L i b r e t t o V o c a l B o o k

Book by
Steven Sater and Jessie Nelson
Music by
Duncan Sheik
Lyrics by
Steven Sater
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THANK YOU!
Book © 2019, 2023 Kukuzo Productions Inc. and Red Fish, Blue Fish, Inc.
Music © 2019, 2023 Duncan Sheik Songs
Lyrics © 2019, 2023 Kukuzo Productions Inc.
All rights reserved.

(Last Revised—August 2023)

 C HA R ACT E R S

Note: Because of the specific connections between the Tube Station characters
and those in Wonderland, the following roles are meant to be played by the
same performers:

1. ALICE SPENCER
ALICE

2. ALFRED HALLAM
WHITE RABBIT
MARCH HARE

3. RED CROSS NURSE

QUEEN OF HEARTS

4. HAROLD PUDDING
MAD HATTER

5. TABATHA
CHESHIRE CAT

6. DODGY
DUCHESS

7. CLARISSA
MOCK MOCK MOCK TURTLE

8. NIGEL
DORMOUSE

9. ANGUS
CATERPILLAR

10. DR. BUTRIDGE

KING OF HEARTS
JABBERWOCK

11. YOUNG ALICE

12. YOUNG ALFRED

The following roles can be cast as best suits the needs of any given production:
CATERPILLAR 2
KNAVE OF SPADES
KNAVE OF HEARTS
KNAVE OF CLUBS
QUEEN OF DIAMONDS
MOCK TURTLE
MOCK MOCK TURTLE
MOCK MOCK MOCK MOCK TURTLE
—i—
For our premiere at MCC Theater, the roles were divided as follows:

1. ALICE SPENCER
ALICE

2. ALFRED HALLAM
WHITE RABBIT
MARCH HARE

3. RED CROSS NURSE

QUEEN OF HEARTS

4. HAROLD PUDDING
MAD HATTER
KNAVE OF SPADES
MOCK MOCK TURTLE

5. TABATHA
CHESHIRE CAT

6. DODGY
DUCHESS
MOCK MOCK MOCK MOCK TURTLE

7. CLARISSA
QUEEN OF DIAMONDS
MOCK MOCK MOCK TURTLE

8. NIGEL
DORMOUSE
KNAVE OF CLUBS

9. ANGUS
CATERPILLAR
KNAVE OF HEARTS

10. DR. BUTRIDGE

KING OF HEARTS
JABBERWOCK
MOCK TURTLE

Note on Vocal Score: The ensemble harmonies in our score reflect those we used
in our New York premiere at MCC Theater. They of course can be altered,
according to the particular cast of each production.

TIM E & PL ACE

London, 1941, an Underground Station—a make-shift shelter from the Blitz of
World War II. And, one golden afternoon in Wonderland.

—ii—
 M USIC A L N U M B E R S

1. West of Words.................................................................................................... 1
2. Down the Hole................................................................................................. 12
3. Still. . .................................................................................................................. 17
4. Chillin’ The Regrets......................................................................................... 22
5. The Key Is......................................................................................................... 28
7. Those Long Eyes.............................................................................................. 32
8. Manage Your Flamingo.. .................................................................................. 40
8A. Tea Party Intro................................................................................................. 45
8B. Tea Party Tableau 1.. ........................................................................................ 46
8C. Tea Party Tableau 2.. ........................................................................................ 48
9. Sick to Death of Alice-ness.............................................................................. 52
10. Brillig Braelig................................................................................................... 55
11. Some Things Fall Away................................................................................... 60
11A. Mock Turtle Intro............................................................................................. 61
12. Your Shell of Grief........................................................................................... 65
13. Another Room in Your Head. . ......................................................................... 69
13A. Intro to the Trial. . ............................................................................................. 72
13B. Wonderland Fanfare........................................................................................ 72
13C. Notes from the Jury.. ........................................................................................ 73
14. Isn’t It a Trial?.................................................................................................. 74
14A. Notes from the Jury (Part 2)............................................................................ 78
15. Do You Think We Think You’re Alice?. . ......................................................... 82
16. I’ve Shrunk Enough......................................................................................... 85
17. Still (Reprise). . .................................................................................................. 88
18. Afternoon......................................................................................................... 89
19. Winter Blooms. . ................................................................................................ 93
20. Bows (Winter Blooms)..................................................................................... 95

Please note: there is no song #6.

—iii—
 A l i c e B y H e a r t — 1 —

LONDON, 1941. NIGHT.

The sound of bombs falling. Music rises. Through a curtain made of a parachute, we see
a shadowy figure, the 15-year-old ALICE, digging through a rubble-heap of what was
once her home. At last, she unearths a treasured book.

A siren sounds. ALICE runs off. Lights rise, revealing that we are underground—a
make-shift shelter in a Tube Station. War cots stretch across the platform. And now,
YOUNG PEOPLE seeking cover run into the shelter, wearing gas masks. ALICE
removes her mask, and seems to stand somewhere out of time. Holding tightly to her
book, she looks upon this ghostly world. “West of Words.”

#1 —W e s t of W or d s

ALICE
THERE’S A WORLD I KNEW AS ME,
BEFORE BEFORE—
MY ROOM, MY PICTURES,
A SKY NO FIRE BURNED,
WEST OF WORDS.

A BOOK OF WONDER
CALLED ME ONWARD
TO MUSIC HEARD,
WEST OF WORDS…
(A siren sounds. As music underscores, everyone removes their gas mask and ducks
beneath their cot—everyone except ALICE, who sits, immersed in her book.

Then, with a synchronized gesture, all the youths lift one side of their cot and set it on
the platform with a bang, bringing us back into the present. We realize that these youths
have settled into a makeshift home, a ward of the ailing and wounded, encamped in this
Station.

At the side of the stage, a make-shift quarantine area. Through a parachute curtain, we
see an ailing young teen, ALFRED, lying on a cot. ALICE looks over to him repeatedly
as she reads.

The fey but weary DODGY turns to the posh young CLARISSA.)

DODGY
Darling, I’ve forgotten—is it day or night?

CLARISSA
You pick.
— 2 — A l i c e B y H e a r t

(On her round of passing out grey war blankets, the RED CROSS NURSE trundles
through. She passes the anxious, newly orphaned NIGEL.)

RED CROSS NURSE

Chilly night tonight.

NIGEL
(Quietly, to himself)
My Mummy’s coming for me today.
My Mummy’s coming for me today…
(We see the street-tough TABATHA, perched high on a ladder.)

TABATHA
(Not buying it)
Oh do you think?
Just like mine and yours, and his and hers.
(The antediluvian DR. BUTRIDGE reads from his clipboard to the RED CROSS
NURSE:)

DR. BUTRIDGE
Hallam. Alfred Hallam.

(ALICE rises, starts with concern toward ALFRED. DR. BUTRIDGE shuts the
quarantine curtain in her face. ALICE reaches for the quarantine curtain, but the RED
CROSS NURSE stops her.)

RED CROSS NURSE

Alice! Back to your bed.

DR. BUTRIDGE
Superventrical Tachycardia, with Hypovolemia—

ALICE
What does that mean?

DR. BUTRIDGE
Hyperhydrosis—

ALICE
That means he’ll be all right?
Right?
 A l i c e B y H e a r t — 3 —

DR. BUTRIDGE
Due to Mycobacterium Tuberculosis—

RED CROSS NURSE

We must move that boy—to the end of the line.

ALICE
Alfred? No!

RED CROSS NURSE

Catch that cough, he’ll be your death.
Ward D.
(Aside to DR. BUTRIDGE)
The good-as-dead.

DR. BUTRIDGE
(Hard of hearing)

Whaaaat?

RED CROSS NURSE

Good-as-dead.

ALICE
What are you talking about? He’s not dying.

RED CROSS NURSE

Is there family?

DR. BUTRIDGE
None left.
She found him in the gutter, buried in the rubble.
Whole block went down.

ALICE
He has me. He’ll get better near me.
Please. Don’t move him. He’s my dearest friend.

RED CROSS NURSE

Today he is your dearest friend. Tomorrow, a statistic.
— 4 — A l i c e B y H e a r t

ALICE
Don’t listen to them, Alfred. I’ll read to you.
You’ll feel better.

RED CROSS NURSE

Alice Spencer!
Thirty-thousand dead up there—and you, with your head in Wonderland.
(The RED CROSS NURSE makes a grab for ALICE’s book—but ALICE holds onto it.)
Back! To! Your! Bed!
And button up that blousey, Mousey.

ALICE
(Heads to her cot)

But it is—all buttoned. It’s just grown smaller, really.

TABATHA
(With a knowing, survivor’s grin)

Funny how that happens, when the boys start growing bigger.

CLARISSA
(Suddenly panicked)

Oh my God—my pearls! Where are my pearls?

DODGY
(Withdrawing the strand from his neck)

They insisted.

(DODGY begrudgingly hands CLARISSA the pearls. As NIGEL rocks, ALICE looks
again toward ALFRED.)

NIGEL
My Mummy’s coming for me today.
My Mummy’s coming for me today.
My Mummy’s coming for me today…
(HAROLD PUDDING, a young soldier with PTSD, reaches for ALICE, thwarting her
cross to ALFRED and leading her to his own cot.)

HAROLD PUDDING
Shall we have some tea? Shall we?
Tea for two? For him and me—and me.
 A l i c e B y H e a r t — 5 —

CLARISSA
(Ironic)
Absolutely.
With just a spit of jam—

DODGY
And a spot of Spam.

HAROLD PUDDING
Spam! Spam! What is Spam?
Spam is ham that didn’t pass its physical.
But me, I’m sound. I’m all sound now, me.
This time I’ll pass…
(ANGUS—edgy, working-class—leans toward HAROLD.)

ANGUS
You’ve passed, Harold. It’s past.

HAROLD PUDDING
I have? Sir, yes, Sir!
Pudding. Harold Pudding, reporting for duty, Sir.
(DODGY and CLARISSA exchange a look. ANGUS chastens them:)

ANGUS
You try losing your wits on the front, then coming home to the Blitz.

(ALICE is about to head to ALFRED’s cot, but DR. BUTRIDGE is right there.)

DR. BUTRIDGE
Misplaced Wits:
Hypnagogic Hallucinations due to—

RED CROSS NURSE

Dr. Butridge!

DR. BUTRIDGE
(Hard of hearing)

Whaaaaaat?

DODGY
(Making fun)

Whaaaaaaat?
— 6 — A l i c e B y H e a r t

TABATHA
Oh that’s funny, is it?
Would that a bomb blew out your eardrum.
Mad, mad—we’ve all gone mad here.

NIGEL
“O let me not be mad, not mad… ”
My essay on King Lear—it’s due at noon!

DODGY
(Waves it away)

I’ll write you a note, darling. You have a good excuse.

(Music in. ALICE makes her move toward ALFRED, but ANGUS circles her,
flirtatiously blowing smoke from his opium pipe into her face.)

ANGUS
One puff—and all this fades away.
You’re in some other dream.

CLARISSA
Anywhere but here.

(Song light rises. As ALICE sings, light falls over the ensemble, creating Wonderland
images: the soldier becomes a Hatter taking tea; tall Birds appear, with gas masks for
beaks.)

ALICE
THERE’S A HATTER HOLDING TEA
ON A MADDER LAWN;
A WALTZ OF CHILDREN
WITH TALL AND TALKING BIRDS—
WEST OF WORDS.
(ANGUS rises as a Caterpillar, and puffs from a cigarette. He blows smoke into
CLARISSA’s face.)

ALICE ALL
THERE’S A GOLDEN–SILVER SONG HMM…
OF THE AFTERNOON;
A CATERPILLAR—POOF!—HE’S CALLING YOU.
PAGES TURN—
WEST OF WORDS. HMM…
 A l i c e B y H e a r t — 7 —

ALICE & ALFRED

WEST OF WORDS…
(The ensemble forms an enormous shell, DR. BUTRIDGE peeks his head out as an
ancient Tortoise.)

ALICE & ALFRED ALL

THE LONELY TORTOISE HMM…
CRAWLING ONWARD;
A MOON THAT BURNS, HMM…
WEST OF WORDS…

ALICE
AND SOMETHING WHISPERS OF SOMETHING GONE,

ALICE & TABATHA

A LITTLE CHESHIRE PURR…

ALICE, ALFRED & TABATHA

WEST OF WORDS…

ALICE
WEST OF WORDS…
(Music fades. The lights shift and real-world time resumes. As the song concludes,
ALICE sees the RED CROSS NURSE pushing through, distributing rations, and settles
back on her cot.)

RED CROSS NURSE

Tin tomatoes with your bacon,
and more of you than rations—not a word about it.
(TABATHA drops a tin can in the RED CROSS NURSE’s path. The NURSE trips on
it, rations go flying.)

DODGY
(Screams in fear—a bomb?!)

Aaah!

(But everyone just stares at him. HE covers:)

Just trying to get the party started.

RED CROSS NURSE

Tabatha! Such a trial!
— 8 — A l i c e B y H e a r t

(As the RED CROSS NURSE kneels to clean up the mess, TABATHA points ALICE
toward ALFRED. ALICE crosses quickly to him.)

CLARISSA
(Indicating TABATHA)

Well, we all know who gets that Tabby’s vote for “Orphan of the Year.”

DODGY
Has to save somebody. Since she couldn’t save her sister.

TABATHA
(A hiss)

Sssssssss.

(ALICE has reached ALFRED.)

ALICE
Alfred!

ALFRED
(Feverish)
Alice, I’m falling away.
The stars are so bright, they hurt my eyes—

ALICE
That’s the fever talking, not you.
Let me read to you. I went back, I found our book.
I’ll bring you to our world again.

ALFRED
Our world. What world?

ALICE
Come with me.
You can run there. You can breathe there.
You’ll be well again. Then they won’t take you away.
We’ll have each other, always.

ALFRED
We’ll start reading, I won’t even reach The End.
 A l i c e B y H e a r t — 9 —

ALICE
Of course you will!
All this—we can make it disappear.
(The lights shift, dimming on the Tube Station, and rising on a scene from Alice’s
memory: we see the six-year-old YOUNG ALICE chasing the six-year-old YOUNG
ALFRED through the cots in the Station, as they act out Alice chasing the White Rabbit
in the Book.)

YOUNG ALFRED
Oh my ears and whiskers. I’m late! So late!

YOUNG ALICE
White Rabbit! White Rabbit!
(She can’t catch him.)
Dear, dear. How queer everything is today!
(The present-day ALFRED addresses ALICE:)

ALFRED
I won’t start what I can’t finish.

ALICE
I know—since forever.

(ALICE gazes into that memory. In a pool of light, the six-year-old YOUNG ALICE and
YOUNG ALFRED sit and read silently from the Book. We hear YOUNG ALFRED’S
MOTHER calling from offstage.)

YOUNG ALFRED’S MOTHER

Alfred, time for supper!

(YOUNG ALICE and YOUNG ALRED ignore her call and remain immersed in the
Book.)

ALICE
Even when you were six, staying well past dark,
ignoring your mother’s calls—you so had to finish it.
Come there with me.

ALFRED
I’ve no time left—you understand?

ALICE
Don’t believe them.
— 10 — A l i c e B y H e a r t

(ALICE)
(Music rises)
You can’t let them take this from us. Not this, too.
It’s all we have. It’s Wonderland.
(Sings)
THERE’S A WORLD WE KNEW AS WE,
OUR GARDEN DOOR;
A STORY ENTERED,
A TINY KEY WE TURNED,
WEST OF WORDS…

ALICE & ALFRED

NOW WE’RE FALLING THROUGH THE GROUND,
AND FALLING SLOW;
THE HOUSES TUMBLING DOWN, STILL WE KNOW WE KNOW
ALL THAT YEARNS —
WEST OF WORDS,
WEST OF WORDS…

ALICE
A ROSE REMEMBERED
DRAWS US ONWARD—

ALICE & ALFRED

A WORLD ADJOURNED,
WEST OF WORDS…
(The pool of light fades. YOUNG ALICE and YOUNG ALFRED disappear. The lights
rise again on the Tube Station.)

ALFRED
You go there, without me now.

ALICE
You can’t… lose heart.

ALFRED
Oh really? After everything else we’ve lost?

(ALFRED coughs, violently. As the music recedes, ALICE settles him on his cot and
begins reading to him)
 A l i c e B y H e a r t — 11 —

ALICE
“Chapter One: Down the Rabbit Hole:
Alice was beginning to get very tired of sitting by her sister on the river bank—”

RED CROSS NURSE

Alice!

ALICE
“Once or twice she had peeped into the book—”

RED CROSS NURSE

Alice Spencer!
Take a look around—we’re well past make-believe.
No wonder they are burning books.
(With that, the RED CROSS NURSE grabs the book from ALICE, and rips it apart—
dusty pages fall from it. ALICE lunges for them.)

ALFRED & ALICE

Don’t!

ALICE
It’s mine. It’s all that’s mine.

TABATHA
Then, she can’t take it from you, can she?
No one can.
(This remark lands on ALICE.)

DODGY
Clinging to some kiddie book?

CLARISSA
Appalling.

HAROLD PUDDING
Duck! London Bridge is falling.

(ALICE starts toward ALFRED. The RED CROSS NURSE clocks it.)

RED CROSS NURSE

OFF OF THAT BED!
— 12 — A l i c e B y H e a r t

ALICE
No. Off with your head!
(Music rises. With that, ALICE jumps upon her bed, and enters her imagination. No one
but ALFRED can hear her.)
Stop! Stop! You—and you—and you!
I’ll show you. Every one of you.
(To ALFRED)
I’ll bring you.
I know it all by heart.
(ALICE catches ALFRED’s eye. She begins to recite, summoning him to their imagined
world.)

#2 —D o wn t he H o l e

“And so, with nothing to do, Alice was considering what to do, on this golden afternoon,
when suddenly… ”

(Pointedly, to ALFRED)

“a White Rabbit ran close by… ”

(The ENSEMBLE turns to face ALICE from their cots, like children listening to a story.)
JUST SOME SUMMER BOOK,
GOD, AND IT WAS HOT TOO…
(With a whirl, ALICE reveals her Wonderland dress.)
WHO KNEW WHERE TO LOOK,
WHAT TO DO, AND NOT DO.

ALFRED
(Hesitant)
NOW SOME RABBIT BROODS,
LIKE THERE’S NO TOMORROW.

ALICE
HOW CAN YOU REFUSE,
WHEN I TELL YOU FOLLOW?
(ALICE gestures, and transforms ALFRED into the WHITE RABBIT.)

ALICE & WHITE RABBIT

AND NOW WE’RE DOWN THE HOLE—
AND CALLING FROM THE SOUL.
AND SOMETHING ON THE SHELVES
 A l i c e B y H e a r t — 13 —

(ALICE & WHITE RABBIT)

HOLDS SOMETHING OF OURSELVES.

WHITE RABBIT
DOWN AND DOWN WE FALL—
NOW WHERE HAVE WE WANDERED?
PICTURES, BOOKS, AND ALL,
TUMBLING FROM THE CUPBOARDS.
(One by one, as they are introduced in song, our Tube Station crew transform into their
Wonderland characters. HAROLD PUDDING becomes the MAD HATTER. NIGEL
becomes the DORMOUSE; CLARISSA, the QUEEN OF DIAMONDS; ANGUS,
the CATERPILLAR; the RED CROSS NURSE, the QUEEN OF HEARTS; DR.
BUTRIDGE, the KING OF HEARTS; DODGY, the DUCHESS; TABATHA, the
CHESHIRE CAT.)

MAD HATTER
HIT THE GROUND BELOW,
EVERYTHING SO TINY.

WHITE RABBIT
NOW, WHERE DID IT GO—
THE WORLD I LEFT BEHIND ME?

ALICE, SOPRANOS & ALTOS TENORS & BASES (ECHOING)

FOR, NOW WE’RE DOWN THE HOLE— DOWN THE HOLE…
AND DONNING ALL OUR ROLES. ALL OUR ROLES…

DORMOUSE
GOD KNOWS WHERE WE’RE AT.

CHESHIRE CAT
SHOULD HAVE BROUGHT THE CAT.

ALL
BUT NOW WE’RE DOWN THE HOLE
A STORY TO BE TOLD.

CATERPILLAR
THE WALLS ARE ALL SO TALL,

QUEEN OF DIAMONDS
THEY’RE TOO SMALL FOR THE HALL.
— 14 — A l i c e B y H e a r t

WHITE RABBIT ALL

THESE HANDS ARE NOT MY HANDS— HMM…
SO, IS THIS WONDERLAND?

ALICE
NO RABBIT CAN BEGIN HMM…
TO KNOW THE STATE I’M IN.

KING OF HEARTS
YOU MEET A MARBLE CAKE,
YOUR HEART BEGINS TO ACHE.

QUEEN OF HEARTS
BUT ONCE YOU START TO EAT,
YOU’RE TOO TALL FOR YOUR FEET.

DUCHESS CHESHIRE CAT & QUEEN OF DIAMONDS

THE BOTTLE TELLS YOU, “DRINK,” TELLS YOU, “DRINK… ”

CHESHIRE CAT
YOU NEVER STOP TO THINK YOU NEVER STOP TO THINK…

DUCHESS, QUEEN OF HEARTS & CHESHIRE CAT & DORMOUSE

QUEEN OF DIAMONDS AND YOU WILL SHRINK…
HOW QUICKLY YOU WILL SHRINK, YOU DRINK.
THE MORE AND MORE YOU DRINK.

ALICE SOPRANOS & ALTOS TENORS & BASSES

BUT NOW YOU’RE DOWN DOWN THE HOLE… DOWN YOU’RE DOWN THE
THE HOLE—OH HOLE…
NOW YOU’RE DOWN THE NOW YOU’RE DOWN THE DOWN THE HOLE…
HOLE… HOLE…

ALL WHITE RABBIT (ECHOING)

NOW YOU’RE DOWN THE HOLE, NOW YOU’RE DOWN THE HOLE...
ALL CALLING FROM THE SOUL: CALLING FROM THE SOUL:
WHAT HAPPENS IF I CAN’T IF I CAN’T...
GET OUT OF WONDERLAND? GET OUT OF WONDERLAND?

ALICE & WHITE RABBIT

NOW WE’RE DOWN THE HOLE…
 A l i c e B y H e a r t — 15 —

(Members of the ensemble create a garden door by setting two cots upright. ALICE
and the WHITE RABBIT stand, bathed in the golden light of afternoon. The ensemble
members transform into a tree in a Wonderland garden, waving torn pages like leaves.)

ALICE
So there you are!

WHITE RABBIT
And there you are.

ALICE
I’m just so… pleased to see you.
Here, that is.

WHITE RABBIT
So pleased to see you too.
(Enjoying his role)
In brief: I’m late. You know?

ALICE
Oh. I know. Sorry. Sorry.
It’s all just been so…

WHITE RABBIT
Of course. Of course.
Oh my ears and whiskers! I must go.

ALICE
No!

(This is out of the ordinary. Throughout this scene, the WHITE RABBIT regards ALICE
with a tender curiosity.)

WHITE RABBIT
What?

ALICE
I don’t know what. Honestly.
It’s… just…

WHITE RABBIT
What?
(Catches himself, checks his pocket watch.)
— 16 — A l i c e B y H e a r t

(WHITE RABBIT)
It’s time—it’s well past time—you know.
(The WHITE RABBIT starts away. But the page-leaves sway, sending him back to
ALICE.)

ALICE
But… here we are.

WHITE RABBIT
Yes—what? How long can we spend on this same page?

ALICE
One moment. Please.

WHITE RABBIT
And then?
We stop, when it’s the end.
In the beginning, we begin.

ALICE
But surely, books are made to linger in.

(The WHITE RABBIT taps his watch, shakes his head “No.”)

Come, we’ll find that tiny golden key and enter that loveliest garden…

WHITE RABBIT
The key is key, yes.
But not yet.

ALICE
But why not?
It’s still the story.
We’re still here in the story.

