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    Alice in Wonderland - A Play - With Illustrations by Bertram Goodhue
    Alice in Wonderland - A Play - With Illustrations by Bertram Goodhue
    Alice in Wonderland - A Play - With Illustrations by Bertram Goodhue
    Ebook84 pages44 minutes

    Alice in Wonderland - A Play - With Illustrations by Bertram Goodhue

    By Emily Prime Delafield and Bertram Goodhue

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    About this ebook

    Alice in Wonderland' is the best known work of Charles Lutwidge Dodgson (1832 - 1898), better known by his pen name, 'Lewis Carroll'. It is here rewritten as a play for children – adapted by Emily Prime Delafield. Telling the tale of a girl named Alice who falls down a rabbit hole into a fantasy world populated by surreal and anthropomorphic creatures, the book was a huge commercial success on its initial publication in 1865. It was followed by its sequel, 'Through the Looking-Glass, and What Alice Found There', in 1871. Perfectly suited for the theatre, this is a text that is sure to delight both young and old. Emily Prime Delafield's wonderful retelling of Lewis Carroll's work, is further accompanied by the beautiful illustrations of Bertram Goodhue. Bertram Grosvenor Goodhue (1869 - 1924), was an American architect primarily celebrated for his work in neo-gothic design, but was also an immensely skilled illustrator. Presented alongside the text, his illustrations further refine and enhance Delafield's dramatic storytelling. This book forms part of our 'Pook Press' imprint, celebrating the golden age of illustration in children's literature.
    LanguageEnglish
    PublisherRead Books Ltd.
    Release dateApr 10, 2014
    ISBN9781473394025
    Alice in Wonderland - A Play - With Illustrations by Bertram Goodhue

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      Book preview

      Alice in Wonderland - A Play - With Illustrations by Bertram Goodhue - Emily Prime Delafield

      PREFACE

      IT MAY be interesting to lovers of Alice in Wonderland and Through the Looking Glass to know how the thought of compiling a play from those stories suggested itself to me. In 1890, while visiting Japan, I was invited to attend a performance, by children, of scenes from the former book. I went relucantly, fearing a travesty on familiar characers. I came away delighted with the entertainment, and feeling that until then I had only half understood the cleverness of the book. There were but few English children in Yokohama who could be called upon to ac, and the preparations were necessarily very crude. When, therefore, I was asked to suggest something new to be given for the benefit of the Society of Decorative Art, on the anniversary of the opening of the Waldorf, March 14, 1897, I determined to compile this play. As the work went on I found that it would add much to the dramatic effec if I took scenes from both Alice in Wonderland and Through the Looking Glass, and while appreciating fully the difficulty of my task, I believed that the interest aroused by seeing Alice herself and all the other familiar characers in propria persona would more than atone for any shortcomings in my work.

      We formed our troupe of about sixty children, varying in ages from four to twelve. The relative sizes for the different characers, as well as the costumes, we copied carefully from Tenniel’s illustrations. These accompany all the different editions of the books and can easily be obtained. The birds and animals were made of paper and paper-muslin and canton flannel, which made excellent imitations of feathers and skins. The Mouse was dressed in canton flannel and had a very long tail, which was appropriate to its story. The heads of all the animals and birds were bought at a toy store for a very little money, and were thin and light. The mouths which were closed we cut open, otherwise the voices would have been muffled.

      In Ac II, where the Walrus and the Carpenter eat the oysters which were run in on wires, the oysters were painted with small human heads coming out of the shells which stood on end and hands thrown up as if protesting.

      The tea-party scene in Ac IV, where the Dormouse was turned head foremost by the March Hare and Hatter into a very large teapot, brought down the house.

      The dance in Ac VI, in which all the animals take part who have entered after the song by the Mock Turtle, was very pretty.

      In the last ac, instead of the curtain rising after the royal party and court were seated, we formed a procession of all the animals, birds, courtiers and attendants, which entered after the curtain rose. They marched round the stage, all those not taking an acive part forming a group behind the chairs of the King and Queen. This brought on all the characers of the play and made a very effecive scene.

      For the rest, we carried out the stage direcions as given. These had been carefully thought out, and have since on two occasions pracically proved to be good.

      We taught the children thoroughly their parts, and left to them the interpretation of the characers, with, we thought, better results than if we had imposed our ideals upon them. But of course we chose our little troupe with care. The children thoroughly enjoyed the rehearsals, learned how to use their voices and to enunciate distincly, and showed the greatest cleverness in their acing. We had every reason to feel pleased at the interest shown by the audience in the play.

      EMILY PRIME DELAFIELD.

      CHARACTERS

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