot in motion and recurs throughout as a comic device for time and urgency. Fussy, breathless, permanently behind schedule — his panic is the engine of several scenes. Stage age: Older Teens–Adult (flexible). NERVOUS JITTERY UPPER-CLASS ENGLISH
Queen of Hearts — Stage age: 30s–50s. The Act One antagonist, who forces Hatter's secret into the open. Tyrannical and theatrical — big comic menace rather than genuine threat, clearly enjoying her own cruelty as performance. GRAND, BOOMING THEATRICAL ENGLISH / IMPERIOUS ARISTOCRATIC
King of Hearts — Stage age: 30s–50s. Comic foil to the Queen of Hearts. Mild, patient, quietly droll — usually the voice of reason nobody listens to. WARM, UPPER-CLASS BRITISH
March Hare — Comic support at Hatter's tea table. Manic, giddy, barely contained energy that plays well against Hatter's more controlled chaos. SCOTTISH PREFERABLY - OTHERWISE - FRANTIC UPPER-CLASS BRITISH
Stage age: Older Teens–Adult (flexible).
Dormouse — Tea-table comic support with occasional startling honesty. Sleepy, mumbling, drifts off mid-sentence — until he says something unexpectedly true. SOFT, LOW, GRAVELLY BRITISH
Stage age: Older Teens–Adult (flexible).
Cheshire Cat — A recurring guide figure who needles other characters into honesty, including Hatter himself. Riddling, entirely unbothered, dryly witty — a performer who can hold focus while barely moving is ideal here. SMOOTH REFINED ENGLISH ACCENT
Stage age: Older Teens–Adult (flexible).
Caterpillar — Poses the show's central identity question to Alice and Theo ("who are you today?"). Ancient-feeling, unhurried, philosophical — his pace never changes no matter what's happening around him.
Stage age: Older Teens–Adult (flexible). SLOW, WISE SOUNDING ENGLISH - THINK ALAN RICKMAN
Duchess — Anchors a comic chaos scene that delivers accidental wisdom. Brash, loud, blunt, prone to sudden mood swings. Stage age: Older Teens–Adult (flexible). CRISP, CLEAR ARTICULATE UPPER-CLASS ENGLISH
Cook — Physical comedy support for the Duchess scene (mostly prop-throwing). Blunt and loud when she does speak. Stage age: Older Teens–Adult (flexible). COCKNEY
Bill (the Lizard) — A small, unlucky comic role, most memorable as a trial witness. Deadpan, put-upon, resigned to his fate. Stage age: Older Teens–Adult (flexible). COCKNEY / LONDON WORKER
Frog Footman — Half of a formal, self-important comic duo who deliver absurd bureaucracy with total sincerity.
Stage age: Older Teens–Adult (flexible). DEADPAN, LOW STATUS BRITISH
Fish Footman — Mirror of the Frog Footman — same pompous formality, same self-importance, should sound and move like a matched pair. Stage age: Older Teens–Adult (flexible). DEADPAN, LOW STATUS BRITISH
THROUGH THE LOOKING GLASS
Red Queen — Stage age: 30s–50s. The Act Two antagonist. Rigid, controlled, ruling through fear of disorder, determined to force Wonderland's story into a single fixed ending — and the character with the most ground to cover by the finale. SHARP, BRISK AND AUTHORIATIVE HIGH CLASS BRITISH
White Queen — Stage age: 30s–50s.. The Red Queen's foil: warmth and whimsy instead of order and control. Scattered, gentle, entirely unbothered by her own chaotic logic. SOFT GENTLE SOUTHERN ENGLISH, DREAM LIKE
Tweedledum — Half of a comic contrarian duo on the chessboard. Argumentative, quick to interrupt, needs to sound and move like an echo of Tweedledee. Stage age: Older Teens–Adult (flexible, must match Tweedledee). EXAGGERATED BRITISH VAUDEVILLE - HIGHER SQUEEKIER
Tweedledee — Mirror of Tweedledum — same rhythm, same contrariness, built for the joke of the two of them sounding identical. Stage age: Older Teens–Adult (flexible, must match Tweedledum). EXAGGERATED BRITISH VAUDEVILLE - ROUNDER, DEEPER, CHEST HEAVY
Humpty Dumpty — Stage age: Older, 50+. Delivers the show's "words mean what I choose them to mean" theme. Pompous, deliberate, enjoys controlling the conversation from a stationary position. PEDANTIC POMPOUS STIFF BRITISH ACCENT
White Knight — Stage age: 30s–50s. A comic-hearted ally to Hatter on the chessboard, best known for falling off his horse constantly and getting up again anyway. Earnest, warm, entirely unbothered by his own repeated failure. BUMBLING ECCENTRIC COUNTRY-SQUIRE ENGLISH
Gryphon — Half of an old comic duo who give Alice and Theo insight into the Red Queen's past. Dry, world-weary, fondly exasperated with his partner. Stage age: Older Teens–Adult (flexible). LONDON COCKNEY, BRASH, ROUGH & FAST
Mock Turtle — Other half of that duo — melancholy, theatrical about his own sadness, but with real sincerity and wisdom underneath the performance of it. Stage age: Older Teens–Adult (flexible). GRAND, UPPER CRUST BRITISH
ENSEMBLE - Stage age: 13+. The ensemble is the show's engine — Cards, Flowers, Chess Pieces, Party Guests, and Forest Creatures who fill out Wonderland and the Looking-Glass world around the named cast. They're not just background: they physically build several of the show's biggest moments, including forming the Jabberwock itself out of fabric panels, frame pieces, and coordinated movement rather than a costume or puppet. They also handle the show's transformations in full view of the audience.