WHITE RABBIT
No. If we’re here in the story, we must be in the story.
And so… if so, I better go. I mean, that is the story…

ALICE
Is it?

(Neither one moves. Such a strange new chemistry between them.)

 A l i c e B y H e a r t — 17 —

WHITE RABBIT
Perhaps you ate a bit more marble cake today, and you grew bigger?

ALICE
Is that so bad… ?

#3 —St i l l

WHITE RABBIT
The Queen will be just savage. If I’ve kept her waiting.

ALICE
But she doesn’t even know you’re here yet.

WHITE RABBIT
STILL…
THE STORY GOES, AS STORIES WILL:
ONE AFTERNOON, BESIDE SOME BOLTED GARDEN GATE,
ONE HOWDY-DO, AND SOON SO SOON,
I’M LATE, I’M LATE, SO LATE!

OHH, I’M AHEAD OF MY TIME STILL, IF I KEEP MOVIN’.

FALL, AND I FALL BEHIND STILL—SO MUCH TO-DO-IN’!
BUT HOW CAN I STOP THE CLOCK IN ME,
WHEN I’M CHASIN’ ME STILL?
TIME IS CHASIN’ ME STILL…

ALICE
STILL.
CAN’T STORIES GO, WHERE STORIES WILL?
HERE, HERE, THEY DO—EACH AFTERNOON STAYS ROSY LATE.
JUST ME AND YOU, OUR GOLDEN ROOM,
LET THE MAD QUEEN WAIT.

STAY WHERE THE GRASSES SWAY, THE RIVER’S STOPPED MOVIN’;

HERE, WITH THE LAZY BLUE DAY, YOUR ROSES JUST BLOOMIN’.
SO, WHY CAN’T WE LINGER AND DREAM?
WALK WITH ME STILL.
LINGER ON WITH ME STILL…
— 18 — A l i c e B y H e a r t

WHITE RABBIT
STILL.
OUR STORY’S KNOWN—

ALICE
IT ISN’T, TILL
WE RUN IT THROUGH.

WHITE RABBIT
SO MUCH ADO. ADIEU, ADIEU. AWAY, AWAY!

ALICE
ONE LOOK AT YOU, AND WHAT’S THE USE? I’VE GOT MY DAY.
RUN AND PLAY WITH ME STILL.

ALICE & WHITE RABBIT

ON THIS PAGE WITH ME STILL.

ALICE
STAY, AND STAY WITH ME STILL.

WHITE RABBIT
TIME IS CHASIN’ ME STILL…

ALICE & WHITE RABBIT

STILL.
(As the song concludes, the WHITE RABBIT holds out his gloves to ALICE, as in the
Storybook.)

WHITE RABBIT
I believe I… leave you these?

(ALICE nods, reaches for the tiniest of gloves. The WHITE RABBIT exits, disappearing
as rabbits tend to do. ALICE tries on the gloves—alas, they are too small.)

ALICE
(From the Book)
“‘Dear dear,’ Alice said, ‘how queer everything is today…
I wonder if I’ve been changed in the night.’
Curiouser and curiouser!”
(With her shadow appearing on the Tube Station wall or a parachute-like curtain,
ALICE examines her newly-developing body.)
Oh goodness me! I’m huge!
“Where have my… shoulders got to?”
 A l i c e B y H e a r t — 19 —

(ALICE)
I mean, “This can’t be me—not as I was yesterday.”
Still, it’s no use going back to yesterday.
I was a different person then.
But, if I am not me…
(A trunk from the Tube Station encampment opens, and the CATERPILLAR emerges
from a cloud of smoke.)

CATERPILLAR
Whooooo are yooooou?
Remind me.

ALICE
Well, once upon a time, I knew. Mr. Caterpillar.
But, I find I’ve changed today.

CATERPILLAR
Do you mean—you’ve changed your mind?

ALICE
And body too.

CATERPILLAR
Oh don’t I know.

ALICE
I’m afraid I’m some new me.

CATERPILLAR
Well, you are some new you to me—

CATERPILLAR 2
No matter really who you are to you.

(ALICE looks. Another CATERPILLAR emerges from behind the trunk.)

ALICE
But… who are you?

CATERPILLAR 2
Come, look.
— 20 — A l i c e B y H e a r t

ALICE
But, are you part of him?

CATERPILLAR
(To ALICE)

Or, is she part of you?

ALICE
Now, I’m confused.

CATERPILLAR
You?

CATERPILLAR 2
Or the new you?

ALICE
(From the Book)
“’The first thing I must do as me,’ Alice said,
‘is to find that tiny golden key,
and make my way to that loveliest of gardens…’”

CATERPILLAR
(To ALICE)
You you you must put put down that book.
In your head, that is.

CATERPILLAR 2
Yes, do.

CATERPILLAR
Set it down a minute—
all that Alice-ness…

CATERPILLAR 2
That By-the-Bookness…

CATERPILLAR
One puff… ?
 A l i c e B y H e a r t — 21 —

ALICE
But it’s not like that—in the pictures.
Not as I remember.

CATERPILLAR 2
A girl can’t change the pictures?

(The CATERPILLAR takes a puff from a hookah, and offers it.)

CATERPILLAR
Just one?

(ALICE shakes her head.)

CATERPILLAR 2
Stops time, it does.

ALICE
It does?

CATERPILLAR 2
To whom Time may concern, it does.

ALICE
(An idea dawning)

But, does it work on… other creatures too?

CATERPILLAR
Let’s start with you.

ALICE
I have a friend, you know—my dearest friend—spends so much time, pursuing time…

CATERPILLAR 2
Always thinking forward, and remembering backward?

CATERPILLAR
Chasing before, and chasing after?

ALICE
Yes. Exactly.
— 22 — A l i c e B y H e a r t

CATERPILLAR
One puff—

CATERPILLAR 2
—and all one golden afternoon.

ALICE
But will it really… ?

CATERPILLAR
You tell us.

#4 —C hi l l i n’ The R e g r e t s

Come. Shall we… disappear?

The way, some say, a lover
disappears into the kiss… ?

ALICE
Ohhhh, but it’s taken me so long just to appear…

CATERPILLAR
HEY, COOL—JUST THIS CATERPILLAR.
LOOKS AT YOU SO BLUE—
AS IF HE’D LOOK AT YOU FOREVER.

PUFFS UPON HIS PIPE AND KIND OF STARES YOU DOWN.

DRAWS YOU TO HIS BLUER SHROOM AND EVEN BLUER CLOUD…

OHH… EVEN BLUER CLOUD…

HE SAYS:
(The ENSEMBLE gather, and form themselves into the shape of a long, inviting
Caterpillar-body.)

CATERPILLAR & CATERPILLAR 2

WHERE HAVE YOU GONE—
OR HAVE YOU BEEN THERE YET,
WHERE THE MIND WINDS DOWN,
CHILLIN’ THE REGRETS…
 A l i c e B y H e a r t — 23 —

CATERPILLAR & CATERPILLAR 2 ENSEMBLE

O, THE WIND IS WONDERFUL— AAH…
O, REALLY, WHEN IT GREETS THE RAIN… AHH…

CATERPILLAR, CATERPILLAR 2 & QUEEN

OF DIAMONDS
YOU’LL HOLD ANOTHER VIEW AAH…
ON ALL YOU KNOW YOU KNEW, AHH…
AS IF IT LET YOU IN SOME OTHER DREAM— AHH…

(The CATERPILLARS pass around the hookah)

CATERPILLAR & CATERPILLAR 2

CHILLIN’ THE REGRETS…

ALL
CHILLIN’…

CATERPILLAR & CATERPILLAR 2

CHILLIN’ THE REGRETS…

ALL
CHILLIN’…
(ALICE takes a puff from the hookah.)

CATERPILLAR 2
HEY, COOL—SO YOU THINK, “WHATEVER”
DRIFT INTO THAT FUME,
YOU’LL FEEL YOUR NECK GO ON FOREVER.

CATERPILLAR & CATERPILLAR 2

NOTHING BUT ANOTHER BLUE,
AND DOWN THERE ON THE GROUND,

CATERPILLAR 2
NOTHING BUT ANOTHER YOU AND OTHER LOVELY CLOUDS…

CATERPILLAR, CATERPILLAR 2 & QUEEN OF DIAMONDS

OHH, OTHER LOVELY CLOUDS…

CATERPILLAR 2
I SAY: WHERE HAVE YOU GONE—
OR DID YOU GET THERE YET,
— 24 — A l i c e B y H e a r t

(CATERPILLAR 2)
WHERE THE SOUL GOES SOUTH,

CATERPILLAR 2, SOPRANO & ALTO ENSEMBLE

CHILLIN’ THE REGRETS…

CATERPILLAR & ALICE ENSEMBLE

CATERPILLAR 2 OHH…
O, THE WIND’S SO O, THE WIND’S SO
WONDERFUL—NO, REALLY— WONDERFUL— OHH…
JUST AS SWEET AS RAIN; IT’S JUST AS SWEET AS RAIN;

CATERPILLAR & CATERPILLAR 2 ENSEMBLE

YOU’LL HOLD ANOTHER VIEW, OOH…
ON WHO YOU HOLD IS YOU, OOH…
AS IF IT MET YOU IN WHOEVER’S DREAM… OOH OOH…
CHILLIN’ THE REGRETS…

ALL
CHILLN’…

ALICE & CATERPILLARS

CHILLIN’ THE REGRETS…

ALL
CHILLIN’…

CATERPILLAR & CATERPILLAR 2

CHILLIN’ THE REGRETS…

ALICE CATERPILLARS ENSEMBLE

O, THE WIND IS CHILLIN’ THE REGRETS…
WONDERFUL— CHILLIN’…
O, REALLY— CHILLIN’… CHILLIN’ THE REGRETS…
WHEN IT GREETS THE RAIN; CHILLIN’ THE REGRETS…
CHILLIN’ THE REGRETS… CHILLIN’…
CHILLIN’… CHILLIN’ THE REGRETS… CHILLIN’ THE REGRETS…
AAH… AAH…

ALICE
CHILLIN’ THE REGRETS…
 A l i c e B y H e a r t — 25 —

(As the song concludes, the ensemble of CATERPILLARS has wound around ALICE.
That moment, the WHITE RABBIT appears—anxious to claim what’s his. He clears his
throat, and interrupts them.)

WHITE RABBIT
I believe you have my gloves… ?

ALICE
(Out of it)

I do?

WHITE RABBIT
You don’t?

ALICE
(Attempting to snap to)

I do. I must.

WHITE RABBIT
Me, I’ve been waiting for our scene.
You know the bit—?

(Off her blank look)

The page you skipped?

ALICE
I did?

WHITE RABBIT
(”Duh”)
“The Crash of Broken Glass”—
the big “Alas”—
when your hand is just so big,
you knock down my entire house… ?
And, I call you “Mary Ann”… ?

ALICE
(Finally getting it, with a wild laugh)

And send me off to fetch your gloves and fan.

— 26 — A l i c e B y H e a r t

WHITE RABBIT
I’m frantic for them, actually.

ALICE
Of course. So sorry. Oh so sorry.
Mary Ann—right. I suppose I…
(The CATERPILLARS reassemble into a line beside ALICE, as if they were an extension
of her.)

CATERPILLAR
Got distracted?

ALICE
Yes.

WHITE RABBIT
(Prompting her to the scene)

So, shall we?

ALICE
Now?

(The WHITE RABBIT takes a grand thespian “moment.” He assumes his most WHITE
RABBIT manner, and enters the Storybook “scene.”)

WHITE RABBIT
“Oh Mary Ann! Mary Ann!
Fetch me my gloves, this instant.”

ALICE
But, is that really why you’ve come?
To fetch your gloves?

CATERPILLAR
And fan?

CATERPILLAR 2
As if you meant no more to him than random Mary Ann.

CATERPILLAR & CATERPILLAR 2

Oh Mary Ann… ?
Back a bit, where we began…
 A l i c e B y H e a r t — 27 —

WHITE RABBIT
Where what began?

(Alfred peeking through:)

Time, time—I have so little time.
Oh why did I come down at all?
Is this what you know by heart?

ALICE
Perhaps I’m looking through a different glass.
You followed me, now follow me.

WHITE RABBIT
No, follow me.

ALICE
Come, aren’t we a bit too big for this?

But this…

(Offers the hookah.)

Stops time, it does.

WHITE RABBIT
It does?

ALICE
To whom Time may concern it does.
“Drink me.”
(The WHITE RABBIT hesitates, tempted.)
That is the scene.

WHITE RABBIT
You’ll never find the key!

ALICE
(From the Mary Ann scene)

“’Something interesting is sure to happen,’ Alice said.”

(The WHITE RABBIT leans toward the hookah, but pulls himself back.)

WHITE RABBIT
Oh my dear dear fur—and whiskers!
— 28 — A l i c e B y H e a r t

(WHITE RABBIT)
The Queen! The Queen!
She’ll have my head—you understand?

ALICE
(Skeptical)

She will?

WHITE RABBIT
(”Yes”)

As sure as ferrets are ferrets. Executed.

ALICE
Then, go.

WHITE RABBIT
I will.

(The WHITE RABBIT doesn’t move.)

ALICE
And so?

WHITE RABBIT
I am rather fearful of losing my head.

ALICE
I know.

(All the CATERPILLARS nod, smiling knowingly at the WHITE RABBIT.)

WHITE RABBIT
You know how Her Majesty is.

#5 —The K e y I s

How loud she gets.

(ALICE leans toward the WHITE RABBIT.)

ALICE
LEAVE THE TALKERS TALKING.
 A l i c e B y H e a r t — 29 —

(ALICE)
THE HUM IS WHAT WE WANT,
A SONG BEYOND THOUGHT.

ALICE & CATERPILLAR 2

LET THE WORRY FADE,
NO MORE HURRY HURRY,
THE SUMMER IS PURRING.

ALL BUT WHITE RABBIT

WE’RE GOIN’ HIGHER, ‘CAUSE…

ALICE
WE CAN RISE BEYOND WHAT’S GONE,
THROUGH A WORLD THEY GOT SO WRONG,
TILL WE KNOW THE SKY BEYOND.
THE KEY IS, THE KEY WITHIN YOU.

THE SUNRISE IS ME,

THE SEA AND THE SHORE,
THE SIGH OF THE WIND AND THE DIM BLUE STARS.

ALICE, CATERPILLAR & CATERPILLAR 2

ONE TURN OF THE KEY,
THE GARDEN DOOR,
THE FLOWERS AND LEAVES, CHANTING WHO WE ARE.

ALL BUT WHITE RABBIT

AND WE’RE CLIMBIN’, ‘CAUSE…

ALICE ALL
I WON’T LET THEM MOVE YOU ON, AAH…
PLAY YOU LIKE SOME GHOSTLY PAWN. AAH…
COME, WE’LL HOLD THE STILL BLUE DAWN. AHH…
THE KEY IS, TO BE WITHIN YOU. AHH…

ALICE
WE’LL SLOW SLOW TIME.
TUMBLE INTO MY HEART,
A SKY SO WIDE, ALWAYS LIGHT, ALWAYS DARK.

WHITE RABBIT
BUT BUT BUT—
— 30 — A l i c e B y H e a r t

ALICE
JUST PLEASE.
(The WHITE RABBIT takes a puff.)
WE’LL TURN THE LOCK.
WITH THIS KEY SUBLIME, WE’LL UNWIND THE CLOCK.

WHITE RABBIT
AND WE’RE RISIN’ UP…

ALL
LET THEM PLAY THEIR GHOSTLY FRAUD,
WOUND US IN THE NAME OF GOD;
STILL, WE’LL BUILD THAT SKY SO BROAD—
TO SEE IS, TO DREAM WITHIN YOU.
(ALICE and the WHITE RABBIT climb an A-Frame ladder.)

ALL WHITE RABBIT

WE WILL RISE BEYOND WHAT’S GONE, RISE…
SLOW THE NIGHT AND HOLD THE DAWN, SLOW THE DAWN…
IN A WORLD WHERE WE BELONG, WE BELONG…
THE KEY IS, TO BE WITHIN YOU… TO BE WITHIN YOU…

ALL
AAH AAH AAH AAH…

ALICE, WHITE RABBIT & CATERPILLARS ALL

LEAVE OUR SHADOWS ON THE LAWN,
LEAVE A WORLD THEY GOT SO WRONG.
THERE’S A SKY WHERE WE BELONG, AAH…
THE KEY IS,

ALICE & WHITE RABBIT

THE KEY IS IN YOU.

(Everyone but ALICE and the WHITE RABBIT disappears. HE ascends to the top of the
ladder, as if to the treetops; she climbs after.)

ALICE
“‘Ohhh, my head—free at last!,’ said Alice with delight,
looking down from an immense stretch of neck.
‘Good-bye, Feet!’”
(ALICE catches sight of the shadow of her head on the Tube Station wall or parachute-
curtain, floating away)
 A l i c e B y H e a r t — 31 —

(ALICE)
Whoa, my head! Whoooa!
Even curiouser.
(The CHESHIRE CAT appears high above.)
Whoa!

CHESHIRE CAT
Whoa, hello.

ALICE
Cheshire Puss?
I fear I’ve lost my head.

CHESHIRE CAT
The world has lost its head.

ALICE
What have I done—to him, them, me?
Have I just gone mad?

CHESHIRE CAT
Not to worry—we’re all mad here.
I’m mad, you’re mad.

ALICE
So, I am mad.

CHESHIRE CAT
It’s a perfectly appropriate response.

(The CHESHIRE CAT nods, and begins to disappear.)

ALICE
Cheshire Puss? Don’t go—please!

(The CHESHIRE CAT hovers.)

CHESHIRE CAT
“Please” and “Puss”? I like that.

ALICE
But my old me, my old head, will I ever get it back?
— 32 — A l i c e B y H e a r t

CHESHIRE CAT
Then, do you want it back?
It took so long to lose it as it is.
You can’t keep looking back, to fit the head you had.

ALICE
But my whole life was in that head.
(From the Book:)
“’And yet, it is rather curious, this new sort of… feeling.’”

CHESHIRE CAT
(With a nod toward the treetops.)
Think too much, my dear, you’ll forget what you know by heart.
(Still, ALICE hesitates.)
What’s the point of turning the key,
if you won’t go through the door?
(With that, the CHESHIRE CAT disappears. ALICE begins climbing the ladder-tree.)

ALICE
“Alice climbed that massive tree as best she could,
for her head kept getting entangled among the branches… ”
(ALICE joins the WHITE RABBIT in the treetops.)
Sorry—so sorry. I just…
(Stoned)
Have you ever imagined yourself to be otherwise
than what it might appear to others
you might not otherwise have been—or appeared to them to be?

WHITE RABBIT
(Equally stoned)
Exactly.
(The two of them hover together, mid-air, rapt with wonder.)
Alice, look—the tree tops.
Have you ever seen such tree tops?

#7 —Thos e Long E y e s

ALICE
From the treetops.
 A l i c e B y H e a r t — 33 —

WHITE RABBIT
Or such a lovely wandering cloud…

(Music rises. A golden parachute-tide wafts over the stage, and the LOBSTERS waltz
on.)

ALICE
Or such a golden waltz of gorgeous Lobsters.

WHITE RABBIT
Such such Lobsters… !
(Then:)
I am finding myself oddly hungry.

ALICE
Not the Lobsters!
I mean, I do so love the Lobster Dance.
(A long, awkward pause. The CHESHIRE CAT reappears—only ALICE can see or hear
her.)

CHESHIRE CAT
(A beloved bit, from the Storybook:)

“Will you, won’t you, will you, won’t you… ”

ALICE
(Prompted by the CAT; to ALFRED)

“Won’t you join the dance?”

WHITE RABBIT
But I’m not in that Dance.

CHESHIRE CAT
Not yet.

ALICE
(To the WHITE RABBIT)

Not yet.

(A pause)
— 34 — A l i c e B y H e a r t

WHITE RABBIT
(Suddenly self-conscious)

You wouldn’t want to, really—with these ears?

ALICE
The dearest ears.

WHITE RABBIT
(Meaning: two left feet)

I’m all paws.

CHESHIRE CAT
Aren’t we all.

(A pause. Neither ALICE nor the WHITE RABBIT moves.)

Well, you can pause, and pause… and pause…

(A beat)

Pause too long, the moment’s gone. The dance is done.

ALICE
(To the WHITE RABBIT)
Come. “You really have no notion how delightful it will be,
When they take us and they throw us, with the Lobsters, out to sea!”
(The CHESHIRE CAT hovers. ALICE and the WHITE RABBIT climb down from the
tree, drawn by the dance.)

CHESHIRE CAT
WHEN YOU PARTNER
WITH A LOBSTER,
ALL THE WORLD’S YOUR SHORE…

SUMMER DANCES
WITH SOME SALMON
HAUNT YOUR HEART NO MORE.

WATCH THE WAVES REACH

FOR THE GREY BEACH
AND THOSE YELLOW SANDS…
 A l i c e B y H e a r t — 35 —

CHESHIRE CAT & ALICE

DRIFT POLITELY
BY THE WHITING,
LET THE SORROW DANCE…

CHESHIRE CAT
JUST HOLD HER BY THE CLAWS
AND WHISPER, “LOBS, LET’S SKIP THIS TIDE.”
DANCE AND GIVE YOURSELF
TO HIS HARD SHELL
AND THOSE LONG EYES…
(ALICE takes the WHITE RABBIT’s paw. They waltz.)

ALICE
LET THE SEAGULLS
FOLLOW SEAGULLS,
DOWN THOSE YELLOW SANDS.

CHESHIRE CAT & ALICE

TALK OF BRUSSELS
WITH THE MUSSELS.
LET THE SORROW DANCE.

ALICE, WHITE RABBIT & CHESHIRE CAT

JUST HOLD HER BY THE CLAWS
AND WHISPER, “LOBS, LET’S WALTZ ALL NIGHT.”
DANCE AND GIVE YOURSELF
TO NOTHING ELSE
BUT THOSE LONG EYES…

WALTZ AND WALTZ ALL NIGHT,

IGNORE THE TIDE,
IN THOSE LONG EYES…
(Just as the WHITE RABBIT surrenders fully to ALICE’s embrace, an alarm sounds.
An air-raid warning. Everyone else disappears. The WHITE RABBIT anxiously checks
his watch, shutting off the alarm.)

WHITE RABBIT
Oh dear dear.
So much—such a muchness still to finish.
— 36 — A l i c e B y H e a r t

ALICE
Just… please. One minute more, on this page.

WHITE RABBIT
This page?! What page?!
We’re not even on a page!

ALICE
We can change what’s on the page.

WHITE RABBIT
No no. You can change. The page can’t change.
And, so.
(The WHITE RABBIT starts off.)

ALICE
Please! No! One minute.

(ALICE’s words stop him.)

WHITE RABBIT
(At a rapid pace)
Oh we all know about minutes.
How they start out, merely minutes—seeming minutes.

Soon, each second, it’s a minute,

and the minutes run like seconds
till they’re hours—running, slipping—
years and years—gone, gone, gone.

ALICE
But they’re not. Not here, they’re not.

WHITE RABBIT
Gone. Gone.
I’M LATE, I’M LATE, I’M LATE!!!

ALICE
For what? Croquet?
I’ll come.
 A l i c e B y H e a r t — 37 —

WHITE RABBIT
(Dropping his guard, with a raw urgency.)
Stop. Please.
This isn’t just some silly game.
I have no time left.
Not for this.

ALICE
There’s time. There will be time.

WHITE RABBIT
No.
If you knew time as I do…
(The WHITE RABBIT runs through the garden door, and disappears through the
quarantine sheets to his cot.)

ALICE
White Rabbit!
(No reply.)
Alfred!
(ALICE runs to the garden door, but is now too big to get through.)

Ohhhh! “How I wish I could shut myself up like a telescope!”

(The DUCHESS enters, wearing an enormous dress made of a parachute and a strand of
pearls. She carries an old-fashioned truncheon.)

DUCHESS
Too late, Pig.

