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Framed by Charles Dodgson telling the Liddell children stories during an 1862 river outing, the play presents Alice’s adventures in Wonderland and the Looking-Glass World as two separate dreams across two acts. The first ends with Alice waking in her drawing room; the second takes her through a chess-like world to become a queen before she wakes again.
Peter Brook's experimental performance critiques British metropolitan attitudes toward the Vietnam War: its first half uses comic-strip anti-Americanism, then imagines the conflict arriving in London through a threatened self-immolation. It ends with the symbolic burning of a paper butterfly.
Framed by Charles Dodgson telling the Liddell children stories during an 1862 river outing, the play presents Alice’s adventures in Wonderland and the Looking-Glass World as two separate dreams across two acts. The first ends with Alice waking in her drawing room; the second takes her through a chess-like world to become a queen before she wakes again.
Peter Brook's experimental performance critiques British metropolitan attitudes toward the Vietnam War: its first half uses comic-strip anti-Americanism, then imagines the conflict arriving in London through a threatened self-immolation. It ends with the symbolic burning of a paper butterfly.