Alice Liddell — Stage age: 11-13 years. The girl who falls into Wonderland and drives the story's questions forward. Curious, stubborn, and quietly grieving in a way she hasn't found words for yet — she asks the questions everyone else in her family is avoiding, and that instinct is what eventually saves Hatter as much as herself. UPPER-MIDDLE CLASS ENLISH - CLASSIC 1950's CINEMATIC
Theo Liddell — Stage age: 15-17 years. Alice's older brother, who appointed himself the responsible one after their father's death and hates the job. Dry, guarded, and quietly exhausted by his own self-appointed control — his arc is about learning that holding everything together isn't the same as healing. UPPER-MIDDLE CLASS ENLISH
Mrs. Liddell — Stage age: 35+. The mother who grounds the "real world" scenes and shows the audience what the family is healing from and toward. Warm, tired, steady — she carries grief without letting it run the household, and her scenes set the emotional tone the rest of the show plays against. UPPER-MIDDLE CLASS ENLISH
WONDERLAND'S HEART
Hatter — Stage age: 40+. Wonderland's most beloved, most performative figure, hiding seven years of guilt behind constant charm and wordplay. Warm, wild, funny — and avoidant to the point that his whole personality has become a way of not looking at something. His arc is the emotional spine of the show. WHIMSICAL, VAUDEVILLE, ECCENTRIC BRITISH
The Blank — Stage age: 40+. Hatter's suppressed self, made visible: a quiet, grey figure who says everything Hatter won't. Still, restrained, precise — his stillness is the point, and as he and Hatter reconcile across the show he's allowed gradually more warmth. SOFTER WHIMSICAL BRITISH
THE STORY KEEPERS
A children's ensemble who frame and narrate the story, doubling into smaller Wonderland roles throughout.
Pip — Kicks off the frame story. Confident and decisive, the one who always starts things. Stage age: 12-15
Nell — Keeps the story "honest." Precise, a little pedantic, enjoys correcting people. Stage age: 12-15
Gus — Comic energy in the framing device. Loud, eager, first to volunteer, terrified of being left out. Stage age: 12-15
Mari — The quiet observer of the group. Watchful, soft-spoken, notices what everyone else missed. Stage age: 12-15
Finn — Comic scatter-energy. Excitable, never finishes a sentence before starting a better one. Stage age: 12-15
Odette — The heart and true believer of the group. Sincere, earnest, a little dreamy. Stage age: 12-15
ALL OF THE STORY KEEPERS WILL HAVE A SLIGHT ENGLISH ACCENT / BUT A NEUTRAL AND NATURAL ACCENT WILL ALSO WORK
WONDERLAND
White Rabbit — Sets the plot in motion and recurs throughout as a comic device for time and urgency. Fussy, breathless, permanently behind schedule — his panic is the engine of several scenes. Stage age: Older Teens–Adult (flexible). NERVOUS JITTERY UPPER-CLASS ENGLISH
Queen of Hearts — Stage age: 30s–50s. The Act One antagonist, who forces Hatter's secret into the open. Tyrannical and theatrical — big comic menace rather than genuine threat, clearly enjoying her own cruelty as performance. GRAND, BOOMING THEATRICAL ENGLISH / IMPERIOUS ARISTOCRATIC
King of Hearts — Stage age: 30s–50s. Comic foil to the Queen of Hearts. Mild, patient, quietly droll — usually the voice of reason nobody listens to. WARM, UPPER-CLASS BRITISH
March Hare — Comic support at Hatter's tea table. Manic, giddy, barely contained energy that plays well against Hatter's more controlled chaos. SCOTTISH PREFERABLY - OTHERWISE - FRANTIC UPPER-CLASS BRITISH
Stage age: Older Teens–Adult (flexible).