ALICE
The Duchess. I’m sorry, I’d forgotten this chapter entirely.

DUCHESS
Well, welcome to my world.
Set a bookmark on my heart—but don’t mind me.

ALICE
It’s just that, you make no sense.

DUCHESS
And the moral is: Stop Making Sense!
— 38 — A l i c e B y H e a r t

(DUCHESS)
It’s Wonderland, my pet.
(Launching the scene from the Book:)
Now, now.
This Little Piggie just could not stay home.
All grown up, are you?

ALICE
Not all, my Duchess.

DUCHESS
Not what I hear.

ALICE
From whom?

DUCHESS
From youm—
wallowing through the afternoon,
trailing bunny tails and doing shrooms?!

ALICE
But—

DUCHESS
Were.

ALICE
They—

DUCHESS
I can see it in your eyes, Pig.
I can smell it in your hair.

ALICE
But the Caterpillars said—

DUCHESS
Blaming insects, dear?
 A l i c e B y H e a r t — 39 —

ALICE
Ouch!

DUCHESS
Rule 42—you know it, dear—

you so: “Oh I know it all by heart!”—

and I quote: “You have no right to grow here.”

ALICE
But I can’t help it. I’m growing!

(The DUCHESS spanks ALICE’s bottom.)

DUCHESS
Can!

(The DUCHESS catches ALICE, spanks her again with the truncheon.)

ALICE
Really, I’m too old for this.

DUCHESS
Exactly!

(The DUCHESS spanks ALICE again.)

ALICE
Then, shall I never get any older than I am?

DUCHESS
Wretched Pig—
grew yourself such breasts and hips,
my lovelies sagged, just watching them.

You ripped the plumpy from my butt

and left me fat and flatulent!

You broke my heart,

you selfish tart,
and now my day’s just fart fart fart!
— 40 — A l i c e B y H e a r t

(DUCHESS)
And so I’m left—with no one left.

You stole my soul

and made me old, you pig!

You stripped the sheets,

and stole my sleep,
and left my youth a dream!

I’ll see you at the Trial!

You PIIIIIIIIG!!!!

PIIIIIIIIIIIIIGGGGGGGGGG!!!!!

ALICE
“I’m not your pig!” Alice said.

DUCHESS
PIIIIIIIIIIIIIIIIIIIIIIGGGGGGGGGGGGGG!!!!!!
(Then:)
‘Tis so.
‘Tis so.
And thus: ‘Tis is!
(Self-satisfied:)
I shall make you a present of everything I’ve said.
In the meantime, Bacon Bitty, we’ve been invited by the Queen to play Croquet.

So, when that bunny breezes by,

and you’re seizing on that butt cheek and that tail he trails behind, just—

#8 —M a n a g e You r F l a m i n go

(The DUCHESS gestures. Music begins. Three KNAVES emerge from beneath the
DUCHESS’ dress. THEY hold up gas masks which serve as flamingo beaks for their
croquet mallets. The DUCHESS sings to ALICE, counseling her to tuck in her budding
sensuality.)
MANAGE YOUR FLAMINGO,
IF YOU’D PLAY CROQUET, DEAR.
WHEN YOU PLAY CROQUET, DEAR,
 A l i c e B y H e a r t — 41 —

(DUCHESS)
YOU HAVE TO DO THE DO.

DUCHESS & KNAVE OF SPADES

YOU TUCK IT ALL IN,
FROM FEET TO THE CHIN,

DUCHESS
THEN BATTER YOUR HEDGEHOG AGAIN AND AGAIN.

QUEEN OF DIAMONDS
OHHHH, MANAGE YOUR FLAMINGO,
LIKE THE QUEEN IS PASSING.

KING OF HEARTS
WHEN THE QUEEN IS PASSING,
YOU HAVE TO DO THE DO.
(The QUEEN OF HEARTS enters, grandly.)

DUCHESS & KNAVE OF HEARTS KNAVE OF CLUBS & KNAVE OF SPADES

YOU PLANT A ROSE WHITE, WHITE!
YOU’D BEST PAINT IT RED. RED!

KNAVE OF HEARTS
OR SOON AS SHE PASSES—

QUEEN OF HEARTS
IT’S OFF WITH YOUR HEAD.
(The CHESHIRE CAT appears.)

ALICE
But would she really?

DUCHESS
If you tell a lie long enough—and loud enough…

(The CHESHIRE CAT disappears.)

QUEEN OF DIAMONDS
KNAVES LOSE THEIR FACES,
THE FACELESS MUST DIE.

DUCHESS & KNAVE OF CLUBS

FIVES CLUB THEIR ACES,
— 42 — A l i c e B y H e a r t

(DUCHESS & KNAVE OF CLUBS)

DIAMONDS ASK WHY…

KING OF HEARTS & KNAVES

WHY?

ALICE
DON’T THEY ASK WHY?

QUEEN OF HEARTS
OH, MANAGE YOUR FLAMINGO,
OR IT’S DONE FOR YOU, MY LOVE.

DUCHESS
OH, SHE’S DONE WITH YOU, MY LOVE,

QUEEN OF HEARTS
(”Indeed”)
UNLESS YOU DO THE DO.

KING OF HEARTS KNAVES

AND TELL HER HOW FINE TELL HER HOW FINE…
A DAY FOR CROQUET.

DUCHESS & KNAVE OF HEARTS

THEN, WHO BUT A QUEEN COULD CONCEIVE SUCH A GAME?

KNAVE OF HEARTS
GATHER YOUR HEDGEHOG,
SET HIM ON THE GREEN.

DUCHESS & KNAVE OF HEARTS

SWING YOUR FLAMINGO—

DUCHESS, QUEEN OF DIAMONDS & KNAVES

GOD SAVE THE QUEEN.

DUCHESS
WILL GOD SAVE THE QUEEN?

ALL
WILL GOD SAVE THE QUEEN?
 A l i c e B y H e a r t — 43 —

DUCHESS
WILL GOD SAVE THE QUEEN?

ALL
WILL GOD SAVE THE QUEEN?

ALICE & DUCHESS

WILL GOD SAVE THE—
(A bomb sounds. At once, the Wonderland world disappears, and we are once more in
the gloomy Tube Station.)

RED CROSS NURSE

Under your beds!

ALICE
Alfred!? Alfred!

(As the young people duck under their cots, ALICE starts toward ALFRED.)

HAROLD PUDDING
(Cries out in a fit of PTSD)

Evacuate the trenches. Guard the rear!

NIGEL
Mummy! I want my Mummy! I want my Mummy!

RED CROSS NURSE

Pray God, we get through this night.

CLARISSA
Pray to God?
After what he’s put me through?

DODGY
God is dead.
Meanwhile, I’m not feeling so well myself.

ANGUS
At this point, God’s only excuse is,
he doesn’t exist.

TABATHA
He doesn’t. We killed him.
— 44 — A l i c e B y H e a r t

NIGEL
(Suddenly raising his hand as if in class.)
Number 7 on our Lit Exam:
“Who says, ‘God is the Imagination’?”
(ALICE has reached ALFRED.)

ALICE
Alfred.

ALFRED
(From the Book)

“’Hush! Hush!’ said the Rabbit. ‘The Queen will hear you!’”

ALICE
Calm yourself. You’re skipping to the end.

ALFRED
(Still from the Book)
“He sent them word I had not gone;
We knew it to be true.
If she should push the matter on,
What would become of you?”
(Then:)
What would become of you, Alice?

ALICE
I—I’ll be Alice still, and chasing after you—
my “Dear, oh dear!” White Rabbit.
(YOUNG ALFRED and YOUNG ALICE emerge like apparitions from underneath
ALFRED’s bed. YOUNG ALFRED runs playfully amongst the cots. YOUNG ALICE
chases after him, and they exit.)

ALFRED
No, I won’t be here again.
We must, must reach the end, before I end.

ALICE
Before you end?
Stuff and nonsense! Alfred, catch your breath.
 A l i c e B y H e a r t — 45 —

ALFRED
No. I have to put a period.
The sentence has no meaning, if it does not end—

ALICE
It will. Again, again. We’ll come here still.

ALFRED
You will.
(A beat)
And for you to carry on, you must care less for me.

ALICE
Never. No.

ALFRED
Then I’ll make that easier for you.
(Reciting:)
“It broke his heart to hurt her so,
and yet he had to do.”
I have to help you let me go:
Now, follow me, I followed you.

#8 A — Te a P ar t y I n t r o

(With a shift of the lights, ALFRED rises from his cot, and transforms into the MARCH
HARE. He joins the MAD HATTER and DORMOUSE at the table for a Wonderland
tea-party, with helmets for teacups.)

MAD HATTER
(To MARCH HARE)

Do we see that little tweeb down there?

DORMOUSE
(To ALICE)

My dear, what have you done to your hair?

ALICE
Dormouse! Don’t be rude.
— 46 — A l i c e B y H e a r t

MARCH HARE
Then don’t offend us—with that hair.

ALICE
(To ALFRED/the HARE)

What are you doing? The White Rabbit isn’t at the Mad Hatter’s Tea.

WHITE RABBIT
But the March Hare is. And today he’s me.
(Then, as the MARCH HARE)
Sorry—no room.

ALICE
There’s plenty of room.

DORMOUSE
Not here.

MAD HATTER
(To MARCH HARE)
You give the goon some room,
the next thing that you know
she wants your chair.

DORMOUSE
Can’t bear these chairs.

MAD HATTER
(To ALICE)

One place on, please.

#8 B — Te a P ar t y T a b l e a u 1

(ALICE attempts to take a seat at the table. But the MAD HATTER and DORMOUSE
push on, effectively blocking her access.)
 A l i c e B y H e a r t — 47 —

MARCH HARE
(To MAD HATTER; re: ALICE)

Did you hear how mean she was to Mary Ann?

DORMOUSE
Love Mary Ann.

ALICE
I skipped her scene. I wasn’t mean.

MAD HATTER
Then, you should say what you mean.

ALICE
But I did.

MAD HATTER
(To MARCH HARE)

She means: she means what she says.

MARCH HARE
It was mean what she said.

MAD HATTER
And did.

MARCH HARE
But then, that’s how she is.

DORMOUSE
Hate how she is.

(The MAD HATTER turns to ALICE, sweetly.)

MAD HATTER
More tea?

MARCH HARE
One place on. And more tea, please.
— 48 — A l i c e B y H e a r t

#8 C — Te a P ar t y T a bl e a u 2

(Everyone pushes on a place. Then they pull the seat out from ALICE, making sure
there’s no room for her at their table.)

MAD HATTER
So, now we all explore: The Girl Who Wanted More.

ALICE
But, I haven’t had any yet.
So, how could I take more?

MARCH HARE
No. How can you take less?
(A beat)
You selfish brat, go taste regret.
(ALICE is stung. The MARCH HARE becomes the WHITE RABBIT.)

WHITE RABBIT
Hate me yet?

ALICE
I never would or could.

WHITE RABBIT
You should.

MAD HATTER
So, shall we have a riddle?

(The WHITE RABBIT turns back into the MARCH HARE.)

ALICE
Yes.

MAD HATTER
Now, she wants a riddle.

MARCH HARE
That, and tea.
 A l i c e B y H e a r t — 49 —

DORMOUSE
Loathe tea.

MAD HATTER
All right, then. Since you insist:
Why is a raven like a writing-desk?

ALICE
You tell me.

MAD HATTER
I haven’t the faintest idea.

(The MAD HATTER, MARCH HARE, and DORMOUSE mock ALICE with their
laughter.)

ALICE
I think you might do something better with your time
than waste it asking riddles with no answer.

DORMOUSE
You’re the one who’s asking.

MAD HATTER
(With a look to the MARCH HARE)
If you knew Time as we do, child,
you wouldn’t talk of wasting it.

ALICE
(To MARCH HARE)

You waste time by not spending it.

DORMOUSE
(”Spare us!”)

Dear. Dear. Me.

MARCH HARE
(To ALICE)

I dare say, you have never spoken to Time.

— 50 — A l i c e B y H e a r t

MAD HATTER
We, we’ve spent so many years with him,
and you, you are just meeting him.

DORMOUSE
So, prithee: pass the scones.

MARCH HARE
Time for you to riddle yourself home.

DORMOUSE
Leave us alone.

ALICE
No, I won’t.
It’s you, who talk in riddles.

MAD HATTER
Come, we live in riddles, Child—
and sometimes there’s no answering them.
(The lights and feeling shift; a sense of the shattered world of London suffuses the party.
A riddle:)
What leaves home as Mummy’s hero,
then crawls back a less-than-zero:

like a teacup chip-chip-chipped,

like an egg God dropped for kicks?
(ALICE stares at the MAD HATTER with a new compassion.)

ALICE
You?

MAD HATTER
Ahh, but I am no longer me.
(A beat)
My mate, you know, was drop-dead funny.
Then he dropped dead—isn’t that funny?

MARCH HARE
Indeed.
 A l i c e B y H e a r t — 51 —

DORMOUSE
Indeed.

MAD HATTER
Indeed.
(A bomb sounds. The MAD HATTER abruptly pulls ALICE under the table with him.)
Aaaaah!
(The rumble recedes. The MAD HATTER turns, sugar sweet, to ALICE. The mad Tea-
Party has resumed.)
More tea?

DORMOUSE
Hate tea.

WHITE RABBIT
(Aside to ALICE)

Hate me?

ALICE
No!

MAD HATTER
No tea??!!

(A beat. Everyone reacts as if ALICE had just asked for more tea.)

MARCH HARE
She, and her incessant need.

MAD HATTER
For cream.

MARCH HARE
And sugar.

MAD HATTER
Ham.

MARCH HARE
Smoked ham.
— 52 — A l i c e B y H e a r t

MAD HATTER
And jam.

MARCH HARE
Cold jam.

DORMOUSE
And cheese.

MAD HATTER
Butter on her every sad sardine.

MARCH HARE
The next thing you know, she’ll be demanding herbal tea.

ALICE
I don’t like herbs.

DORMOUSE
Or Herb?

ALICE
Or tea.

(The MAD HATTER, MARCH HARE, and DORMOUSE gasp. As music rises, they
bang the table with their helmets—providing their own percussion.)

#9 —Si c k t o D e a t h o f A l i c e – n e s s

MAD HATTER
SO YOU TELL US NOW YOU’VE GOT A THING FOR TEA,
WANDER THROUGH THE WORLD, AS IF IT WERE YOUR DREAM.

WASN’T LONG BEFORE, BEFORE YOU STARTED SEEING THINGS,

TALKING ANIMALS AND NASTY, ACID, VICIOUS QUEENS.

HOW DO WE PUT YOU BACK TO BED?

MAD HATTER, MARCH HARE & DORMOUSE

TAKE THIS, TAKE THIS CUP FROM US
OF EVERYTHING YOU’VE SAID.
 A l i c e B y H e a r t — 53 —

(MAD HATTER, MARCH HARE & DORMOUSE)

NO MORE SUCKING UP TO US—WE DON’T WANT IN YOUR HEAD.
WE’RE SICK TO DEATH OF ALICE–NESS.
YES, WE’RE SICK TO DEATH.

MAD HATTER
IT’S ALL ABOUT YOUR PAIN,

MARCH HARE
SICK TO DEATH…

DORMOUSE
YOU’RE SUCH A BORING PAIN.

MAD HATTER
ALICE–NESS…

MARCH HARE
AND SO NOT WORTH THE PAIN,

DORMOUSE
SICK TO DEATH…

MAD HATTER, MARCH HARE & DORMOUSE

IT’S MAKING US INSANE!

DORMOUSE
SO, YOU THINK YOU’VE GOT THE HANG OF WONDERLAND,

DORMOUSE & MAD HATTER

TELLING RIDDLES NOW AS IF YOU UNDERSTAND.

MARCH HARE
TIME TO GET BACK ABOVE THE GROUND—
NOT THAT THEY KNOW YOU’RE NOT AROUND.
NOT THAT THEY WANNA HEAR A SOUND FROM YOU.

MAD HATTER, MARCH HARE & DORMOUSE

NOT A SOUND FROM YOU…
STOP THE ANALYZING OF EVERYTHING YOU’VE READ,
NO MORE MAKING NICE WITH US—
WE DON’T WANT IN YOUR HEAD.
(By now, ALICE and the MARCH HARE are standing on top of the table, facing off.)
— 54 — A l i c e B y H e a r t

ALICE
YOU’RE SICK TO DEATH?—SURE, TELL YOU WHAT,
OH, I’M SICK TO DEATH.

MARCH HARE
YOU OUGHT TO BE ASHAMED,

MAD HATTER & DORMOUSE

SICK TO DEATH.

ALICE
IT’S ALL ABOUT YOUR PAIN.

MAD HATTER & DORMOUSE

ALICE–NESS.

MARCH HARE
SORRY BUT, WHOSE PAIN?

MAD HATTER & DORMOUSE

SICK TO DEATH.

ALICE
YOU’LL LEAVE ME, ALL THE SAME.

MAD HATTER & DORMOUSE

ALICE-NESS.
OH I’M SICK—

MARCH HARE
I’M SICK—

MARCH HARE, MAD HATTER & DORMOUSE

—TO DEATH.

ALICE
(To the HARE)
I hate you!
I hate you for getting sick. I hate you!
(Angry, ALICE pushes the MARCH HARE, and he tumbles off the table—once again,
ALFRED. He falls onto a medical stretcher made of the ensemble’s arms. The RED
CROSS NURSE enters.)

RED CROSS NURSE

Away with him—Ward D.
 A l i c e B y H e a r t — 55 —

(ALICE struggles to follow ALFRED. The RED CROSS NURSE blocks her path.)

ALICE
Oh no no no—

RED CROSS NURSE

There’s no time for farewell.
LET. HIM. GO.
(ALFRED is taken off.)

ALICE
Nooooooo! I didn’t mean it, Alfred. I didn’t!

(ALICE breaks free and chases after. DR. BUTRIDGE appears—stopping her.)

DR. BUTRIDGE
Stay away.

ALICE
Dr. Butridge, no. Bring him back!

DR. BUTRIDGE
There’s no returning. Terminal prognosis.
Awaaaay.
(As he speaks, DR. BUTRIDGE transforms into the JABBERWOCK.)

#1 0 — B r i l l i g B r a e l i g

DR. BUTRIDGE
From that Haemoptystic Hare, that Buck Tubercular.
“’Twas brillig, and the slithy lobes”—

ALICE
The Jabberwock!? That’s not what’s next.
(As if to banish him:)
“Then came a pattering of feet on the stairs, and Alice knew it was the Rabbit coming to
look for her, and she trembled—”

DR. BUTRIDGE
Trembling Sickness. Delirium Tremens.
Orthostatic Tremor…
— 56 — A l i c e B y H e a r t

ALICE
What?

DR. BUTRIDGE
(Hard of hearing)

Whaaaat?

ALICE
What?

(DR. BUTRIDGE is now fully the JABBERWOCK:)

JABBERWOCK
“Beware the Jabberwock!”

ALICE
No! Alfred!

JABBERWOCK
“Beware the frumious Bandersnatch,
the jaws that bite, the claws that catch!”
(Music rises. A hallucinatory dance sequence unfolds. The ENSEMBLE morphs into a
nightmare. Wielding rifles and crutches, they become the expansive limbs and claws of
the Jabberwock.)
BRILLIG BRAELIG UFFISH-NESS, UND CRYPTIC DIAGNOSIS.
STREPTOMISIS GRISEUS, THEN TOO, TUBERCULOSIS.
WORDS MEAN WHAT WE SAY THEY MEAN—
AND THAT’S THE WAY IT GOES-ES.
SO, HAVE A WEE, A SPOT OF TEA,
AND DINE ON YOUR ALONENESS.

ALL BUT ALICE

COME, SICKY, SICKY, SICKY—FRONT OF THE LINE.
SPINE UP, YOU ICKY SICKY—SIGN UP TO DIE.

JABBERWOCK
UNRAVEL ALL YOU’VE EVER LEARNED,
AND WHO KNOWS WHAT IT MEANT?
THE THOUGHTS YOU HAD, OR THOUGHT YOU HAD,
AND WHO KNOWS WHERE THEY WENT?
SO, WHO IS THERE, QUA YOU—WHO CARES?—
IF YOU ARE, QUOTE, “AT SEA?”
 A l i c e B y H e a r t — 57 —

(JABBERWOCK)
AND WHO IS HERE, BEFORE YOU HERE,
QUA YOU, QUA HIM, QUA ME?

JABBERWOCK, SOPRANOS & ALTOS

OOH…
OOH…

ALL BUT ALICE

BRILLIG BRAELIG UFFISH-NESS, UND PSEUDO-PNEUMO-GNOSIS.
TWO DAYS ‘TIL HIS HEART DROPS DEAD—
A PROMISING PROGNOSIS.
SENSELESS TWIT, GO GRIEVE A BIT,
AND SOON WE’LL HAVE SAMOSAS.

JABBERWOCK
BRILLIG IS: YOU SHARE A KISS,
AND SOON YOU CHUCK HIS BONES-ES.

ALL (BUT ALICE)

COME, SICKY, STICKY SICKY—SIGN UP YOUR MIND.
SPINE UP, YOU TRICKY–DICKIES—LINE UP TO DIE.

JABBERWOCK
THERE WAS A DAY THE WORLD WAS MADE OF YOU
AND ROOM AND CAT.
BUT THEN ONE DAY, THE SORROW CAME,
AND YOU MOVED INTO THAT.
BUT THEN—CALLAY!—THE JABBER CAME
AND MADE HIS ROOM YOUR MIND.
AND JABBER ATE AND JABBER PLAYED:
ALL JABBER ALL THE TIME.

JABBERWOCK, SOPRANOS & ALTOS

OOH…

ALL (BUT ALICE)

BRILLIG BRAELIG UFFISH–NESS.
O FRABJOUS DAY!
YOU KNOW WHAT?

ALICE
WORDS AREN’T WHAT YOU SAY THEY MEAN—
HE’S NOT SOME DIAGNOSIS.
— 58 — A l i c e B y H e a r t

ALL (BUT ALICE)

THIS IS WHERE THE STORY ENDS—
GO DOWN YOUR HOLE AND HOLE UP.

ALICE
SENSELESS, HEARTLESS IDIOT—I WILL NOT GIVE HIS SOUL UP!
(With that, ALICE banishes the JABBERWOCK. HE disappears behind ALFRED’s
quarantine curtain and everyone else disappears as well. Now ALICE pulls back the
curtain —only ALFRED’s empty cot remains. She looks about a blank and darkened
stage, unsure what world she’s in, and where to go next.)
“’Which way? Which way?’ Alice asked.” But no one answered.
(Silence. ALICE looks about. She calls out:)
Cheshire Puss! Cheshire Puss!
Tell me, which way I ought to go from here.
(The CHESHIRE CAT appears, from a perch above.)

CHESHIRE CAT
That depends a good deal on where you want to get to.

ALICE
To him.
Though, in truth, I’m now so lost.

CHESHIRE CAT
Then does it matter, really, which way you go?

ALICE
Yes, it does. Of course. It must.

CHESHIRE CAT
Well, I’m sure you’ll wind up somewhere.

(The CHESHIRE CAT disappears.)

ALICE
Stay. Tell me. Where?
It all keeps disappearing.
The pages turn so quickly…

Why can’t he stay?

(The CHESHIRE CAT reappears beside ALICE.)
 A l i c e B y H e a r t — 59 —

CHESHIRE CAT
The question is: when someone needs to go,
“whoooo are youu” to make them stay?

ALICE
But there’s so much left—of our story!

CHESHIRE CAT
Perhaps that is the story.
It isn’t hard to say hello, it’s how we say good-bye.

ALICE
“I shall find that tiny golden key,” Alice said—and bring him with me,
into that “loveliest garden, among the roses”—

CHESHIRE CAT
Alice!
You cannot keep believing impossible things.

ALICE
“’Sometimes,’ Alice says, ‘I’ve believed in as many as six impossible things before
breakfast.’”

CHESHIRE CAT
You want too much—

ALICE
All I want is time with him. More time.

CHESHIRE CAT
It isn’t how much time. It’s how we use the time.

ALICE
But he is always out of time.

CHESHIRE CAT
Perhaps he hasn’t much to give.
(Music rises)
Alice, pause, and let the picture in.
To be there, Puss, that’s to be in Wonderland.
— 60 — A l i c e B y H e a r t

(Over the course of the song, the CHESHIRE CAT tosses dust into the light—as if the
rubble left behind, or the glimmering sand of time, were slipping through the hand of a
survivor.)

#1 1 — S o me Thi ng s F a l l A w a y

YOU CAN KICK AT HEAVEN,

OR CRY OUT TO THE SKY.
YOU CAN GO BELOW WORDS,
AND STILL, THERE’S NO REPLY.

AND NO, THERE IS NO REASON,

SOME THINGS FALL AWAY–AY…

THE HEAVENS ARE FOREVER,

OUR DAYS PASS WITH THE LIGHT.
WE RISE UP WITH THE MORNING,
AND THEN WE BID GOOD–NIGHT.

AND NO, THERE IS NO REASON,

SOME THINGS FALL AWAY–AY…

SORROW CALLS WITH THE EVENING,

WITH THE WIND BENEATH YOUR DOOR.
SHADOWS PAUSE AT THE WINDOW,
MEET THEIR GAZE—THEIR GRIEF IS YOURS.

YOU CLOSE THE BOOK AT MIDNIGHT,

YOU DREAM IT CAN’T BE TRUE.
YOU LOOK AGAIN, NEXT MORNING,
THEY’RE STILL NOT THERE WITH YOU.

AND NO, THERE IS NO REASON

NO ONE COMES TO STAY–AY…

SORROW CALLS WITH THE EVENING,

TROUBLE KNOCKS ON EVERY DOOR.
SHADOWS FADE FROM THE WINDOW;
ON THEIR WAY—THE GRIEF IS YOURS.
(The CHESHIRE CAT disappears, in a final wisp of dust. Music out. ALICE casts
about.)
 A l i c e B y H e a r t — 61 —

ALICE
’It was so dark overhead,’ Alice said,
and she could hear the White Rabbit calling:
‘Time, time, so little time! How late it’s getting…!’”

Oh Alfred, I thought we’d come down here again and again.

This is not what I know by heart.
(Calling out, lost)
Now, what’s next? What’s next?
(A page drifts down like a leaf from above. ALICE reaches for it. She reads it, through
tears:)
“And soon, Alice found, she had cried herself into a pool of her own tears… ”
(Music rises. A steel drum)

#1 1 A — M oc k Tur t l e I n t r o

MOCK TURTLE (FROM OFF)

Boo hoo!

(The CAST streams on, wearing army helmets. They form themselves into the shape
of an enormous turtle. The MOCK TURTLE pushes his head and neck through the
seeming shell.)

Boohoooooo.

(ALICE approaches.)

ALICE
Turtle? My Poor Turtle?

MOCK TURTLE
Turtle? Me?
No, I am no longer a Turtle.
Only a Mock Turtle.

ALICE
Oh dear dear me.

MOCK TURTLE
(Ducks his head back into the shell.)

You mock me!

— 62 — A l i c e B y H e a r t

ALICE
Oh no no, I assure you.

(The MOCK TURTLE pushes his head out again.)

MOCK TURTLE
Ahhh, If only you knew who I used to be.

ALICE
A terribly grand turtle, I should think.

MOCK TURTLE
A baby grand, perhaps.

ALICE
But, what…

MOCK TURTLE
Such a salty story, really.
I can’t tell it.

ALICE
Really?

MOCK TURTLE
Not a word, until I finish. Please.

(ALICE nods, and waits. The MOCK TURTLE sobs uncontrollably. She waits. He
weeps.)

ALICE
(Politely)
Sorry.
I don’t see how you can finish if you never start.

MOCK TURTLE
Once…
(He sobs.)
Once…
(He sobs.)
Once, when I—like you—
 A l i c e B y H e a r t — 63 —

ALICE
Not I.

MOCK TURTLE
(Insistent)

When, like you—

ALICE
Not me, yet.

MOCK TURTLE
(With a gutteral glare)
Not yet you.

(MOCK TURTLE)
When I had my Tortoise still with me…
Well, we called him “Tortoise,”
because, of course, he taught us:
Coral, Shells, and Fractions, Addition and Subtraction,
Reeling and then Writhing…

ALICE
(Nods)
My friend and I, we read together in our garden, every day,
but now all that’s been blown away.

MOCK TURTLE
Your garden? I’m talking about my entire coral reef!
I’m floundering! You see, I—
(The MOCK MOCK TURTLE pokes his head out from under the ensemble shell.)

MOCK MOCK TURTLE

Ayyyyyy meeee!!

ALICE
(To MOCK TURTLE)

Now, who is he?

MOCK TURTLE
A Mock Mock me.
— 64 — A l i c e B y H e a r t

(MOCK TURTLE)
A mockery!

MOCK MOCK TURTLE

I knew Tortoise too, you see.

MOCK TURTLE
But not like me.

MOCK MOCK TURTLE

And yet, it all began with me.

MOCK TURTLE
Nay, me!

MOCK MOCK TURTLE

In truth, he thought you were a drama queen.

MOCK TURTLE
Me?!

MOCK MOCK TURTLE

Ah, the life my Torty and I had, before the crash.

MOCK TURTLE
“Torty?”

MOCK MOCK TURTLE

How huge we hoped to be!…

(The MOCK MOCK MOCK TURTLE pokes her head out from the shell.)

MOCK MOCK MOCK TURTLE

You think you know from misery?
My Torty passed on my birthday!

MOCK TURTLE
Your Torty?

(The MOCK MOCK MOCK MOCK TURTLE pokes his head out.)
 A l i c e B y H e a r t — 65 —

MOCK MOCK MOCK MOCK TURTLE

My Tortsy. Like the sea— so wise, so deep.
Swallowed by a whale. Oy me!

ALL MOCK TURTLES

(Competing in grief)

Ayyy meee! Ayyyy meeee! Ayyyyy meeeee!

ALICE
Stop! Enough!
No one has ever loved like me. I’ve lost everything.
And now… I’ve lost him too.

MOCK TURTLE
You see, we are a we!

ALICE
But… I don’t know how to let him go.

MOCK MOCK TURTLE

Don’t.
If you never move forward…

MOCK TURTLE
You never have to leave your friend behind.

(The MOCK TURTLE leads ALICE to the turtles, inviting her to become part of them.)

#1 2 — Yo u r S h e l l o f G r i e f

JUST CRY, AND IT’S A CRISIS.

YOU SIGH AND PUT THE SIGH BACK IN SILENCE.
MY TORTOISE TAUGHT, DON’T PEE IN THE SEA.
GIVE INTO YOUR GRIEF LIKE ME.

MOCK MOCK TURTLE

DON’T BOTHER WITH DENIAL,
BEREAVEMENT IS THE KEY TO SURVIVAL.
THAT TORTOISE WAS MY HUSBAND, YOU SEE—
LIVE AND BREATHE YOUR GRIEF LIKE ME.

ALICE
MOCK ME, I’M LIVING IN SHOCK HERE—
— 66 — A l i c e B y H e a r t

(ALICE)
MY CHEEKS THICK WITH TEARS…

MOCK MOCK MOCK TURTLE

MY HEART IS A DARK POLAR BLOCK, DEAR.
NO ONE COMES NEAR…

MOCK MOCK MOCK MOCK TURTLE

NO LOSS COULD EVER MATCH MINE—
THEY WEEP THE WEEP, BUT I LOST MY RABBI.
MY TORTOISE TAUGHT US TORAH, YOU SEE.
MEET YOURSELF IN GRIEF LIKE ME.

ALICE
MOCK ME, I’M LIVING IN SHOCK HERE.

ALICE & MOCK TURTLE

SUCH PEARLS ARE MY TEARS.

MOCK MOCK MOCK TURTLE

MY HEART IS A MOCK–LOCH NESS MONSTER,

MOCK MOCK MOCK TURTLE & ALICE

JUST DON’T COME NEAR…

MOCK MOCK TURTLE

MY LIFE HAS LOST ALL PORPOISE.

ALICE
I LOST MY HARE—

MOCK MOCK TURTLE

I LOST MY HAIR!

MOCK TURTLE
BUT I LOST MY TORTOISE.
SO, SO, I SING, KING LEARIALLY,

MOCK MOCK MOCK MOCK TURTLE

DWELL WITHIN YOUR SHELL LIKE ME.
(The TURTLES form a shell around ALICE. She merges into their hard, grieving shell.)
 A l i c e B y H e a r t — 67 —

MOCK MOCK TURTLE BACKUP TURTLES

JUST BUILD YOUR WALL, TELL THE SHELL OF GRIEF, THE WONDER.

MOCK, MOCK MOCK, & MOCK MOCK

MOCK MOCK TURTLE
THAT’S BETTER—

MOCK MOCK MOCK TURTLE

RETRACT YOUR HEAD— TELL THE SHELL OF GRIEF.

MOCK TURTLE
YOU WON’T GET WETTER!

MOCK MOCK MOCK MOCK TURTLE

LOVE IS BRIEF— SWELL THE SHELL OF GRIEF, DUCK UNDER.

MOCK TURTLE
AND TIME’S A THIEF.

ALL MOCK TURTLES

CLIMB INTO YOUR SHELL OF GRIEF. SWELL THE SHELL OF GRIEF.

MOCK TURTLE
So sweet.

(A siren sounds. Blackout. A searchlight prowls the space. The TURTLES separate and
race madly across the stage—en route to the Trial. ALICE kneels, unmoving, bowing her
head beneath a shell-helmet of her own. And now that helmet is stripped from her, as a
KNAVE cries out:)

KNAVE OF HEARTS
The Trial! The Trial!

(As the characters dash about, ALFRED appears, in a white medical gown—like an
apparition. Only ALICE sees him. The others have gone, ALICE and ALFRED stand
alone.)

ALICE
Alfred?! Alfred!
You’re here!

ALFRED
I had to—finish it. With you.
We could not end like that.
Come!
— 68 — A l i c e B y H e a r t

ALICE
No! I won’t. I know what’s next.

ALFRED
Then, please. The Trial. We’re late.

(Bits of torn pages drift from above, turning to white rose petals, which fall upon them.)

ALICE
I’m staying here. With you. In our garden of roses.
There cannot be a Trial without me there.

ALFRED
Alice!

ALICE
I shall never turn this page.
If we never move forward,
I never have to leave you behind.
We’ll simply stop the story here.

ALFRED
I caaaan’t.
(A beat)
Perhaps we were never, really, meant to…

ALICE
Yes, we were.

We are. We still can be.

Forever. Here.

(ALFRED begins coughing. The light shifts to crimson, as if the blood from ALFRED’s
cough were turning all the white roses red.)
Alfred!!
(ALFRED lifts his hand, silencing her.)

ALFRED
Please!

ALICE
But, your roses… !
 A l i c e B y H e a r t — 69 —

ALFRED
Yes.
They are as roses are.
As roses, here, must be.
(ALICE takes this in.)
I’ve got to reach the end.
Just this once more.

ALICE
I thought that when you knew a book,
you had the chance to have it
as you always want to have it in your head.

ALFRED
It doesn’t always end as books would have it end.

I’m a rabbit in a waist–coat, really.

Running out of time in Wonderland.

#1 3 — A n o t h e r R o o m i n Y o u r H e a d

ALICE
But how shall I be here without you, now?

ALFRED
That is the riddle.

(This lands. A silence. ALICE’s cot appears, within some blank space of Wonderland, as
if they were between both worlds. ALFRED leads her to it.)
WHAT WILL YOU DO, WHEN I’M NOT HERE WITH YOU,
AND YOU SIT HERE AND YOU’RE NOT WITH ME?
HOW WILL YOU DO, FINDING SOMETHING TO DO,
WHEN THERE’S SO MUCH YOU THOUGHT THAT WE’D SEE?

WILL I STILL SLEEP IN SOME PART OF YOUR MIND,

IN SOME WAY I MAY NEVER KNOW?

ALICE
WILL I STILL DREAM THAT YOU’RE HERE AND YOU’RE MINE,
AND I NEVER HAVE TO LET YOU GO?
— 70 — A l i c e B y H e a r t

ALFRED & ALICE

OH—WILL YOU FIND ANOTHER ROOM IN YOUR HEAD?

ALFRED, ALICE, DUCHESS & QUEEN OF DIAMONDS

SPEND SOME TIME IN ANOTHER ROOM IN YOUR HEAD?

ALFRED, ALICE, & CHESHIRE CAT CATERPILLAR

WONDERING WHY WONDERING WHY?
IN ANOTHER ROOM IN YOUR HEAD?

(ALFRED’s quarantine curtain billows, beckoning him like a ghost.)

ALFRED
WILL YOU DREAM IT’S LIKE ALWAYS—HAUNTING AS ALWAYS,
YOU STILL THERE, WANTING MY LOVE?

ALICE
WILL YOU DREAM I’M STILL WATCHING,
FULL OF SUCH LONGING?
WANTING SO MUCH STILL, MY LOVE?

ALICE & ALFRED

IN MY DREAMS, WHEN I’M FALLING—FALLING AND FALLING,
YOU’LL BE THERE, WANTING MY LOVE…
IN MY DREAMS, YOU’LL BE CALLING—CALLING WITH LONGING,
NOTHING THERE, HAUNTING OUR LOVE.

ALFRED ALL
YOU STILL THERE, WANTING MY LOVE. OOH…

ALFRED
WHAT WILL YOU DO, WHEN I’M NOT HERE WITH YOU,
AND YOU SIT HERE AND YOU’RE NOT WITH ME?

ALICE
HOW WILL YOU DO, WHEN THERE’S NOTHING TO DO,
AND THERE’S SO MUCH WE THOUGHT THAT WE’D SEE?

ALICE & ALFRED

WHEN THERE’S SO MUCH WE THOUGHT WE WOULD BE?
 A l i c e B y H e a r t — 71 —

ALL CATERPILLAR
OH—WILL YOU FIND
ANOTHER ROOM IN YOUR HEAD?
LOSE YOUR MIND
IN ANOTHER ROOM IN YOUR HEAD?
LEFT BEHIND LEFT BEHIND…
IN ANOTHER ROOM
IN YOUR HEAD?

ALFRED TENORS & BASSES ALICE, SOPRANOS & ALTOS

IN ANOTHER ROOM IN ANOTHER ROOM… OOH, OOH…
IN YOUR HEAD…
IN ANOTHER ROOM, IN ANOTHER ROOM… IN ANOTHER ROOM…
ANOTHER ROOM IN YOUR A ROOM…
HEAD…

ALL BUT ALFRED

IN ANOTHER ROOM…
HMM…
(The vocal arrangement lingers, like a hymn. ALICE and ALFRED are seated on a cot.
She moves closer to him.)

ALICE
Take me with you.

(ALICE leans close—for a kiss. ALFRED pulls back, for fear of infecting ALICE.)

ALFRED
Alice! No—you mustn’t get too close.

ALICE
Drink me.

ALFRED
And lose you too?

ALICE
I’ll be there. Always. With you.

ALFRED
They’re calling me, not you.
— 72 — A l i c e B y H e a r t

ALICE
I hear them calling, too.

(ALICE urges forward for the kiss. ALFRED almost surrenders to it, but catches himself,
grabs her shoulders, stopping her. Assuming his role as Court Herald, he summons
Wonderland around them.)

WHITE RABBIT
Silence in the Court!

ALICE
Don’t! No!

#1 3 A — I n t r o t o t h e T r i a l

(Music out. The WHITE RABBIT leaps into position as the Herald. The entire Court
assembles around them, holding medical clipboards like ledgers)

WHITE RABBIT
All rise for the Queen.

#1 3 B — W o n d e r l a n d F a n f a r e

(A fanfare sounds. The QUEEN OF HEARTS enters like a vision of royal majesty.
The KING OF HEARTS follows. The entire Court falls flat on their face, like a deck of
playing cards.)

QUEEN OF HEARTS
(Benignly)
As you were.
(The crowd rises again to their feet. The QUEEN basks in her reflected glory.)
Well, I am proud—so proud,
to behold this record-breaking crowd.
Which of you, can we say, loves us most?
(A silence. The QUEEN OF HEARTS glares at the KING OF HEARTS.)
Yes?

KING OF HEARTS
Never has there been a Queen…
 A l i c e B y H e a r t — 73 —

QUEEN OF HEARTS
(Glares more glaringly)

Mm?

KING OF HEARTS
Who has accomplished so much…

QUEEN OF HEARTS
And?

KING OF HEARTS
And has done… so many things.

(The KING OF HEARTS prompts applause from the crowd and the QUEEN OF
HEARTS basks in it. ALICE rises and curtsies.)

ALICE
Your Majesty.

QUEEN OF HEARTS
You?

Well. At least, she’s brought her head.

That’s good.
(The KING OF HEARTS gestures to the Court. They all pull out slates to take notes
on.)

KING OF HEARTS
Brought her head. That’s Important.

(They note it on their slates.)

#1 3 C — N ot e s f r o m t h e J u r y

QUEEN OF HEARTS
Ssh!
(To ALICE)
Come back for another look, have you?
And found yourself too big for picture-books?
Too huge for fools like us?!
— 74 — A l i c e B y H e a r t

ALICE
But I just want—

QUEEN OF HEARTS
You want!

ALICE
I wanted… just one moment—

QUEEN OF HEARTS
Love love love love love—make me puke.

You shameful girlish thing.

You hate the part that’s tiny still in you.
And yet, you want to hide within the child in you.

#1 4 — I s n ’ t I t a T r i a l ?

ALICE
I won’t.

QUEEN OF HEARTS
You caahn’t, you mean.

ALICE
I—

QUEEN OF HEARTS
You can no longer not know what we mean.
TALK AND TALK AND TALK,
STILL, YOU’RE NEVER NOT YOU.
ALL THE SAME OLD WANTS—
NOW WHERE HAVE THEY BROUGHT YOU?

SHUFFLE ALL YOUR HEARTS,

PLAY LIKE SISTER TAUGHT YOU.
NO ONE WINS AT CARDS—
OR PLAYS LIKE THEY OUGHT TO.
 A l i c e B y H e a r t — 75 —

QUEEN OF HEARTS SOPRANOS & ALTOS KNAVES

ISN’T IT A TRIAL, ISN’T IT? TRIAL…
TO TRY AND STAY A CHILD? TO STAY A CHILD… CHILD…
WHEN EVERYTHING YOU’VE
READ
SWELLS YOUR LITTLE HEAD. SWELLS YOUR LITTLE HEAD

QUEEN OF HEARTS
SHALL WE HAVE A SONG
FOR THE GIRL GONE NAUGHTY?
SOMEHOW FEELS SO WRONG
NOW TO HAVE THAT BODY.

RABBIT GOT SO BIG—

WHAT’S HIS MAMA FED HIM?
THOUGH YOU FEEL A PIG,
STILL YOU WANT TO PET HIM.

QUEEN OF HEARTS SOP & ALTO ENSEMBLE KNAVES

ISN’T IT A TRIAL ISNT’ IT? TRIAL…
TO TRY AND STAY A CHILD? TO STAY A CHILD… CHILD…
THE WORLD NO LONGER FITS,
AND STILL YOU’RE STUCK IN IT. AND STILL YOU’RE STUCK IN IT.

OH, ISN’T IT A TRIAL? ISN’T IT? TRIAL…

NO CHILD CAN STAY A CHILD. TO STAY A CHILD… CHILD…
GOD KNOWS WHAT YOU DID,
BUT NOW YOU’RE NOT A KID. BUT NOW YOU’RE NOT A KID.

CATERPILLAR
SO, NOW YOU HAVE A PAST,
AND NO ONE UNDERSTANDS.

CATERPILLAR & QUEEN OF DIAMONDS

JUST TURN ANOTHER PAGE,
MY DEAR, YOU LOOK YOUR AGE…

CATERPILLAR
(Ad libs, riffing)
AAAAAGE!
— 76 — A l i c e B y H e a r t

QUEEN OF HEARTS
(Off his vocal riff)

Really?
AAAAAND!!

QUEEN OF HEARTS SOP & ALTO ENSEMBLE KNAVES

—ISN’T IT A TRIAL, ISN’T IT? IT’S A TRIAL, IT’S A TRIAL

CATERPILLAR
TO TRY AND STAY A CHILD? TO STAY A CHILD… TO TRY AND STAY A CHILD.

KNAVES
AND NO ONE, NO ONE KNOWS NO ONE KNOWS
THE WAY OUT OF THE HOLE? THE WAY OUT OF THE HOLE?
ISN’T IT A TRIAL? ISN’T IT? IT’S A TRIAL, IT’S A TRIAL

CATERPILLAR
NO CHILD CAN STAY A CHILD. TO STAY A CHILD… NO CHILD CAN STAY A CHILD

QUEEN OF HEARTS KNAVES

THE STORY NEVER TOLD, TOLD…
HOW WONDERLAND GROWS OLD. GROWS OLD…

QUEEN OF HEARTS
OH ISN’T IT A TRIAL?
(The QUEEN OF HEARTS gathers dust and whitens her hair with it.)
ISN’T IT A TRIAL?
(As the song concludes, the KING OF HEARTS gestures. A TRUMPET sounds.)

KING OF HEARTS
Herald—Read the Accusations.

ALFRED / WHITE RABBIT

(Barrelling through his text)

“The High Court of Her Majesty Against the Heartless Alice.”

ALICE
Heartless?
 A l i c e B y H e a r t — 77 —

ALFRED / WHITE RABBIT

(Pressing on)
For two Treasonous Offenses:
“Recklessly Rewriting the Tale to Suit Her Selfish Self.
“ And: Breaking Rule 42”—

DUCHESS
“You have no right to grow here!”

QUEEN OF HEARTS
(Snapping her fingers)

Item.

ALFRED / WHITE RABBIT

“Item: She went reading,
then proclaimed she’d dreamed us.”

ALICE
Who did?

QUEEN OF HEARTS
You did.

KING OF HEARTS
And the Verdict is?

(The QUEEN OF HEARTS glares at him.)

QUEEN OF HEARTS
Pay attention when your Rabbit’s reading.
(Turns to the WHITE RABBIT, snaps her fingers)
Item.

ALFRED / WHITE RABBIT

“Item. First she bragged she’d brought us here—“

QUEEN OF HEARTS
Louder!

ALFRED / WHITE RABBIT

“First she bragged she’d brought us—”
— 78 — A l i c e B y H e a r t

QUEEN OF HEARTS
Faster!

ALFRED / WHITE RABBIT

“First she bragged she’d—“

QUEEN OF HEARTS
Funnier!

ALFRED / WHITE RABBIT

“First she—“

QUEEN OF HEARTS
Guilty!

ALICE
Well, this certainly is a trial.

MAD HATTER
She added a big “Un” to everything “Important.”

KING OF HEARTS
(To the Court)
Un-Important. That’s very Important.
(The ENSEMBLE notes it.)

#1 4 A — N ot e s f r o m t h e J u r y ( P a r t 2)

And the Verdict is—

QUEEN OF HEARTS
First the Sentence, then the Verdict.
(Snaps her fingers)
Item!

ALICE
Why these Items?

DORMOUSE
Now, she wants to choose her Items.
 A l i c e B y H e a r t — 79 —

MAD HATTER
Mad. She’s mad.

ALICE
I’m not!

CHESHIRE CAT
You’re here. They make us all mad here.

QUEEN OF DIAMONDS
Oh dear.

MAD HATTER
You little tweeb.

QUEEN OF HEARTS
Guilty!
(Snaps her fingers)
Item!

ALFRED/WHITE RABBIT
“Item: She went chasing tail—“

ALICE
But—

CATERPILLAR
Well, she certainly held my Hedgehog,
and wriggled my Flamingo.

QUEEN OF HEARTS
Acting as if she were some mock me?