Dormouse — Tea-table comic support with occasional startling honesty. Sleepy, mumbling, drifts off mid-sentence — until he says something unexpectedly true. SOFT, LOW, GRAVELLY BRITISH
Stage age: Older Teens–Adult (flexible).
Cheshire Cat — A recurring guide figure who needles other characters into honesty, including Hatter himself. Riddling, entirely unbothered, dryly witty — a performer who can hold focus while barely moving is ideal here. SMOOTH REFINED ENGLISH ACCENT
Stage age: Older Teens–Adult (flexible).
Caterpillar — Poses the show's central identity question to Alice and Theo ("who are you today?"). Ancient-feeling, unhurried, philosophical — his pace never changes no matter what's happening around him.
Stage age: Older Teens–Adult (flexible). SLOW, WISE SOUNDING ENGLISH - THINK ALAN RICKMAN
Duchess — Anchors a comic chaos scene that delivers accidental wisdom. Brash, loud, blunt, prone to sudden mood swings. Stage age: Older Teens–Adult (flexible). CRISP, CLEAR ARTICULATE UPPER-CLASS ENGLISH
Cook — Physical comedy support for the Duchess scene (mostly prop-throwing). Blunt and loud when she does speak. Stage age: Older Teens–Adult (flexible). COCKNEY
Bill (the Lizard) — A small, unlucky comic role, most memorable as a trial witness. Deadpan, put-upon, resigned to his fate. Stage age: Older Teens–Adult (flexible). COCKNEY / LONDON WORKER
Frog Footman — Half of a formal, self-important comic duo who deliver absurd bureaucracy with total sincerity.
Stage age: Older Teens–Adult (flexible). DEADPAN, LOW STATUS BRITISH
Fish Footman — Mirror of the Frog Footman — same pompous formality, same self-importance, should sound and move like a matched pair. Stage age: Older Teens–Adult (flexible). DEADPAN, LOW STATUS BRITISH
THROUGH THE LOOKING GLASS
Red Queen — Stage age: 30s–50s. The Act Two antagonist. Rigid, controlled, ruling through fear of disorder, determined to force Wonderland's story into a single fixed ending — and the character with the most ground to cover by the finale. SHARP, BRISK AND AUTHORIATIVE HIGH CLASS BRITISH
White Queen — Stage age: 30s–50s.. The Red Queen's foil: warmth and whimsy instead of order and control. Scattered, gentle, entirely unbothered by her own chaotic logic. SOFT GENTLE SOUTHERN ENGLISH, DREAM LIKE
Tweedledum — Half of a comic contrarian duo on the chessboard. Argumentative, quick to interrupt, needs to sound and move like an echo of Tweedledee. Stage age: Older Teens–Adult (flexible, must match Tweedledee). EXAGGERATED BRITISH VAUDEVILLE - HIGHER SQUEEKIER
Tweedledee — Mirror of Tweedledum — same rhythm, same contrariness, built for the joke of the two of them sounding identical. Stage age: Older Teens–Adult (flexible, must match Tweedledum). EXAGGERATED BRITISH VAUDEVILLE - ROUNDER, DEEPER, CHEST HEAVY
Humpty Dumpty — Stage age: Older, 50+. Delivers the show's "words mean what I choose them to mean" theme. Pompous, deliberate, enjoys controlling the conversation from a stationary position. PEDANTIC POMPOUS STIFF BRITISH ACCENT
White Knight — Stage age: 30s–50s. A comic-hearted ally to Hatter on the chessboard, best known for falling off his horse constantly and getting up again anyway. Earnest, warm, entirely unbothered by his own repeated failure. BUMBLING ECCENTRIC COUNTRY-SQUIRE ENGLISH
Gryphon — Half of an old comic duo who give Alice and Theo insight into the Red Queen's past. Dry, world-weary, fondly exasperated with his partner. Stage age: Older Teens–Adult (flexible). LONDON COCKNEY, BRASH, ROUGH & FAST
Mock Turtle — Other half of that duo — melancholy, theatrical about his own sadness, but with real sincerity and wisdom underneath the performance of it. Stage age: Older Teens–Adult (flexible). GRAND, UPPER CRUST BRITISH
ENSEMBLE - Stage age: 13+. The ensemble is the show's engine — Cards, Flowers, Chess Pieces, Party Guests, and Forest Creatures who fill out Wonderland and the Looking-Glass world around the named cast. They're not just background: they physically build several of the show's biggest moments, including forming the Jabberwock itself out of fabric panels, frame pieces, and coordinated movement rather than a costume or puppet. They also handle the show's transformations in full view of the audience.