KING OF HEARTS
A mockery!

CHESHIRE CAT
A royal Jabberwockery.

QUEEN OF DIAMONDS
She thought she was
— 80 — A l i c e B y H e a r t

(QUEEN OF DIAMONDS)
What Was.

DORMOUSE
Still does.

MAD HATTER
The riddle?
She could barely even read it.

DUCHESS
Tit tot. You tart.

DORMOUSE
You tit without a heart!

DUCHESS
She was my pig—
I loved my pig!—
and then she made me old and big!

QUEEN OF HEARTS
(Surveying the DUCHESS)

Indeed, she did.

DUCHESS
Well, I’m hardly the only thing she’s turned into an aging Queen.

(A beat. The DUCHESS and the QUEEN size one another up.)

KING OF HEARTS
How exactly does one get out of jury duty?
(Off the QUEEN OF HEART’S glare:)
And the Verdict is?
(QUEEN OF HEARTS glares at him.)

QUEEN OF HEARTS
Keep up, Leonard!
(Then, to ALICE)
Now we shall decide if you can leave here.
 A l i c e B y H e a r t — 81 —

ALICE
Do you mean you’d keep me here?

QUEEN OF HEARTS
Someone, write down “duh”—and then add “praved.”
(The ENSEMBLE notes it.)
I mean, really. Every syllable she wastes—

DUCHESS
(Re: the QUEEN)

You age.

QUEEN OF HEARTS
OFF WITH YOUR HEAD!

CHESHIRE CAT
Let them scream—
a heart can trump a Queen.

QUEEN OF HEARTS
(Re: the CHESHIRE CAT)
Can someone silence that rather unfortunate grin?
(With a royal sigh)
I cannot exert myself with another word.
(To the KING OF HEARTS)
You, tell her for me.

KING OF HEARTS
(Clears his throat; to ALICE)
Every dream would love to hold its dreamer. It’s—

QUEEN OF HEARTS
—the dreamer who can’t bear to know she’s dreaming.

ALICE
But I know!
I know the dream—by heart.
This is my heart. My dream.
— 82 — A l i c e B y H e a r t

KING OF HEARTS
Oh do you think? Then—

QUEEN OF HEARTS
—who, and what, are we?

ALICE
Part of it.

QUEEN OF HEARTS
You think?

KING OF HEARTS
Then, where are we, when you’re not here?
You think we just appear—

QUEEN OF HEARTS
—because you read us?

KING OF HEARTS
The truth is, we are here,
and sometimes we let you into our dream.

ALICE
I won’t believe you.

QUEEN OF HEARTS
Do you think our dream needs you to dream it?
You, who are no longer you.
(All the Witnesses in Wonderland bolt to the opposite side of the stage and become the
Jury. As they do, ALICE turns privately to ALFRED.)

ALICE
How can you bow to their madness?
Why did you turn the page?

WHITE RABBIT
That is the story.
Time to close the Book.

#1 5 — D o You Th i n k W e T h i n k Y o u ’ r e Al i c e ?
 A l i c e B y H e a r t — 83 —

KING OF HEARTS
DO YOU THINK WE THINK YOU’RE ALICE?

WONDERLAND (ECHOING)
OOH, YOU THINK WE THINK YOU’RE ALICE?

QUEEN OF HEARTS
YOU’RE SOME ONE AND ONLY ALICE.

WONDERLAND (ECHOING)
SO THE ONE AND ONLY ALICE.

KING OF HEARTS
AND WE’RE NOTHING WHEN YOU’RE NOT HERE?

WONDERLAND (ECHOING)
NO NO, NOTHING WHEN YOU’RE NOT HERE.

DUCHESS
AND SO SOMETHING ONCE YOU’VE GOT HERE?

WONDERLAND (ECHOING)
SO SO SOMETHING ONCE YOU’VE GOT HERE.

QUEEN OF DIAMONDS
DO YOU THINK WE THINK, “OH DUCKIE!”

WONDERLAND (ECHOING)
NOW YOU’RE HERE—DEAR GOD, WE’RE LUCKY!

MAD HATTER
“NOW YOU’RE HERE, WE’LL ALL GO PUNTING!”

WONDERLAND (ECHOING)
NOW YOU’RE HERE, MY HEART IS THUMPING!

CATERPILLAR
LIKE, WE’RE WAITING TILL YOU TURN THE PAGE,

DUCHESS
TO POP OUT OF OUR DISMAL BEIGE.

KING OF HEARTS
‘CAUSE WONDERLAND WAS SILENT,
— 84 — A l i c e B y H e a r t

WONDERLAND (ECHOING)
ALL OUR MINDS BECAME SO MINDLESS…

QUEEN OF HEARTS
TILL SOME VISIT FROM YOUR HIGHNESS.

WONDERLAND (ECHOING)
FIRST, YOU’RE HIGH, AND NOW, “YOUR HIGHNESS.”

MAD HATTER, QUEEN OF DIAMONDS & CATERPILLAR

EVERYTHING JUST WAITING HERE IN PLACE,

ALL BUT ALICE

A HOPELESS PLACE…

ALICE
WELL, YOU’RE NO ONE WITHOUT ALICE.

QUEEN OF HEARTS (ECHOING)

OH, WE’RE NO ONE WITHOUT ALICE.

DUCHESS
SUCH A NO ONE.

ALICE
NO, I’M ALICE.

DORMOUSE & MAD HATTER (ECHOING)

NO NO NO NO NO, NO ALICE.

ALICE
I FELL DOWN THE HOLE TO GET HERE.

WONDERLAND (ECHOING)
YES, YOU’VE DUG A LOVELY DITCH, DEAR.

DUCHESS
DO YOU THINK WE GIVE A FIG, DEAR?

KING OF HEARTS
DO YOU THINK WE HOLD NO WISDOM,

WONDERLAND (ECHOING)
DO YOU THINK WE HOLD NO WISDOM,
 A l i c e B y H e a r t — 85 —

QUEEN OF HEARTS
TILL OUR PAGES HOLD YOU IN THEM?

WONDERLAND (ECHOING)
TILL OUR PAGES HOLD YOU IN THEM?
LIKE, WE’RE HERE TO SCRATCH YOUR ALICE ITCH.

QUEEN OF HEARTS
GUILTY BITCH!
(Spoken)

Suppress her! Suppress her!

(The QUEEN’s henchmen set a red hood of execution over ALICE’s head.)
On your knees! Get her head!
Watch her shrink!
(The blade of the truncheon-guillotine hovers above ALICE’s neck. Suddenly, with a
defiant gesture, she stops time. Music out. Everyone freezes.)

ALICE
Watch me shrink? I don’t think so.

(With that, ALICE gestures again. The world of the Trial resumes, but she is taking a
stand.)

#1 6 — I ’ v e S h r u n k E n o u gh

NO, I’M NOT GONNA PLEAD, SO YOU CAN JUDGE,

IF LOVING IS THE THING I’M GUILTY OF.
I’VE SHRUNK ENOUGH, TO PUFF AND PUFF YOU UP.
IT’S DONE—I’M DONE,

I’VE SHRUNK ENOUGH.

QUEEN OF HEARTS
Hold your tongue! Cut out her tongue!

ALICE
NO QUEEN CAN MAKE OF ME
A MOUTH WITHOUT A SCREAM.
YOU DO KNOW WHAT I MEAN,
YOU INTRODUCED THE THEME.
— 86 — A l i c e B y H e a r t

(ALICE)
I HOLD THE HAND I HOLD,
NO SHUFFLING WITH MY SOUL.
MY HIGHNESS IS YOUR LOW.
STAND BACK AND WATCH ME GROW.

ALICE & CHESHIRE CAT

OH, AND I AM HUGEST,
FACED WITH FOOLS LIKE YOU, YES;
SCHOOLED BY YOUR ABUSES,
BUT YOU’RE OUT OF TIME—
GROWING UP IS NOT A CRIME.

ALICE
AND I AM GONNA SPEAK WHAT YOU WON’T SPEAK;
HOW YOU FEAR THE STRONG AND MOCK THE WEAK.
I’M NOT TURNING ANY OTHER CHEEK.

QUEEN OF HEARTS
ENOUGH’S ENOUGH!
GO, LOCK HER UP.

WONDERLAND (ALL BUT ALICE, WHITE RABBIT & CHESHIRE CAT)

MOCK, MOCK—
TURN THE LOCK!

MOCK, MOCK—
TURN THE LOCK!
(The WHITE RABBIT / ALFRED cannot bear to see all of Wonderland attacking
ALICE. He mutinies.)

WHITE RABBIT
SORRY, QUEEN, I HOPE YOU UNDERSTAND
WHY I’D PULL THE RABBIT FROM YOUR HAND.
NOW, ALICE HOLDS THE CARDS IN WONDERLAND.
THE GAME IS UP—

WHITE RABBIT & ALICE

I’VE SHRUNK ENOUGH.

WONDERLAND
“OH, ALICE FELL, HOT AND BOTHERED, DOWN OUR WELL.
SUCH A NASTY GIRL—THINKS SHE’S RULER OF THE WORLD.”
 A l i c e B y H e a r t — 87 —

QUEEN OF HEARTS & KING OF HEARTS

“BUT TIME WILL PROVE, WE OWN HER LIKE THE TRUTH:
WE OWN THE FUTURE TOO, BECAUSE WE OWN THE YOUTH.”

ALICE
NO. NO.

ALICE & CHESHIRE CAT WHITE RABBIT

NO. YOU DON’T! NO. NO. NO. YOU DON’T!

(The ENSEMBLE create a tableau as in the opening scene: the HATTER holding tea, the
DUCHESS, the CATERPILLAR…)

ALICE, CHESHIRE CAT & WHITE RABBIT

GO BACK TO BEING PICTURES IN MY DREAM!
YOU’RE NOTHING BUT A HATTER HOLDING TEA,
TELLING RIDDLES NOT WORTH ANSWERING.

IT’S DONE—I’M DONE,

I’VE SHRUNK ENOUGH.

YOU CAN “TURN THE LOCK,” I HOLD THE KEY,

I’M NOT YOUR LITTLE PIG, WE’RE NOT A “WE.”
CATERPILLAR—POOF!—I’M SOME NEW ME.

GO, HUFF AND PUFF,

I’VE SHRUNK ENOUGH.

DUCHESS, KING OF HEARTS & QUEEN OF HEARTS

YOU’VE HAD ENOUGH?
WELL, SUCK IT UP.

ALICE & WHITE RABBIT

BUT BUT BUT BUT—

ALICE
I’VE SHRUNK ENOUGH.

QUEEN OF HEARTS
YOU FAT-FACED RUNT,

QUEEN & KING OF HEARTS & DUCHESS

WE’LL ROUGH YOU UP.
— 88 — A l i c e B y H e a r t

ALICE & WHITE RABBIT

DONE DONE AND DONE.

WHITE RABBIT
I’VE SHRUNK ENOUGH.

ALICE, CHESHIRE CAT & WHITE RABBIT

ENOUGH’S ENOUGH—
I’VE SHRUNK ENOUGH.
I’VE SHRUNK ENOUGH.
AND TIME IS UP!
(A whirlwind of pages falls from above. Blackout. The Court disperses—everyone
disappears. And then, the light of afternoon rises on ALICE and ALFRED, alone in
Wonderland. They look to one another, for the last time.)

ALICE
You.
(A beat)
Still here.

ALFRED
Somehow.

ALICE
Yes.
(A beat)
So little left, and still you gave me that.
You changed the page.

ALFRED
A parting gift.

(ALICE nods.)

#1 7 — S t i l l ( R e p r i s e )

(From the Book:)

“Don’t let them know he loved her best,
For this must ever be
A secret kept from all the rest,
Between yourself and me.”
 A l i c e B y H e a r t — 89 —

ALICE
Yes.

ALFRED
I can’t tell you what it’s meant,
to come here once again—to run here once again.
(In a pool of light, YOUNG ALFRED appears and addresses the older ALICE.)

YOUNG ALFRED
I hope you will remember how it was… ?

ALICE
RUN AND PLAY WITH ME STILL…
(In a pool of light, YOUNG ALICE appears.)

ALICE & YOUNG ALICE

ON THIS PAGE WITH ME STILL…

ALFRED
BUT TIME IS CHASIN’ ME STILL…

ALFRED, ALICE, YOUNG ALICE & YOUNG ALFRED

STILL…

ALFRED
In the story, there’s no moment of farewell, you know.

(The music shifts.)

#1 8 — A f t e r n o o n

And so.

(YOUNG ALICE and YOUNG ALFRED sit in a pool of light beside an imaginary river
bank, reading from their book.)

ALICE
A LITTLE TALK COULD HOLD ME
FOR A LITTLE WHILE;
ANOTHER BRUSH OF WHISKERS
AND THAT DISTANT SMILE…
SO LITTLE LIGHT REMAINING,
AND THE SHADOWS WON’T CONTAIN ME…
— 90 — A l i c e B y H e a r t

(ALICE)
THE BOOK OF NIGHT IS CLOSING FOR THE CHILD.

ALFRED
I KNEW YOU WERE A STRANGE GIRL—
OR I THOUGHT YOU WERE.
YOU SUMMONED ALL THE WONDER
FROM A ROOM OF HURT.

WE KNEW THE WORLD OF SUMMER,

LIKE A SISTER, LIKE A BROTHER,
AND THE MELODIES WERE SWEETER LEFT UNHEARD…
(The lights fade to black on YOUNG ALICE and YOUNG ALFRED.)

ALFRED ALICE
WE FELL DOWN A HOLE— HOLE…
DON’T YOU REMEMBER? REMEMBER?
WE FELL SO FAR BELOW, BELOW…
AND NEVER FOUND THE CENTER; AND NEVER FOUND THE CENTER;

TWO… ANOTHER WORD OR TWO,

KNEW… AND ALL THE SUMMER KNEW,
AFTERNOON. IN THE SONG OF THE AFTERNOON.
AFTERNOON… AFTERNOON…

(As they sing, ALICE leads ALFRED back to his cot, and they sit.)

ALICE
YOU NEVER PLAY SEPTEMBER
IN A WINTER GAME.

ALFRED
THE HEART WILL NOT REMEMBER
WHAT IT WILL NOT NAME.

ALICE
THE CATERPILLAR GAZES
ON A WORLD OF OLDER FACES,

ALFRED
BUT THE BUTTERFLIES GO FLOATING, ALL THE SAME…
 A l i c e B y H e a r t — 91 —

ALFRED ALICE ALL

WE FELL DOWN A HOLE— HOLE… OOH…
WON’T YOU REMEMBER? REMEMBER? OOH…
FELL SO FAR BELOW, BELOW… OOH…
WE NEVER FOUND THE WE NEVER FOUND THE OOH…
CENTER; CENTER;

(During this final chorus, ALFRED departs as if his spirit were ascending.)

ALICE ALL
AND WHO KNEW WHAT TO DO OOH…
WITH ALL I FELT FOR YOU,
IN THE SONG OF THE AFTERNOON…

ALL (BUT ALFRED)

AFTERNOON…
(As the song concludes, the shadowy form of the Underground station slowly fills in
around ALICE. She sits alone on ALFRED’s cot. Hearing the tick-tock of his pocket
watch—she finds it, shuts it off.)

DODGY
Nurse Cross, she took him off.

NIGEL
(Re: heaven)

In a better place, he is.

(ALICE takes this in)

ANGUS
Amen, then.

CLARISSA
Nothing to be done.

ANGUS
For him, that is.
For me, I’ll have another bit of bun.
— 92 — A l i c e B y H e a r t

HAROLD PUDDING
(To ALICE)
More tea?
For you—with me, and me?

ALICE
(Concluding the story)
“And all the cards rose suddenly into the air,
and disappeared;
and Alice found herself again beside a river bank…”

ANGUS
Let’s be done with that, love.
Boy is gone.

ALICE
He wanted so to finish it.
“And she told her Sister, as best she could remember… ”

CLARISSA
Listen to her—still reading to him.

DODGY
Somehow, I doubt he’ll be chiming in.

TABATHA
It isn’t that the dead don’t talk,
we’ve just forgotten how to listen.

HAROLD PUDDING
Talk, talk, talk!

TABATHA
(”Yes”)
Through time.
That’s the riddle of the pages left behind.

ALICE
“So Alice sat, and tightly closed her eyes—“

CLARISSA
Dear God.
 A l i c e B y H e a r t — 93 —

NIGEL
(To CLARISSA)
Shhh!
(To ALICE)
Go on.
(ALICE hesitates)

DODGY
Do.

ALICE
(From the Book)

“’Oh what a curious dream I’ve had,’ Alice said.”

TABATHA
“’Curious, yes. But… wonderful.’”
(An uncustomary silence falls over the Tube Station. ALICE looks searchingly to
TABATHA.)
Sometimes we overcome, you know, just by going on.
(ALICE crosses, begins gathering the scattered pages from the floor.)

CLARISSA
Well, at least that story’s done.

ALICE
(More to herself)

No, never done.

(ALICE gathers pages from the platform.)

#1 9 — W i n t e r B l o o m s

WINTER BLOOMS IN AUTUMN LIGHT,

AFTERNOONS ONCE SUMMER WHITE,
FADING BLUE THROUGH THE NIGHT.

ROSES LINGER WITH A SIGH,

WITH THE EVENING IN THEIR EYES.
EVERY BLOOM BIDS GOOD-BYE.
— 94 — A l i c e B y H e a r t

ALICE & TABATHA ALL

NOTHING COMES OR GOES NOTHING
WITHOUT A SHADOW. COMES OR GOES…
SOMEWHERE IN THE SOUL SOMEWHERE
YOU HOLD THE CANDLE. IN THE SOUL…
LET THE SORROW GO, LET THE
IT’S HALF THE BATTLE. SORROW GO…

ALICE & TABATHA SOPRANOS & ALTOS TENORS & BASSES

DOWN THE HOLE YOU GO, OHH… DOWN THE HOLE…
TO WHERE YOU ARE.
DOWN THE HOLE YOU GO, OHH… DOWN THE HOLE…
TO WHERE YOU ARE.

ALICE
THERE ARE ROOMS YOU LEAVE BEHIND,
OTHER WOUNDS OF OTHER TIMES.
OTHER SONGS FILL YOUR MIND.

ALICE ALL
RABBITS LEAD YOU FOR A WHILE, HMM…
PICTURE BOOKS, A CHESHIRE SMILE; HMM…
SUMMER DRIFTS, LIKE A CHILD.

ALICE & TABATHA

NOTHING COMES OR GOES NOTHING COMES
WITHOUT A SHADOW. OR GOES…
SOMEWHERE IN THE SOUL SOMEWHERE
YOU HOLD THE CANDLE. IN THE SOUL…
LET THE SORROW GO, LET THE
IT’S HALF THE BATTLE SORROW GO…

TABATHA SOPRANOS & ALTOS TENORS & BASSES

DOWN THE HOLE YOU GO, OHH… DOWN THE HOLE…

ALICE
WHERE YOU ARE…
TO WHERE YOU ARE.

ALICE & TABATHA OHH… DOWN THE HOLE…

DOWN THE HOLE YOU GO, WHERE YOU ARE…

TO WHERE YOU ARE.

 A l i c e B y H e a r t — 95 —

ALL
DOWN THE HOLE YOU GO,
TO WHERE YOU ARE.

ALICE
DOWN THE HOLE YOU GO, AND THERE YOU ARE.
(ALICE holds out the pages she’s gathered, an offering to the audience. The lights fade.

The End.)

#2 0 — B o ws ( W i n t e r B l o o m s )
— 96 — A l i c e B y H e a r t

M USIC A L N U M B E R S

1. West of Words.................................................................................................. 97
2. Down the Hole............................................................................................... 105
3. Still. . ................................................................................................................ 114
4. Chillin’ The Regrets....................................................................................... 117
5. The Key Is....................................................................................................... 126
7. Those Long Eyes............................................................................................ 134
8. Manage Your Flamingo.. ................................................................................ 137
8A. Tea Party Intro............................................................................................... 141
8B. Tea Party Tableau 1.. ...................................................................................... 141
8C. Tea Party Tableau 2.. ...................................................................................... 141
9. Sick to Death of Alice-ness............................................................................ 142
10. Brillig Braelig................................................................................................. 146
11. Some Things Fall Away................................................................................. 152
11A. Mock Turtle Intro........................................................................................... 154
12. Your Shell of Grief......................................................................................... 155
13. Another Room in Your Head. . ....................................................................... 158
13A. Intro to the Trial. . ........................................................................................... 165
13B. Wonderland Fanfare...................................................................................... 165
13C. Notes from the Jury.. ...................................................................................... 165
14. Isn’t It a Trial?................................................................................................ 166
14A. Notes from the Jury (Part 2).......................................................................... 171
15. Do You Think We Think You’re Alice?. . ....................................................... 172
16. I’ve Shrunk Enough....................................................................................... 178
17. Still (Reprise). . ................................................................................................ 184
18. Afternoon....................................................................................................... 185
19. Winter Blooms. . .............................................................................................. 190
20. Bows (Winter Blooms)................................................................................... 195

Please note: there is no song #6.

 A l i c e B y H e a r t — 97 —

West of Words 1
LONDON, 1941. NIGHT.
The sound of bombs falling. [MUSIC GO]
Through a curtain made of a parachute, we see a
shadowy figure, the 15-year-old ALICE, digging
through a rubble-heap of what was once her home.
At last, she unearths a treasured book.

#### 4  = 123 8
& 4 1-4,1-8
1R-4R

A siren sounds. ALICE runs off. Lights rise, revealing that we are underground – a make-shift shelter
in a Tube Station. War cots stretch across the platform. And now, YOUNG PEOPLE seeking cover
run into the shelter, wearing gas masks. ALICE removes her mask, and seems to stand somewhere out
of time. Holding tightly to her book, she looks upon this ghostly world.

#### .
2X 3 ALICE:
‰ œj œ œ ..
(to 5)

Ó
4RR

& .
1RR-3RR
There’s a world
5

####
œ œ œ œ œ ‰ œj œ œ œ Œ ‰ œj œ Œ Œ
6 7 8

& œ œ œ œ œ œ œ œœ
I knew as me, Be - fore be - fore– My room, my pict - ures, A sky no fire

9
#### œ ˙
10
Œ ‰ œj œj œ j
11
Ó
12
Ó Œ ‰ j
& œ. J œ ˙ œ
burned, West of words. A
13

#### j
œ œ œ œ Œ œ œ œ œj œ œj œ . œ ˙ Œ‰ œj œj œ œj œ Œ Ó
14 15 16 17 18

& w
book of won - der Called me on - ward To mus - sic heard, West of words…

(A siren sounds. As music underscores, everyone removes their gas mask and ducks beneath their cot –
everyone except ALICE, who sits immersed in her book.
Then, with a synchronized gesture, all the youths lift one side of their cot and set it on the platform with a
bang, bringing us back into the present. [BEGIN FADE OUT] We realize that these youths have settled
into a makeshift home, a ward of the ailing and wounded, encamped in this Station.

#### .
Repeat & fade quickly on cue 4 " ..
& .
19-22

#1—West of Words
— 98 — A l i c e B y H e a r t

At the side of the stage, a make-shift quarantine area. RED CROSS NURSE:
Through a parachute curtain, we see an ailing young We must move that boy – to the end of
teen, ALFRED, lying on a cot. ALICE looks over to the line.
him repeatedly as she reads.
ALICE:
The fey but weary DODGY turns to the posh young Alfred? No!
CLARISSA)
RED CROSS NURSE:
DODGY: Catch that cough, he’ll be your death.
Darling, I’ve forgotten – is it day or night? Ward D.
(Aside to DR. BUTRIDGE)
CLARISSA: The good-as-dead.
You pick.
DR. BUTRIDGE: (Hard of hearing)
(On her round of passing out grey war blankets, the Whaaaat?
RED CROSS NURSE trundles through. She passes
the anxious, newly orphaned NIGEL) RED CROSS NURSE:
Good-as-dead.
RED CROSS NURSE:
Chilly night tonight. ALICE:
What are you talking about? He’s not dying.
NIGEL: (Quietly, to himself)
My Mummy’s coming for me today. RED CROSS NURSE:
My Mummy’s coming for me today… Is there family?
(We see the street-tough TABATHA, perched high on a DR. BUTRIDGE:
ladder) None left.
She found him in the gutter, buried in
TABATHA: (Not buying it) the rubble.
Oh do you think? Whole block went down.
Just like mine and yours, and his and hers.
ALICE:
(The antediluvian DR. BUTRIDGE reads from his He has me. He’ll get better near me.
clipboard to the RED CROSS NURSE:) Please. Don’t move him. He’s my dearest
friend.
DR. BUTRIDGE:
Hallam. Alfred Hallam. RED CROSS NURSE:
Today he is your dearest friend. Tomorrow, a
(ALICE rises, starts with concern toward ALFRED. statistic.
DR. BUTRIDGE shuts the quarantine curtain in her
face. ALICE reaches for the quarantine curtain, but the ALICE:
RED CROSS NURSE stops her) Don’t listen to them, Alfred. I’ll read to you.
You’ll feel better.
RED CROSS NURSE:
Alice! Back to your bed. RED CROSS NURSE:
Alice Spencer!
DR. BUTRIDGE: Thirty-thousand dead up there – and you,
Superventrical Tachycardia, with with your head in Wonderland.
Hypovolemia–
(The RED CROSS NURSE makes a grab for
ALICE: ALICE’s book – but ALICE holds onto it)
What does that mean?
RED CROSS NURSE: (cont’d)
DR. BUTRIDGE: Back! To! Your! Bed!
Hyperhydrosis –
And button up that blousey, Mousey.
ALICE:
That means he’ll be all right? ALICE: (Heads to her cot)
Right? But it is – all buttoned. It’s just grown smaller,
really.
DR. BUTRIDGE:
Due to Mycobacterium Tuberculosis – TABATHA: (With a knowing, survivor’s grin)
Funny how that happens, when the boys start
growing bigger.

#1—West of Words
 A l i c e B y H e a r t — 99 —

CLARISSA: (Suddenly panicked) HAROLD PUDDING:

Oh my God – my pearls! Where are my pearls? I have? Sir, yes, Sir!
Pudding. Harold Pudding, reporting for
DODGY: (Withdrawing the strand from his neck) duty, Sir.
They insisted.
(DODGY and CLARISSA exchange a look.
(DODGY begrudgingly hands CLARISSA the pearls. ANGUS chastens them:)
As NIGEL rocks, ALICE looks again toward ALFRED)
ANGUS:
NIGEL: You try losing your wits on the front, then
My Mummy’s coming for me today. coming home to the Blitz.
My Mummy’s coming for me today.
My Mummy’s coming for me today… (ALICE is about to head to ALFRED’s cot, but
DR. BUTRIDGE is right there.)
(HAROLD PUDDING, a young soldier with PTSD,
reaches for ALICE, thwarting her cross to ALFRED DR. BUTRIDGE:
and leading her to his own cot.) Misplaced Wits:
Hypnagogic Hallucinations due to –
HAROLD PUDDING:
Shall we have some tea? Shall we? RED CROSS NURSE:
Tea for two? For him and me – and me. Dr. Butridge!
CLARISSA: (Ironic) DR. BUTRIDGE: (Hard of hearing)
Absolutely. Whaaaaaat?
With just a spit of jam –
DODGY: (Making fun)
DODGY: Whaaaaaaat?
And a spot of Spam.
TABATHA:
HAROLD PUDDING: Oh that’s funny, is it?
Spam! Spam! What is Spam? Would that a bomb blew out your eardrum.
Spam is ham that didn’t pass its physical. Mad, mad – we’ve all gone mad here.
But me, I’m sound. I’m all sound now, me.
This time I’ll passs… NIGEL:
“O let me not be mad, not mad…”
(ANGUS – edgy, working class – leans toward My essay on King Lear – it’s due at noon!
HAROLD.)
DODGY: (Waves it away)
ANGUS: I’ll write you a note, darling. You have a
You’ve passed, Harold. It’s past. good excuse. [MUSIC GO]

ANGUS:
One puff – and all this fades away.
(ALICE makes her move toward ALFRED, but You’re in some other dream.
ANGUS circles her, flirtatiously blowing
smoke from his opium pipe into her face) CLARISSA:
Anywhere but here.

# # # # . 2X 3 ALICE: (vocal last x)

Ó ‰ œj œ œ œ ..
26

& .
23-25
There’s a Hat - ter

(As ALICE sings, light falls over the ensemble, creating Wonderland images: the
27 soldier becomes a Hatter taking tea; tall Birds appear, with gas masks for beaks)
####
(ALICE)

œ œ œ œ ‰œ œ œ œ œ Œ œ œ Œ
28 29 30

& œ œ œ œœ œ œ œ œ œ œ œ
hold - ing tea On a mad - derlawn; A waltz of child - ren With tall and talk - ing

#1—West of Words
— 100 — A l i c e B y H e a r t

(ANGUS rises as a Caterpillar, and puffs from a

cigarette. He blows smoke into CLARISSA’s face)
####
(ALICE)
œ ˙ Œ ‰ œj œj œ j Ó Ó ‰ œj œ œ
31 32 33 34

& œ. J œ ˙
birds– West of words. There’s a gold -

####
(ALICE)

œ œ œ œ œ ‰ œ œ œ œ œ œj ‰ œ œ j j
œ œ œ œ œj ‰ œ œ œ œ ‰‰œ œ
35 36 37 38

&
en - sil - ver song Of the af - ter noon; A Cat - er - ill - ar– poof!– he’s call - ing you. Pa - ges
# # # #SOP/ALTO: Œ
& w w w ˙.
Hmmm
TEN:
# #
V # # ww ww ww ˙˙ ..
BARI:
Œ
Hmmm

#### (ALICE)
‰ œj
œ . Jœ ˙ Œ ‰ j jœ j j j
œ ‰ œ œ œ
j
39 40 41 42

& œ œ œ œ ˙.
turn– West of words. West of words… The
# #
V # #
ALFRED:
∑ ∑ Œ ‰ œ œ œ œ œ ˙. ‰ œJ
J J
West of words… The
# #
& # # ww ww ww Œ
œ œ œ
Hmmm
Hmm
#### w
V w ww ww Œ œ œ œ
Hmmm
Hmm

#1—West of Words
 A l i c e B y H e a r t — 101 —

43 (The ensemble forms an enormous shell, DR. BUTRIDGE peeks his head out as an ancient Tortoise.)
#### j
œ œ œj œ Œ ‰ œj œj œ
œ œ œ œŒ j j
44 45 46

& œ œ œ. œ ˙ œ
lone - ly tor - toise Crawl - ing on - ward; A moon that burns, West of words…
# # j
V # # œ œ #œ œ Œ nœ œ #œ œ nœ œ œ. œ ˙ Œ ‰ œJ Jœ n œ œ
J J J
lone - ly tor - toise Crawl - ing on - ward; A moon that burns, West of words…
####
& w w w w
Hmm
#### w w
V w w
Hmm

#### (ALICE)
Œ Œ ‰
47 48

& w œ j
œ
And
# # (ALFRED)
V # # w œ Œ Ó

49 +TABATHA:
####
(ALICE)
j j ‰ j œ
50
‰ j
51 3

& œ œ œ œ œ œ ˙ œ œ œ. œ œ œ ˙
some - thing whis - pers of some - thing gone, A lit - tle Chesh - ire purr…

ALICE:
# # TABATHA:
j j U(to 60A)
& # # Œ ‰ œj œj œœ œœ
ALICE:
œœ .. œ ˙˙
œ Œ ‰ j jœ j ∑
52 53 54 55 56

œ œ œ w
West of words… West of words…

# # œ . œJ ˙ U
ALFRED:
œ œ œ œ
V # # Œ ‰J J J ∑ ∑ ∑
West of words…

#1—West of Words
— 102 — A l i c e B y H e a r t

(The lights shift and real-world time

resumes. As the song concludes,
ALICE sees the RED CROSS NURSE
pushing through, distributing rations,
and settles back on her cot.) RED CROSS NURSE:
Tin tomatoes with your bacon,
# ## U
& # ∑
60A (to 61) and more of you than rations – not a word about it.
(TABATHA drops a tin can in the RED CROSS NURSE’s path.
The NURSE trips on it, rations go flying.)
DODGY: (Screams in fear – a bomb?!)
Aaah!
(But everyone just stares at him. He covers:)
Just trying to get the party started.
RED CROSS NURSE:
Tabatha! Such a trial!
(As the RED CROSS NURSE kneels to clean up the mess,
TABATHA points ALICE toward ALFRED. ALICE crosses quickly
to him.)
CLARISSA: (Indicating TABATHA)
Well, we all know who gets that Tabby’s vote for “Orphan
of the Year.”
DODGY:
Has to save somebody. Since she couldn’t save her sister.
TABATHA: (A hiss)
Sssssssss.
(ALICE has reached ALFRED)
ALICE:
Alfred!
ALFRED: (Feverish)
Alice, I’m falling away.
The stars are so bright, they hurt my eyes –
ALICE:
That’s the fever talking, not you.
Let me read to you. I went back, I found our book.
I’ll bring you to our world again.
ALFRED:
Our world. What world?
ALICE:
Come with me.
You can run there. You can breathe there.
You’ll be well again. Then they won’t take you away.
We’ll have each other, always.
ALFRED:
We’ll start reading, I won’t even reach The End.
ALICE:
Of course you will!
All this – we can make it disappear.

#1—West of Words
 A l i c e B y H e a r t — 103 —

(The lights shift, dimming on the Tube Station, and (ALICE gazes into that memory. In a pool of light,
rising on a scene from Alice’s memory: we see the the six-year-old YOUNG ALICE and YOUNG
six-year-old YOUNG ALICE chasing the six-year-old ALFRED sit and read silently from the Book. We
YOUNG ALFRED through the cots in the Station, as hear YOUNG ALFRED’S MOTHER calling from
they act out Alice chasing the White Rabbit in the Book.) offstage.)
YOUNG ALFRED: YOUNG ALFRED’S MOTHER:
Oh my ears and whiskers. I’m late! So late! Alfred, time for supper!
YOUNG ALICE: (YOUNG ALICE and YOUNG ALFRED ignore
White Rabbit! White Rabbit! her call and remain immersed in the Book.)
(She can’t catch him)
Dear, dear. How queer everything is today! ALICE:
Even when you were six, staying well past
(The present-day ALFRED addresses ALICE:) dark,
ALFRED: ignoring your mother’s calls – you so had to
I won’t start what I can’t finish. finish it.
Come there with me.
ALICE:
I know – since forever. ALFRED:
I’ve no time left – you understand?
ALICE:
Don’t believe them. [MUSIC GO]

3
You can’t let them take this from us. Not this, too. It’s all we have. It’s Wonderland.
61

####
‰ œj œ œ
ALICE:
Ó
64

&
61-63
There’s a world

65

#### ‰ Œ ‰ j Œ
66 67

& œ œ œ œ œ j œ œ œ œ œ œ
œ œ œ
we knew as we, Our gar - den door; A stor - y en - tered,

#### œ ˙
Œ Œ ‰ œj œj œ j Ó
68 69 70 71

& œ œ œ œ œ œ œ. J œ ˙
A ti - ny key we turned, West of words…

72
#### Ó (ALICE)
‰ œj œ œ
73 74
Œ
& œ œ œ œ œ œ œ œ œ œ œ œ
Now we’re fall - ing through the ground, And fall - ing slow; The hou -

#### ALFRED:
V Ó ‰ Jœ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ
Now we’re fall - ing through the ground, And fall - ing slow; The hou -

#1—West of Words
— 104 — A l i c e B y H e a r t

75
#### (ALICE)
‰
3 76
‰ j
77
œ ˙
& œ œ œ œ œ œ œ œ œ œ œ œ œ. J
ses tumb - ling down, still we know we know All that yearns–
# ## (ALFRED)
œ œ œ œ ˙
V # œ ‰ œ œ ‰ œ œ œ.
3
œ œ œ œ J J
ses tumb - ling down, still we know we know All that yearns–

78
#### Œ ‰ œj œj œ j
79
j j j
80
Œ ‰ j
& œ œ. œ œ œ œ ˙ œ
West of words, West of words… A
#### Œ ‰ œJ Jœ
œ œ œ. œ œ œ œ ˙ Ó
V J J J J
West of words, West of words…
81

#### j j j j
œ ‰ j
82 83

& œ. œ œ œ œ œ œ œ œ œ œ. œ ˙
rose re - mem - bered Draws us on - ward A world ad - journed,
#### j
V ∑ Ó Œ ‰ œ œ. œ ˙
J
A world ad - journed,

(The pool of light fades. YOUNG ALICE

and YOUNG ALFRED disappear. The ALFRED:
lights rise again on the Tube Station.) You go there,
84
#### Œ ‰ j j j
85 86 without me now.
∑
& œ œ œ œ w
West of words…
# ## œ œ nœ
V # Œ ‰ J J œ
J
w ∑
West of words…
ALICE:
(ALFRED coughs, violently. As the music recedes, ALICE
You can’t…lose heart.
settles him on his cot and begins reading to him)
ALFRED:
Oh really? After everything else ALICE:
we’ve lost? “Chapter One: Down the Rabbit Hole:” [MUSIC OUT]

# # # # . Repeat & fade 4

& . ..
87-90

#1—West of Words
 A l i c e B y H e a r t — 105 —

Down the Hole 2

Cue:
RED CROSS NURSE:
OFF OF THAT BED!
ALICE:
No. Off with your head! [MUSIC GO]
(With that, ALICE jumps upon her bed, and enters
her imagination. No one but ALFRED can hear her.)

ALICE: (cont’d)
Stop! Stop! You – and you – and you!
I'll show you. Every one of you.
(To ALFRED)
I’ll bring you.
I know it all by heart. ALICE: (cont’d)
(ALICE catches ALFRED's eye. She begins to recite, “And so, with nothing to do, Alice was
summoning him to their imagined world.) considering what to do, on this golden
afternoon, when suddenly…”

With Excitement! ( = 129)

(Pointedly, to ALFRED)
“…a White Rabbit ran close by…”

# # 4 8
& # 4 .. ..
1-8

9
(The ensemble turns to face ALICE from their cots, like children listening to a story.)

# # ALICE:
& # j
œ Œ Ó ‰ œ j
œ œj œ
j j Ó
10 11 12

j œ œ œ œ.
œ œ œ œ
Just some sum - mer book, God, and it was hot too…

(With a whirl, ALICE reveals her Wonderland dress.)

### j j Œ Ó ‰ œj œ j Ó
13 14 15 16

& œ œ œ œ œ œ œ œ œ œ œ œ œ.
Who knew where to look, What to do, and not do.

###
ALFRED: (hesitant)
œ œ œ ˙ Ó ‰ œ œ œ œ œ œ œ ˙
17 18 19 20

V œ œ J J J .
J
Now some rab - bit broods, Like there’s no to - mor - row.

#2—Down the Hole

— 106 — A l i c e B y H e a r t

(ALICE gestures, and transforms

ALFRED into the WHITE RABBIT.)
# # # ALICE:
Ó ‰ j j j Œ ‰ j
21 22 23 24

& œ œ œ œ œ œ œ œ
œ œ ˙ œ ˙ œ
How can you re - fuse, When I tell you fol - low? And

### ∑ ∑ ∑
WHITE RABBIT (ALFRED):
Ó Œ ‰ œ
V J
And

25

### (ALICE)
j j j ‰ œj
‰ œj œ œ j
26 27 28

& j j œ œ
œ. œ œ. œ ˙. œ œ ˙.
now we’re down the hole– And call - ing from the soul. And
### œ .
(WHITE RABBIT)
œ œ. œ j
‰ œ œJ œ œ œ œ œ ˙. ‰ Jœ
V J J ˙. J J J
Now we’re down the hole– And call - ing from the soul. And

29
### j j 30 31
j œ
32
œ. œ œ Œ
& œ œ œ œ œ œ ˙. œ œ œ œ œ œ J J
some - thingon the shelves Holds some - thing of our - selves.
### œ œ œ œ œ œ ˙. œ œ œ. œ œ
V J J œ œ œ œ œ J J Œ
J
some - thingon the shelves Holds some - thing of our - selves.

###
‰ œ
WHITE RABBIT:
œ œ œ œ Œ Ó œ œ œ œ œœ Ó
33 34 35 36

V œ œ J J J J .
Down and down we fall– Now where have we wan - dered?

37
### œ œ œ œ œ
38
˙. Œ
39
‰ Jœ œ œ œ œ œ
40
œ œ. Ó
V J
Pic - tures, book, and all, Tum - bling from the cup - boards.

#2—Down the Hole

 A l i c e B y H e a r t — 107 —

(One by one, as they are introduced in song, our Tube Station crew transform into their Wonderland characters.
HAROLD PUDDING becomes the MAD HATTER. NIGEL becomes the DORMOUSE; CLARISSA, the
QUEEN OF DIAMONDS; ANGUS, the CATERPILLAR; the RED CROSS NURSE, the QUEEN OF HEARTS;
DR. BUTRIDGE, the KING OF HEARTS; DODGY, the DUCHESS; TABATHA, the CHESHIRE CAT.)

###
MAD HATTER:
œ œ ˙ œ œ œ œ
œ œ Ó ‰ J Jœ œ
41 42 43 44

V œ œ J J œ. ˙
Hit the ground be - low, Ev - ery - thing so ti - ny.

### œ j 47
WHITE RABBIT:
45
œ œ œ œ œ 46
˙ Œ ‰ œ œ œ œ œ œ œ
V
Now, where did it go– The world I left be - hind

49

# # ALICE:
‰ j œj œ
j j
& # Ó Œ ‰ j . j
48 50 51

j j œ œ
œ œ œ œ. œ ˙. œ œ œ
For, now we’re down the hole– And don - ning all our roles.
# # (WHITE RABBIT)
V # œJ œ . Ó ∑ ∑ ∑
me? SOP:
###
‰ œj œj œ
ALTO: (+DORMOUSE) j j j
& Ó Œ ‰ j . j j œ œ œ
œ œœ . œ œœ .. œ ˙˙˙ ... œ œJ œ œ œ œœœ
J J J J J J œ J
For, now we’re down the hole– And don - ning all our roles.
TEN:

# #
BARI:
Œ ˙˙ œ ww
V # ∑ ∑ œ
Down the hole…

#2—Down the Hole

— 108 — A l i c e B y H e a r t

### Œ ∑ ∑
52 53 54

& ˙.
DORMOUSE:
### ∑
œ œ œ œ œ œ ˙.
V J J J J Œ
God knows where we're at.

# #
& # ww ww ∑
w
All our
# # Œ œ j roles…
V # Ó œœ .
.
œœ ww ∑
J roles…
All our

###
CHESHIRE CAT:
j j j
œ œ œ Jœ œ. œ œ ‰ j ‰ j
55 56 57 58

& œ œ j j
J œ œ. œ œ. œ ˙. œ
Should have brought the cat. But now we’re down the hole A
# #
& # ∑ Ó Œ ‰ j . j . j ˙. ‰ j
œ œœ . œ œœ . œ ˙˙ .. œœ
J J J J
But now we’re down the hole A
Down the hole A
### Œ œ œ œ
∑ ∑ ∑ œœ
V Ó Œ ‰ œœ
J
A

#2—Down the Hole

 A l i c e B y H e a r t — 109 —

QUEEN OF
### j j j DIAMONDS:
j Œ ∑ Ó Œ ‰ œj
59 60 61 62

& œ œ œ œ œ ˙.
œ
sto - ry to be told. They’re
# # œ œ œ œ œ œ ˙.
CATERPILLAR:

V # ∑ Ó Œ ‰ Jœ J J Œ
The walls are all so tall,
# # j j j j
& # œœ œœ œœ œœ œœ œœ ˙˙ .. Œ ∑ ∑
J J J œ J
œ ˙.
sto - ry to be told.

# # # œj œ j j
sto - ry to be told.
j
V œœ œœ œœ œœ ˙˙ . Œ ∑ ∑
œ œ J .
J J J
sto - ry to be told.
65

# # j j j
& # œ œ œ œ. œ œ Œ ∑
63 64

œ œ œ J J
too small for the hall.
WHITE RABBIT:
### œ œ œ œJ œ
V ∑ Ó Œ ‰ œJ œ
J
These hands are not my hands–

###
ALICE:
∑ ∑ Ó Œ
66 67 68

& œ
No
### (WHITE RABBIT)
œ œ œ œ ˙
V ˙. ‰ Jœ J œ J J œ J Ó
So, is this Won - der - land?
SOP:
### ALTO:
& w w ˙. Œ
Hmm…
TEN:

### w
BARI:

V ˙. w ˙. Œ
œ w ˙.
Hmm…

#2—Down the Hole

— 110 — A l i c e B y H e a r t

###
(ALICE)
j
œ œ œj œ œ œ œ œ œ œj œ j Œ
69 70 71 72

& ˙. œ
œ œ ˙.
rab - bit can be - gin To know the state I'm in.
### ∑ ∑ ∑
KING OF HEARTS:
Ó Œ ‰œ
j
V
You
### Ó Œ
& w w ˙ ˙˙ ..
Hmm… Hmm…
# # ˙.
V # œw œ ˙ w˙
œ œ ˙
˙
Ó
˙.
Œ
Hmm… Hmm…

73 QUEEN OF
# # HEARTS:
& # ∑ ∑ ∑ Ó Œ ‰ j
74 75 76

œ
But
### œ œ œ œ œ j j
(KING OF HEARTS)

V J œ œ Œ Œ ‰œ œ œ œ œ œ œ ˙. Œ
meet a mar - ble cake, Your heart be - gins to ache.

### (QUEEN OF HEARTS)

‰ j j j j Œ
77 78 79 80

& œ œ œ œ œ j
œ œ œ œ œ œ ˙. œ œ ˙.
once you start to eat, You’re too tall for your feet.
# # DUCHESS:
V # ∑ ∑ ∑ Ó Œ ‰ œJ
The

#2—Down the Hole

 A l i c e B y H e a r t — 111 —

QUEEN OF DIAMONDS
& QUEEN OF HEARTS:
81
### ∑
82
∑
83
∑
84
Ó Œ ‰ œj
&
How

### œ œ œ œ œ j j j
Œ ‰ œ œj œ œ œ œ œ j
(DUCHESS)

V J J J œ ˙ ˙ Œ ‰œ
bot - tle tells you, “Drink,” You ne - ver stop to think How
QUEEN OF DIAMONDS:
### ∑
CHESHIRE:
Ó
CHESHIRE CAT:
‰ œj œ œ œ œ
& œœ œœ ˙˙ ˙˙
Tells you, “Drink…” You ne - ver stop to

85
### j j j j
86
Œ ‰ œj œj œ
87
j j j
88 ALICE:
Œ œ
& œ œ œ œ œ œ ˙ œ œ œ œ ˙
quick - ly you will shrink, The more and more you drink. But

# # Œ ‰ œj œJ œ œ œ
V # œJ œ œJ Jœ œ œ
J
˙ J J œ œ
J
˙ Ó
quick - ly you will shrink, The more and more you drink.
CHESHIRE:
### DORMOUSE (at pitch):
Œ ‰ j Ó
& w œœ œ œ ˙ œœ œœ ˙˙
œ œ ˙
think…
And you will shrink… You drink.

,
89

###
(ALICE)
œ. j j j 90
j 91
œ œ. œ
92
œ Œ Ó
& œ œ œ œ œ œ. ˙ œ J
now you’re down the hole– Oh

###
SOP:
ALTO: ,
& ∑ ∑ ˙w. œ œœ # œœ ˙˙
Down
the hole…
###
TEN:
j j ,
œ. œ. œ ww
BARI:
V ∑ ∑ œ
Down, you’re down the hole

#2—Down the Hole

— 112 — A l i c e B y H e a r t

###
(ALICE)
93
j j 94 95
j
96

& œ œ œ œ œ œ w ˙ œ. œ w
Now you’re down the hole…

# # j j
& # œœ œœ œœ œœ œœ œœ ww ww ww
Now you’re down the hole…

### ww ww
V w ww
Down the hole…

97
### 98
‰ œj œj œ œj œj
99
j
100
‰ œj
& œ . œj œ . œj ˙ . œ œ ˙.
Now you’re down the hole, And call - ing from the soul: What

### ∑ Œ œ œ
WHITE RABBIT:
œ. œ w Œ œ # œ œ . œJ
V J
Now you’re down the hole… Call - ing from the
# # ‰ œj œœj œœ œœ
j j j ‰ œj
& # œ . œj œœ .. œj ˙˙˙ .. œœ œœ œ ˙˙ . œ
œ.
J J . œ
J J J J Jœ . J
Now you’re down the hole, What
# # # œ . œj j j j j
And call - ing from the soul:
œ œ œj
j
V œ. œ ˙. ‰ œj œœ œœ œœ ˙. ‰ œœ
œ. œ œ. œ ˙. œ œ œ œ ˙. J
J J J J J J J
Now you’re down the hole, And call - ing from the soul: What

#2—Down the Hole

 A l i c e B y H e a r t — 113 —

### j j j j 102 j j j
‰ œj œ œ œ œ œ œ œ. œ œ Œ
101 103 104

& œ œ œ œ œ œ ˙. J J
hap - pens if I can’t Get out of Won - der - land?

# # Œ œ œ œ. œ œ œ œ œ œ œ œ. œ œ
V # w J J J J J J Œ
soul: If I can’t… Get out of Won - der - land?
### j j j j j j j j j
& œœ œœ œœ œœ œœ œœ ˙˙ .. ‰ œj œœ œœ œœ œ
œœ œœ œ œœ .. œœ œœ Œ
œ J J
J J J J J J J J
hap - pens if I can’t Get out of Won - der - land?
### j j j j j j j j j
V œœ œœ œœ œœ œœ œœ ˙˙ .. ‰ œœ œœ œœ œœ œœ œœ œœ ˙˙ .. Œ
J J J J J J J J J
hap - pens if I can’t Get out of Won - der - land?

105
### (freely, but with intensity)
j
106 U
& œ. œ œ. j
œ œ œ ˙
Now we’re down the
U
hole…
# # # (freely,
œ. œ
but with intensity)
œ. œ œ œ
V J J ˙
Now we’re down the hole…

#2—Down the Hole

— 114 — A l i c e B y H e a r t

Still 3
Cue:
WHITE RABBIT:
Perhaps you ate a bit more marble cake today,
and you grew bigger?
ALICE:
Is that so bad…? [MUSIC GO]

WHITE RABBIT: ALICE:

The Queen will be just savage. But she doesn't even know

 = 124
If I’ve kept her waiting. you’re here yet.

#### # 12 4
V # 8 1-4

5
WHITE RABBIT:
# # #
V # ## w . Ó. Œ. ‰ ‰ œj œ œ œ œ . œ . œ œ œ œ .
6 7

Still… The stor - y goes, as stor - ies will:

#### # Ó . Œ . ‰ ‰ j œ œj œ j œ Œ j 10 œ j
œ œ œ œ Œ . ‰ ‰ œj
8 9

V # œ . œ
œ
One af - ter - noon, be - side some bolt - ed gar - den gate, One

# # # j j j j j j
V # ## œ Œ.
11 12

œ œ œ œ œ œ œ œ œ œ œ œ.
how - dy - do, and soon so soon, I’m late, I’m late, so late!

13

#### # ‰ ‰ j j 14 15

V # œ. œ œ œ œ. œ. œ œ œ œ œ
œ œ œ œ ˙.
Ohh, I’m a - head of my time still, if I keep mov - in’.

# # # Œ . ‰ ‰ œj œ . ‰ j 18
V # ## Ó .
16 17 19

œ œ œ. œ œ œ. œ. œ œ œ œ œ œ ˙.
Fall, and I fall be - hind still– so much to - do - in’!

#3—Still
 A l i c e B y H e a r t — 115 —

(WHITE RABBIT)
#### # . Œ . ‰ ‰ œj œ œj œ œj œ . œ œ œ œ . ‰
# Ó
20 21 22 23

V œ œ œ w.
œ œ
But how can I stop the clock in me, When I’m chas - in’ me still?

#### #
# Œ ∑
24 25 26

V œ œ œ w. &
œ œ
Time is chas - in’ me still…
27

# # # # # ALICE: 28
Ó. Œ. ‰ ‰ œj œ œ œ œ
29
j
& # w. œ œ œ œ œ.
Still. Can’t stor - ies go, where stor - ies will?

# # #
& # ## Ó . Œ . ‰ . œj . œ . œ . œ . œ . œ . œ . œ . œ . œ . œ . œ . Œ . ‰ ‰ œj
30 31 32

Here, here, they do– each af - ter - noon stays ros - y late. Just

# # #
& # ## œ œ œ œ . œ . œ . œ . œ ‰ œ œ œ œj œ Œ.
33 34

œ.
me and you, our gol - den room, let the mad Queen wait.
35

# # #
& # ## œ . ‰ ‰ Œ. ‰ ‰ j œ œ ∑
36 37 38

œ œ œ
œ œ œ œ œ œ œ ˙.
Stay where the gras - ses sway, the riv - er’s stopped mov - in’;

# # #
& # ## œ . ‰ ‰ ‰ ‰ j œ œ œ
39 40 41

œ. œ œ œ ˙.
œ œ œ œ œ œ
Here, with the laz - y blue day, your ros - es just bloom - in’.

#### # Ó . Œ . ‰ ‰ œj œ œ œ œ œ œ œ. Œ. œ
42 43 44 45

& # œ œ w.
So why can’t we ling - er and dream? Walk with me still.

46
#### # Œ . ‰ ‰
47 48
∑
& # œ œ œ w.
œ œ
Lin - ger on with me still…

#3—Still
— 116 — A l i c e B y H e a r t

49 ALICE:
#### #
∑ ∑ Œ. ‰ ‰ œj œ œ œ œ œj
50 51

& #
It is - n’t, ’til we
# ## # WHITE RABBIT:
Œ . ‰ ‰ œj œ œ
V # # œ. Œ. Ó. Ó. œ Œ. Ó.
Still. Our stor - y’s known–

# ## # Œ . ‰ ‰ œj
& # # œ œ œ Œ. Ó. ∑ Ó.
52 53 54

run it through. One

# # # Œ . ‰ . œj . œ œ œ ‰ ‰ œj œ . œ . œ . œ . œ . œ . œ . Ó .
V # ## Ó .
So much a - do. A - dieu, a - dieu. A - way, a - way!

#### #
(ALICE)
55
j j 56
Ó.
& # œ œ œ œ œ œ œ œ œ œ œ. œ. œ.
look at you, and what’s the use? I’ve got my day.

57

# # # # # (ALICE) 58
Ó.
59 60
‰ Ó.
& # œ œ œ œ œ œ ˙. œ œ œ œ œ œ ˙
Run and play with me still. On this page with me still.
# # # (WHITE RABBIT)
V # ## ∑ ∑ œ œ œ œ œ œ ˙ ‰ Ó.
On this page with me still.

61
# # # # # ALICE: 62
Œ. j j j 63
Ó.
& # w. œ œ œ œ œ ˙.
œ
Stay, and stay with me still.

# # # rit.
& # ##
ALICE:
∑ ∑ ∑
64 65 66 67

w.
Still.
# # # j
WHITE RABBIT:
j j
V # # # ‰ ‰ œj œ œ œ œ œ œ w. ˙. Ó. w.
Time is chas - in’ me still… Still.

#3—Still
 A l i c e B y H e a r t — 117 —

Chillin’ the Regrets 4

Cue:
ALICE:
But will it really…?
CATERPILLAR:
You tell us. [MUSIC GO]
CATERPILLAR: (cont’d)
Come. Shall we…disappear?
The way, some say, a lover ALICE:
disappears into the kiss…? Ohhhh, but it's taken me so long just to appear…


4
= 129
3 CATERPILLAR 1:
V b 4 .. Ó Œ ..
4

œ
1-3
Hey,

œ. œ œ œ. œ œ œ j
Vb œ Œ Ó Ó œ œ
6 7 8

œ œ J J J J J œ
cool– just this Cat - er - pill - ar. Looks at you so blue–

j j j œ œ. œ œ œ.
Vb œ ‰ œ œ œ. Ó ∑
9 10 11 12

œ œ J J J
As if he’d look at you for - ev - er.

bœ œ œ œ œ œ œ Œ Œ ‰ b œ 15 œ œ œ œ œ œ œ Œ Ó
Vb
13 14 16

J J J J J
Puffs up - on his pipe and kind of stares you down.

j 18 œ œ œ œ ‰ œj œ œ œJ œJ b œ œ œ Œ ‰ œ.
Vb œ
17 19 20

œ œ. œ J J J J
Draws you to his blu - er shroom and ev - en blu - er cloud… Ohh…

j j j j ‰ œj œ
V b œ. ‰ Ó ∑ Œ
21 22 23 24

œ œ œ œ bœ œ œ
e - ven blu - er cloud… He says:

#4—Chillin’ the Regrets

— 118 — A l i c e B y H e a r t

25 (The ensemble gather, and form themselves into the shape of a long, inviting Caterpillar-body)

j
CATERPILLAR 2:
& b bœ . j Ó j j j Ó
26 27 28

œ œ œ œ ˙ nœ œ œ œ œ œ ˙
Where have you gone– have you been there yet,
j j
Œ ‰ œj œj œ j j
CATERPILLAR 1:
Vb œ. œ œ œ bœ ˙ œ œ œ bœ ˙ Ó
Where have you gone– Or have you been there yet,

&b j j Ó œ œ b œj œ œ Ó
29 30 31 32 33 34

bœ œ œ œ œ œ ˙ J w w ˙
Where the mind winds down, Chill - in’ the re - grets…
j j œ œ b œj œ œ w w ˙
Vb œ œ œ œ œ b œ ˙ Ó J Ó
Where the mind winds down, Chill - in’ the re - grets…

35

j œ œ b œj œj œ œ œ b œj œ
(CATERPILLAR 2)
&b j œ œ Œ Ó œ œ
36 37 38

œ. œ œ. œ J J J
O, the wind is won - der - ful– O, real - ly, when it greets the rain…

œ œ b œj œj œ œ Œ Ó œ œ b œj œ
(CATERPILLAR 1)
Vb œ. œ œ. œ œ œ œ
J J J J J
O, the wind is won - der - ful– O, real - ly, when it greets the rain…

SOP/ALTO:
& b bw w bw w
Aah… Aah…
TEN/BARI:
bw w bw w
Vb
Aah… Aah…

#4—Chillin’ the Regrets

 A l i c e B y H e a r t — 119 —

QUEEN OF DIAMONDS:
j 42
Œ ‰ œj œ j œœ Œ Œ ‰ œj
CATERPILLAR 2: 41
&b œ Œ Ó Ó œ
39 40

bœ bœ œœ œœ œœ b œœ œ bœ
You’ll hold a - noth - er view On

Vb œ œ œ œ bœ œ Œ Œ ‰ œ
œ Œ Ó Ó Œ ‰ œ
J
œ
J J J
You’ll hold a - noth - er view On

& b bw w w
bw
Aah… Aah…
bw w w
Vb bw
Aah… Aah…

j 44
&b j œ œ Œ Œ ‰ j œ . œj œj œ œj œ . œj œj œ œj Œ
43 45 46 47

b œœ œœ œœ œœ b œœ œ œ b œœ œ . œ œ œ œ œ . œ œ œ œ ˙˙ ..
all you know you knew, As if it let you in some oth - er dream–

Vb œ œ œ œ œ b œJ œ Œ Œ ‰ œ œ . œ b œj œ œ œ . œ b œj œ œ ˙. Œ
J J J J J J
all you know you knew, As if it let you in some oth - er dream–

& b bw bw w w w
Ah… Aah…
bw w w
Vb bw w
Ah… Aah…

#4—Chillin’ the Regrets

— 120 — A l i c e B y H e a r t

(The CATERPILLARS pass around the hookah)

CATERPILLAR 2: 49

&b Ó ∑
48 50 51

j j
œ œ bœ œ œ w ˙
Chil - lin’ the re - grets…
CATERPILLAR 1:
j
V b œJ œ bœ œ œ w ˙ Ó ∑
Chil - lin’ the re - grets…

&b ∑ ∑ Ó Œ ‰ b œœ ww
J
Chil - lin’…

Vb ∑ ∑ Ó Œ ‰ œœJ ww

Chil - lin’…

(ALICE takes a puff from the hookah)

CATERPILLAR 2:
& b œj Ó ∑ Ó Œ n
52 53 54 55 56

j œ
œ bœ œ œ w ˙
Chil - lin’ the re - grets… Hey,
j
V b œJ œ b œ œ œ w ˙ Ó ∑ ∑ n
Chil - lin’ the re - grets…

&b ∑ ∑ Ó Œ ‰ b œœ ww ∑ n
J
Chil - lin’…

Vb ∑ ∑ Ó Œ ‰ œœJ w
w ∑ n
Chil - lin’…

57 (CATERPILLAR 2)
j 59 j j j j j
& œ Œ Ó Ó
58 60

œ œ œ. œ œ œ. œ œ œ œ œ œ
cool– so you think, ‘what - ev - er.’ Drift in - to that fume,

61
‰ œj œ . j
62
j j j 63
j Ó
64
∑
& œ œ œ œ œ œ. œ œ œ.
You’ll feel your neck go on for - ev - er.

#4—Chillin’ the Regrets

 A l i c e B y H e a r t — 121 —

(CATERPILLAR 2)
& b œJ œ œ œ. œ bœ œ œ œ. œ œ œ œ œ œ Ó
65 66 67 68

J J J J J ˙
Noth - ing but a - noth - er blue, and down there on the ground,
CATERPILLAR 1:
bœ œ œ œ. œ œ œ œ œ. œ œ œ œ
V J J J J J J bœ œ ˙ Ó
Noth - ing but a - noth - er blue, and down there on the ground,

CATERPILLAR 2:

j j j ‰ œj œj œ j j j Q.O.DIAMONDS:
& œj œ œj œ . œ Œ ‰ b œœ ..
69 70 71 72

œ œ œ œ œ œ œ bœ œ
Noth - ing but a - noth - er you and oth - er love - ly clouds… Ohh,
.
‰ œ
(CATERPILLAR 1)
V ∑ ∑ ∑ Ó
Ohh,

CATERPILLAR 2:
& ww ∑ j j j ‰ œj œ b
73 74 75 76

œ œ œ œ bœ j
œ ˙
oth - er love - ly clouds… I say:
w ∑ œ œ œ œ bœ œ ˙ Ó b
V J J J J
oth - er love - ly clouds…

77
(CATERPILLAR 2)
j j 80
& b œ. œ Œ Œ ‰ œj œj œ j j bœ œ Œ Ó
78 79

œ œ œ bœ œ œ œ
where have you gone– Or did you get there yet,

j j œ œ b œj œ œ w w ˙
&b œ œ Œ Ó Ó
81 82 83 84 85 86

œ œ œ œ bœ J
Where the soul goes south, Chil - lin’ the re - grets…
SOP/ALTO:
&b ∑ ∑ j j Ó
œ œ nœ œ œ ww ww ˙˙
Chil - lin’ the re - grets…

Vb ∑ ∑ ∑ ∑ ∑ ∑

#4—Chillin’ the Regrets

— 122 — A l i c e B y H e a r t

87
CATERPILLAR 2:
j j j j j j j j j j
&b Œ Ó
88 89 90

œ. œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ bœ
O, the wind’s so won - der - ful– No, real - ly– just as sweet as rain;

œ œ b œj œj œ œ œ b œj œj œ œj
CATERPILLAR 1:
Vb œ. œ œ. œ œ œ Œ Ó
J J J J J
O, the wind’s so won - der - ful– No, real - ly– just as sweet as rain;
ALICE:
&b Œ œ œ bœ œ œ ˙ Œ œ œ œ ˙ œ. œ
œ J
O, the wind’s so won - der - ful– It’s just as sweet as rain;
SOP/ALTO:
& b bw w w w
Ohh… Ohh…
TEN/BARI:
V b bw w bw w
Ohh… Ohh…

j
&b Ó Ó Œ ‰ j j Œ Œ ‰ j
91 92 93 94

˙ œ bœ œ œ œ œ œ œ bœ
You’ll hold an - oth - er view, On

‰ œj j j
Vb ˙ Ó Ó Œ œ œ œ œ œ bœ œ Œ Œ ‰ œj
You’ll hold an - oth - er view, On

&b ˙ Ó ∑ ∑ ∑

& b bw w bw w
Ohh… Ooh…

V b bw w œ œ œ œ œ œ œ œ
Ohh… Ooh…

#4—Chillin’ the Regrets

 A l i c e B y H e a r t — 123 —

j j j
(CATERPILLAR 2)
œ Œ Œ ‰ b œj œ ‰ œj œj œ œj œ ‰ œj œj œ
&b j j Œ
95 96 97 98 99

bœ œ œ œ œ œ œ ˙.
who you hold is you, As if it met you in who -ev - er’s dream…

j j j j j j j j j
œ Œ Œ ‰ œj œ ‰ œ œ œ œ œ ‰ œ œ œ
j
(CATERPILLAR 1)
Vb œ œ œ œ œ bœ œ ˙. Œ
who you hold is you, As if it met you in who -ev - er’s dream…

&b w w w w ˙. Œ
Ooh… Ooh…

Vb œw b œ œ œ œ b œœ œ œ b œœ œ
wœ b œ œ œ œ œ œœ œ œ œœ ˙˙ .. Œ
Ooh… Ooh… ooh…

101

&b Ó ∑
100 102 103

j j
œ œ bœ œ œ w ˙
Chil - lin’ the re - grets…
j
V b œJ œ bœ œ œ w ˙ Ó ∑
Chil - lin’ the re - grets…

‰ b œœ
(dreamy)
ww
&b ∑ ∑ Ó Œ
J
Chil - lin’…

Vb ∑ ∑ Ó Œ ‰ œœJ ww

Chil - lin’…

#4—Chillin’ the Regrets

— 124 — A l i c e B y H e a r t

(CATERPILLAR 2)
j 107
&b Œ ‰ bœ bw
104 105 106

j j bw ˙
œ œ bœ œ œ
Chil - lin’ the re - grets… Chil - lin’…
(CATERPILLAR 1)
j bw ˙ ‰ b œJ w
V b œJ œ bœ œ œ Œ
Chil - lin’ the re - grets… Chil - lin’…
ALICE: j
& b œJ œ bœ œ œ w ˙ Œ ‰ œ
J
w
Chil - lin’ the re - grets… Chil - lin’…

&b ∑ ∑ Ó Œ ‰ b œœ ww
J
Chil - lin’…

Vb ∑ ∑ Ó Œ ‰ œœJ ww

Chil - lin’…

j j 111
& b œJ œ b œ œ œ Œ ‰ bœ bw
108 109 110

bw ˙
Chil - lin’ the re - grets… Chil - lin’…
j bw ˙
V b œJ œ b œ œ œ Œ ‰ b œJ w
Chil - lin’ the re - grets… Chil - lin’…

&b ∑ œ. œ œ. œ œ œ b œj œj œ œ œ Œ Ó
J J J J
O, the wind is won - der - ful– O, real - ly–

&b ∑ ∑ b˙ Œ ‰ œj ww
˙ œ
Mmm… Chil - lin’…
j j
Vb ∑ b œœ œœ b œœ œœ œœ ˙˙ Œ ‰ b œœ w
w
J
Chil - lin’ the re - grets… Chil - lin’…

#4—Chillin’ the Regrets

 A l i c e B y H e a r t — 125 —

(CATERPILLAR 2)
j
&b ∑ ∑ b œ œ œj œ œ
112 113 114 115

w
Chil - lin’ the re - grets…

œ œ b œj œ œ
(CATERPILLAR 1)
Vb ∑ ∑ w
J
Chil - lin’ the re - grets…

œ œ b œj œ œ
(ALICE)
&b J œ w w bœ œ ˙ .
when it greets the rain; Chil - lin’…
j j
& b b œœ œœ b œœ œœ œœ b ww ˙˙ Œ ‰ œœ ww
J
Chil - lin’ the re - grets… Chil - lin’…
j j
Vb ∑ b œœ œœ b œœ œœ œœ ˙˙ Œ ‰ œ
bœ w
J w
Chil - lin’ the re - grets… Chil - lin’…

(like a sigh)

&b Ó Ó
116 117 118 119

j j
œ œ bœ œ œ w ˙ ˙
Chil - lin’ the re - grets… Aah…
j
V b œJ œ œ w ˙ Ó ˙ Ó
(like a sigh)
bœ œ
Chil - lin’ the re - grets… Aah…

&b w ∑ ∑ ∑

j j
(like a sigh)

b œ
& œ œ bœ œ œ Ó ˙ Ó
œ bœ œ œ b b ww ˙˙ ˙
Chil - lin’ the re - grets… Aah…
j b ww ˙˙ n ˙˙
V b œJ œ
(like a sigh)
bœ œ œ Ó Ó
Chil - lin’ the re - grets… Aah…

ALICE: j U
& b œJ œ ∑
120 121 122

bœ œ œ w
Chil - lin’ the re - grets…

#4—Chillin’ the Regrets

— 126 — A l i c e B y H e a r t

The Key Is 5
Cue:
WHITE RABBIT:
I am rather fearful of losing my head.
ALICE:
I know.
(All the CATERPILLARS nod, smiling knowingly at the WHITE RABBIT)
WHITE RABBIT:
You know how Her Majesty is. [MUSIC GO]
WHITE RABBIT: (cont’d)
How loud she gets.
[Starts Bar 8]

4 = 126 9 10

# Œ ‰ œj j
4
ALICE:
∑ Ó j ‰ j
8 11

& œ œ œ œ œ œ œ œ œ œ œ œ œ
Leave the talk - ers talk - ing. The hum is what we want, A

ALICE:
CATERPILLAR 2:
# j
œ Ó ‰ œj j j j
œœ œœ œœ œœ œœj
12 13 14 15

& œ œ œ œ. œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ
song bey - ond thought. Let the wor - ry fade, No more hur - ry hur - ry, The

# j j
ALICE:
œœ œœj œ . ∑ Ó Œ
16 17 18

& œœ œœ œ œ
œ.
sum - mer is pur - ring. We can

# ∑
SOP/ALTO:
Œ ‰ j œj œ œ œ œ j
& œ J J œ ˙
We’re go - in’ high - er, ’cause…
(no WHITE RABBIT)

# ∑
TEN/BARI:
Œ ‰ Jœ œJ œ œ œ œ œ ˙
V J J J
We’re go - in’ high - er, ’cause…

19
(ALICE)
#
& œ œ œ œj œ œ ‰ œj œ œ œ œ œ œ œœ œ ‰ œj œ b œ
20 21 22

˙ ˙
J
rise bey - ond what’s gone, Through a world they got so wrong, ’Til we know

#5—The Key Is
 A l i c e B y H e a r t — 127 —

#
(ALICE)
œ j j Œ ‰ j œj œ œ œ œ ˙ ‰ j
23 24 25 26

& œ œ œ nœ œ œ œ . nœ œ œ . œ J œ
the sky be-yond. The key is, the key with - in you. The

27

# j j ‰ j œ œ œ œ œ
28
‰ j
29

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ
sun - rise is me, The sea and the shore, The sigh of the wind and the dim

ALICE:
CATERPILLAR 2:
# j j ‰ j j j j
œœ œœ œœ œœ œœ ‰ œ œœ ‰ j
30 31 32

& œ œ œ œ œ œœ œ œœ œœ œ
œ
blue stars. One turn of the key, The gar - den door, The
CATERPILLAR 1:
# j j j
V Ó Œ ‰ Jœ œ œ œ œ œ ‰ œ œ œ œ œ œ ‰ œJ
One turn of the key, The gar - den door, The

#
ALICE:
j j ∑ Ó ‰ œj œ
33 34 35 36

& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ˙˙
flow - ers and leaves, chant - ing who we are. I won’t
# œ œ œ j
V œ œ œ œ œ œ œ œJ ˙ ∑ ∑
flow - ers and leaves, chant - ing who we are.

# SOP/ALTO:
j
& ∑ ∑ Ó œ œ œ œœ j
J J œ ˙
And we’re climb - in’, ’cause…

#
(no WHITE RABBIT)

V ∑ ∑
TEN/BARI:
Ó œ œ œ œœ œ ˙
J J J J
And we’re climb - in’, ’cause…

#5—The Key Is
— 128 — A l i c e B y H e a r t

37
(ALICE)
# j j ‰ œj œ b œ
œ œ œ œ œ œJ œ œ œ œ œœœ œ
38 39 40

& ˙ œ œ ˙
J
let them move you on, Play you like some ghost - ly pawn. Come, we’ll hold
#
& w w ww ww
Aah… Aah…
# ww ww ww # ww
V
Aah… Aah…

#
œ œ œ œj n œ j j j Œ ‰ j œj œ œ œœ ˙ ‰ j
41 42 43 44

& œ nœ . œ œ œ. œ J œ
the still blue dawn. The key is, to be with - in you. We’ll
# Ó
& n˙ ˙ ˙ ww ww
Aah… Aah…
# œ œ nœ œ ˙
3
ww
V Œ bœ œ ww
Aah… Aah…

45

# (ALICE)
j Ó j j 48 ‰ j
Œ
46 47

& ˙ œ. œ ˙ œ œ œ œ œ œ œ ˙ œ
slow slow time Tumb - le in - to my heart, A

49
# j
50
Œ ‰ œj
51
j j
52
Œ
& ˙ œ. œ ˙ œ œ œ œ œ œ œ œ ˙
sky so wide, al - ways light, al - ways dark.

(The WHITE RABBIT takes a puff)

# ∑
ALICE:
‰ j Œ Œ
53 54 55 56

& œ œ ˙ œ œ œ œ œ ˙.
Just please. We’ll turn the lock.
# WHITE RABBIT:
Œ œ ‰ œj j
V œ œ ‰ Œ Ó ∑ ∑
But but but–

#5—The Key Is
 A l i c e B y H e a r t — 129 —

# (ALICE)
j j
Œ Œ
57 58 59 60

& œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ w
With this key sub - lime, we’ll un - wind the clock.

63

#
‰ œj œ œ
ALICE:
∑ Ó Œ œ œ œ j
œ œ œ œJ
61 62 64

& œ ˙
Let them play their ghost - ly fraud, Wound us in
# j
WHITE RABBIT: œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ
V Ó œ œ œJ œœ J J J ‰J
J
And we’re ris - in’ up… Let them play their ghost - ly fraud, Wound us in
# SOP/ALTO:
& ∑ Ó Œ œ œ œ œ j
œ œ œ œJ ˙ ‰ œj œ œ
Let them play their ghost - ly fraud, Wound us in
# TEN/BARI:
V ∑ Ó Œ œ œ œ œ œ œ
jœ œ ˙ ‰ œj œ œ
J
Let them play their ghost - ly fraud, Wound us in

# ‰ œj œ b œ
œ œ œ œœœ œ œ œ œ œj n œ œj j j
65 66 67 68

& ˙ nœ . œ œ œ .
the name of God; Still, we’ll build that sky so broad– To see is,
# œ œ œ œœ œ ˙ ‰œ œ œ œ œ œ œ œ œ. œ œ œ.
V J J œ J J J J
J
the name of God; Still, we’ll build that sky so broad– To see is,
# œ
& œ œ œœœ œ ˙ ‰ œj œ b œ œ œ œ œj n œ œj j j
nœ . œ œ œ .
the name of God; Still, we’ll build that sky so broad– To see is,
# œ ‰ œj œ b œ œ œ œ œj n œ œj j j
V œ œ œœœ œ ˙ nœ . œ œ œ .
the name of God; Still, we’ll build that sky so broad– To see is,

#5—The Key Is
— 130 — A l i c e B y H e a r t

(ALICE and the WHITE RABBIT climb an A-Frame ladder)

#
Œ ‰ j œj œ n œ œœ ˙ œ œ œ œj œ œ ‰ œj œ œ
69 70 71 72

& œ J œ œ J
˙
to dream with - in you. We will rise be - yond what's gone, Slow the night
# œ œ œœ ˙ w w
V Œ ‰ œ Jœ J Œ
J
to dream with - in you. Rise…
#
& Œ ‰ j œj œ n œ œœ ˙ œ œ œ œ œ œj œ œ ˙ ‰ œj œ œ
œ J J
to dream with - in you. We will rise be - yond what's gone, Slow the night
# Œ ‰ j j j
V œ n Jœ œœ ˙ Œ Œ œ œ œ œ œ œ œ œ
J˙
œ œ
to dream with - in you. We will rise be - yond what's gone,

# j
œ œ œ ‰ œj œ b œ œ.
73 74 75

& œ œ œ ˙ œ œ nœ œ œ
and hold the dawn, In a world where we be - long,
# ˙. œ ˙.
V w œ œ
Slow the dawn… We be -
# j
& œ œ œ œ œ œ ˙ ‰ œj œ b œ œ. œ œ nœ œ œ
and hold the dawn, In a world where we be - long,
# j j
V Œ œ œ œ. œ #œ
œ œ ˙ œ ‰ œ œ b˙
Slow the night and hold the dawn, In a world

#5—The Key Is
 A l i c e B y H e a r t — 131 —

# j j Œ ‰ j œj œ nœ œ œ ˙.
76 77 78

& œ. nœ œ œ . œ J
The key is, To be with - in you…
# w œ œ œ ˙.
V Œ ‰ œ œJ œ J
J
long… To be with - in you…
# j j
& œ. nœ œ œ . Œ ‰ j œj œ nœ œ œ ˙.
œ J
The key is, To be with - in you…
# Œ ‰ j œj œ nœ œ œ ˙.
V œ œ nœ œ ˙ œ J
where we be - long, To be with - in you…

79

#
∑ Œ Œ œ
80 81 82

& œ œ œ w œ
œ
Aah Aah
# ˙ ˙
V ∑ ∑ ˙ ˙
Aah
# ˙w
& ww ww ˙ ẇ ˙
Aah Aah
# œœ
V œœ œœ œœ w˙ ˙ ˙œ ˙ ˙ œ # ww
Aah Aah

#5—The Key Is
— 132 — A l i c e B y H e a r t

ALICE/CATERPILLAR 2:
#
Œ Œ
83 84 85 86

& w ˙. œ ˙ œ œ
œ œ nœ
Aah… Leave our
# Ó nœ œ œ n˙
WHITE RABBIT/CATERPILLAR 1:
Œ œ œ
V . w ˙
Aah Aah… Leave our
# j j
& ‰ nœ œ œ œ j Œ ∑ ∑
œ ˙.
#
& Œ nœ œ œ ˙˙ ww ˙˙ .. Œ
bœ œ
Aah Aah…
# œ ˙œ œ ˙˙ œw ˙ ˙œ . œ
V Ó bœ œ œ Œ
Aah Aah…

87

#
œ œ œ œ œ ‰ œj œ œ œ œ œ œ œ œ ‰ œj œ b œ
88 89 90

& ˙ ˙
shad - ows on the lawn, Leave a world they got so wrong. There’s a sky
# œ œ œ œ œ œ ˙ ‰ Jœ œ n œ
V œ œ œ œ œ ˙ ‰ Jœ œ œ
shad - ows on the lawn, Leave a world they got so wrong. There’s a sky
#
& ∑ ∑ ∑ Œ œ œ
œ
Aah…
#
V ∑ ∑ ∑ Œ ˙.
Aah…

#5—The Key Is
 A l i c e B y H e a r t — 133 —

# j U U
j j Œ ‰ j œj œ œ
ALICE:
œ . œ œ nœ œ œ œ ˙. ∑
91 92 93 94 95

& nœ . œ œ œ . œ J
where we be - long, The key is, the key is in you.
# œ. œ œ œ œ œ . n œj œj œ . œ œ U˙ . U
Œ ‰ j œj œ œJ
WHITE RABBIT:
V ∑
J œ
where we be - long, The key is, the key is in you.

# U U
& w ˙ ˙ ww ww ∑
n˙

# n˙ U U
b˙ ww ww w ∑
V w

Please Note: There is no #6.

The next song is #7 – “Those Long Eyes”

#5—The Key Is
— 134 — A l i c e B y H e a r t

Those Long Eyes 7

Cue:
WHITE RABBIT: ALICE: (Prompted by the CAT; to ALFRED)
Alice, look – the tree tops. “Won’t you join the dance?”
Have you ever seen such tree tops?
WHITE RABBIT:
ALICE: But I’m not in that Dance.
From the treetops. CHESHIRE CAT:
WHITE RABBIT: Not yet.
Or such a lovely wandering cloud… ALICE: (To the WHITE RABBIT)
[MUSIC GO] Not yet.
(A golden parachute-tide wafts over the stage, and (A pause.)
the LOBSTERS waltz on.)
WHITE RABBIT: (Suddenly self-conscious)
ALICE: You wouldn’t want to, really – with these ears?
Or such a golden waltz of gorgeous Lobsters.
ALICE:
WHITE RABBIT: The dearest ears.
Such such Lobsters…!
(Then:) WHITE RABBIT: (Meaning: two left feet)
I am finding myself oddly hungry. I’m all paws.
ALICE: CHESHIRE CAT:
Not the Lobsters! Aren’t we all.
I mean, I do so love the Lobster Dance. (A pause. Neither ALICE nor the WHITE RABBIT
(A long, awkward pause. The CHESHIRE CAT moves.)
reappears – only ALICE can see or hear her.) CHESHIRE CAT: (cont’d)
CHESHIRE CAT: (A beloved bit, from the Well, you can pause, and pause… and pause…
Storybook:) (A beat.)
“Will you, won’t you, will you, won’t you…” Pause too long, the moment’s gone.
The dance is done. [MUSIC OUT]

 = 163
## 12 Vamp 2 " ..
& 8 ..
1-2

ALICE: (To the WHITE RABBIT)

Come. [MUSIC GO] “You really have no notion how delightful it will be,
When they take us and they throw us, with the Lobsters, out to sea!”
(The CHESHIRE CAT hovers. ALICE and ALFRED climb down from the tree, drawn by the dance.)

Vamp 4

# CHESHIRE CAT: j
& # .. Ó . Œ. ‰ . œ j ‰œ
3 5

œ œ . J œ œ œ œ œ œ œ. œ œ œ œ. œ œ œ
When you part - ner With a lob - ster, All the world’s your shore… Sum - mer

#7—Those Long Eyes

 A l i c e B y H e a r t — 135 —

(CHESHIRE CAT)
## j j ‰ j
œ œ œ ‰ œ
6 7 8

& œ œ œ
J œ œ œ œ œ. œ œ œ œ. œ œ J œ œ œ œ œ.
danc - es With some sal- mon Haunt your heart no more. Watch the waves reach For the grey beach

ALICE:
CHESHIRE:
## j j j
CHESHIRE CAT:
‰ œ œ œ ‰ Œ j
9 10 11

& œ œ. œ
œ œ œ œ œ J œ œ œœ œœ œœ .. œ œ œ œ œ. œ
And those yel - low sands… Drift po - lite - ly By the whit - ing, Let the sor - row dance… Just

12

# j
& # œ. j j Œ.
13

œ œ œ œ œ œ œ œ œ œ. œ. œ.
hold her by the claws And whis - per, “Lobs, Let’s skip this tide.”

## 6 12 ˙.
8 8 Ó.
14 15 16

& œ. œ œ œ œ œ œ œ. œ. œ œ œ œ. œ.
Dance and give your - self To his hard shell And those long eyes…

3
17
(ALICE takes the WHITE RABBIT’s paw. They waltz)

## 20
Ó. Œ.
ALICE:
‰
& œ œ
17-19
Let the

21

# j
& # œJ œ œ œ œ œj œ œ . ‰ œ j
œ . œ œ œ œJ œ œ œ œ œ œ œ .
22 23

œ œ œ
sea - gulls Fol - low sea - gulls, Down those yel - low sands. Talk of Brus - sels With the mus - sels.
## CHESHIRE CAT:
j
& ∑ Ó. Œ. ‰ œ œ œ j
œ œ œ œ œ œ œ.
Talk of Brus - sels With the mus - sels.

#7—Those Long Eyes

— 136 — A l i c e B y H e a r t

25

# (ALICE)
& # ‰ œ œ œJ œ ‰‰ j j‰ j Œ.
24 26

œ
œ. œ œ. œ œ œ œ œ œ œ œ œ œ. . œ.
Let the so - rrow dance. Just hold her by the claws And whis-per, “Lobs, Let’s waltz all night.”

# # (CHESHIRE Pj j j
œ. œ.œ. œ. Œ.
CAT)
& ‰ j Œ. ‰‰ œ œ œ œ œ œ œ
œ œ œ œ œ. J
Let the so - rrow dance. Just hold her by the claws And waltz all night

# WHITE RABBIT:
œ. œ œ œ œ œ ‰ œ œ œ
V # Ó. Œ. ‰‰ œ
J
œ œ. œ. œ. Œ.
J J
Just hold her by the claws And whis-per, “Lobs, Let’s waltz all night.”

##
j ‰
27 28

& œ œ œ œ œ œ. œ.
œ œ œ œ œ œ ˙.
Dance and give your - self To noth - ing else But those long eyes…
# j j œ. œ. ˙.
& # Œ. œ œ œ œ œ œ
J œ.
Dance and give your - self To those long eyes…
# œ œ œ œ
V # œ œ œ œ
J
‰ œ œ œ œ. œ. ˙.
Dance and give your - self To noth - ing else But those long eyes…

rit.
## 6 12
8 8 w.
29 30 31

& œ œ œ œ œ œ œ œ. œ. œ œœ œ. œ.

6 12
Waltz and waltz all night, Ig - nore the tide, In those long eyes…
# j j
& # Œ. œ œ œ œ œ œ
J 8 œ. œ. œ. 8 w.

6 12
Waltz and waltz all night, In those long eyes…
# œ œ œ œ j w.
V # œ œ œ œ œ
J œ 8 œ. œ
. 8
Waltz and waltz and waltz all night, In those long eyes…

#7—Those Long Eyes

 A l i c e B y H e a r t — 137 —

Manage Your Flamingo 8

Cue:
DUCHESS:
So, when that bunny breezes by,
and you’re seizing on that butt cheek and that tail
he trails behind, just –
(The DUCHESS gestures.) [MUSIC GO]


(Three KNAVES emerge from beneath the DUCHESS’ dress. Then hold up gas
= 132 masks which serve as flamingo beaks for their croquet mallets. The DUCHESS
Swung  s
sings to ALICE, counseling her to tuck in her budding sensuality.)

4 4
V4
1-4

5
DUCHESS:
j
V œJ œ ‰ bœ œ œ bœ œ œ œ œ œ. Ó
6 7 8

œ œ œ œ œ œ œ ˙ J J J J
Man - age your fla - min - go, If you'd play cro - quet, dear.

DUCHESS:
KNAVE OF SPADES:
j 3 œ
V œ bœ œ œ bœ œ œ œ œ . b œœ œœ œœ œœ œœ A œ
9 10 11 12

œ œ œœœ œ œœ ˙ œ
When you play cro - quet, dear, You have to do the do. You tuck it all in,

13

. j jb œ 3 œ
V œœ . b œœ œœ .. œœ œœ .. A œœ œœ œ œ œ œ œ œ œ
DUCHESS: 3
‰ bœ
14 15

J œ œ
J
From feet to the chin, Then bat - ter your hedge - hog a - gain and a -

QUEEN OF DIAMONDS:
∑ Ó &‰
œ.
16 17 18 19

V w w
gain. Ohhhh,

#8—Manage Your Flamingo

— 138 — A l i c e B y H e a r t

20

j j
& œJ œ œ ‰ b Jœ œ œ b œ œJ œ œ œ œ. Ó
21 22 23

œ œ œ œ œ œ œ. J J V
man - age your fla - min - go, Like the Queen is pass - ing.

KNAVE OF HEARTS:
DUCHESS:
KING OF HEARTS:
j 3
œ
V œ bœ œ œ bœ œ œ œ œ . b œœ œœ œœ œœ œœ A œ
24 25 26 27

œ œ œœœ œ œœ ˙ œ
When the Queen is pas - sing, You have to do the do. You plant a rose white,

‰ œJ
KNAVES:
V ∑ ∑ ∑ Ó Œ
White!

KNAVE OF QUEEN OF
28
HEARTS:
œ. j HEARTS:
j
œœ œœ .. b œœ œœ œ
3

V œ. b œœ œœ .. ‰ bœ œ œ œ
3

& œ bœ œ
29 30

J œ œ
J
You'd best paint it red. Or soon as she pass - es– It's off with your
œ ‰ . Rœ œ
V J ‰ Œ Œ Œ Ó ∑
Red!

(The CHESHIRE CAT appears) DUCHESS:

If you tell a lie long enough – and loud enough…
ALICE:
But would she really? (The CHESHIRE CAT disappears)

2 QUEEN OF DIAMONDS:
3
Ó bœ œ
31 34

& w œ
32-33
head. Knaves lose their

KNAVE OF CLUBS:
35
DUCHESS:
j 3
œ Œ V b œœ b œœ œœ
3
œœ b œœ ‰ œœ œ3 œœ œœ ˙˙ .. ˙˙
& b œJ œ œ œ œ œ œ œ Ó
36 37 38 39

J œ
fa- ces, The face-less must die. Fives club their A - ces, Dia - monds ask why...

#8—Manage Your Flamingo

 A l i c e B y H e a r t — 139 —

40
∑
41 ALICE:
œ. j œ
42
œ bœ œ ˙ .
3 43 QUEEN
Ó
OF HEARTS:
‰ œ.
V & œ œ
Don't they ask why? Oh
KNAVE OF CLUBS/KNAVE OF HEARTS:
KNAVE OF SPADES/KING OF HEARTS:

œ
V # œw œ ˙ . ∑ ∑ ∑
Why?

44
(QUEEN OF HEARTS)
j j œ œ b œ œ œ œj
DUCHESS:
& œJ œ œ œ . œ œ œ bœ V Jœ œ œ
45 46 47

œ œ œ œ œ J ˙ J
man - age your flam - in - go, Or it's done for you, my love. Oh, she's done

QUEEN OF KING OF
HEARTS: (“Indeed”) HEARTS:3

V œ œ œ œœ œ œ j œ
œ œ . œ & œ bœ œ œ bœ œ œ œ œ . V b Jœ œ œ œ œ
48 49 50 51

with you, my love, Un - less you do the do. And tell her how fine
KNAVES:
V ∑ ∑ ∑ Ó œ œ
Tell her

KNAVE OF HEARTS:
52
DUCHESS:
.
V œ b Jœ œ . œ œ . œ œ ‰ b œœ b œœ œœ œœ œœ œœ œœ œ œœ b œœ œœ œœ
53 3 54 3

J J œ
J
a day for cro - quet. Then, who but a Queen could con - cieve such a

V b˙ ˙ ∑ ∑
how fine…

2 KNAVE OF HEARTS:
3

V œœ b ˙˙ .. Ó bœ œ
55 58

œ
56-57
game? Gath - er your

#8—Manage Your Flamingo

— 140 — A l i c e B y H e a r t

KNAVE OF HEARTS: DUCHESS &

59 DUCHESS: Q.O.DIAMONDS:
œœ œ
Œ b œœ b œœ œœ
3 3 3

V b œJ œ œ bœ Œ œ œ œ
60 61

œ. œ œ œ œ
hedge - hog, Set him on the green. Swing your fla - min-go– God save the
KNAVES:

∑ ∑ Ó œ œ3 œ
V
God save the

DUCHESS:
V œJ Ó Œ
62 63 64

œ. ˙ w #œ
Queen. Will
œ bœ . ˙ w ∑
V J
Queen.

j œ. œ ˙ w
V œ. œ J
65 66 67

œ œ
God save the Queen?
SOP:
j
‰ œj
ALTO:
& ∑ Ó Œ œ. œ œ œ
TEN: Will God save the
œ œœ .. b œœ œœ œœ
BARI:
V ∑ Ó Œ ‰ J
J
Will God save the

œ. j œ œ. œ ˙
V Ó Œ J
68 69 70

#œ œ œ
Will God save the Queen?

∑ Ó Œ ‰ j
& # ww œ
Queen? Will
w œ
V w ∑ Ó Œ ‰ J
Queen? Will

#8—Manage Your Flamingo

 A l i c e B y H e a r t — 141 —

w ALICE: j
(interrupted by bomb sound)

Ó Œ œ. œ
71 72 73

V & #œ œ œ
Will God save the

∑ Ó
DUCHESS:
Œ œ. j œ
V #œ œ œ
Will God save the
j
& œ. œ œ œ # ww ∑
God save the Queen?
œ. b œœ œœ œœ ww
V œ. J
∑
God save the Queen?

Tea Party Intro 8A

TACET

Tea Party Tableau 1 8B

TACET

Tea Party Tableau 2 8C

TACET

#8—Manage Your Flamingo

— 142 — A l i c e B y H e a r t

Sick to Death of 9
Alice-ness
Cue:
MARCH HARE:
The next thing you know, she’ll be demanding herbal tea.
ALICE:
I don’t like herbs.
DORMOUSE:
Or Herb?
ALICE:
Or tea. [MUSIC GO]

(The MAD HATTER, MARCH HARE, and DORMOUSE gasp. As music

rises, they bang the table with their helmets – providing their own percussion.)

 = 92
4
2
MAD HATTER:
V4 ∑ Œ ‰ œ Œ
1 3

œ œ œ œ œ ≈ œ œ œ œ œ œ œ
So you tell us now you’ve got a thing for tea,

œ œ œ
V Œ ‰ bœ œ œ œ ≈ œ œ œ œ bœ ‰
4 5

œ œ bœ
Wan - der through the world, as if it were your dream. Was-n’t

6
œ œ œ œ ≈ œ œ œ œ œ
7
œ œ ‰ œ œ
V œ œ œ
long be - fore, be - fore you star - ted see - ing things, Talk-ing

œ œ œ œ œ œ œ j
V œ œ œ≈ œ œ œ ‰ œ œ œ #œ œ œ œ œ œ Œ
8 9 10

an - i - mals and nas - ty, ac - id vici - ous Queens. How do we put you back to bed?

#9—Sick to Death of Alice-ness

 A l i c e B y H e a r t — 143 —

11
DORMOUSE/MARCH HARE:
MAD HATTER:
˙
12

V œ œ œ œ œ œ œ œ ≈ œ #œ #œ œ œ œ
Take this, take this cup from us of ev - ’ry - thing you’ve said.

œ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ r
V œ ≈ œ ≈ œ
13 14

J œ
No more suck - ing up to us– we don’t want in your head. We’re

œœ œœ œœ œœ œœ œœ œœ . MAD HATTER:
œ
œœ ..
15 16

V . œœ # œœ œœ œœ œœ œœ J
sick to death of A - lice - ness. Yes, we’re sick to death. It’s

2 4 2 4
17
18 DORMOUSE:
MARCH HARE:
V œœ œ œ œ ˙ 4 Œ ‰ œJ 4 œ œ œ œ œ œ. œ
4 œ. œ
4
19 20

J J
all a - bout your pain, You’re such a bor - ing pain. And

2 œ. œ œ 4 2 MAD 4
MARCH HARE: HATTER:
V ∑ 4 4 ∑ 4 œ œ. œ 4
Sick to death… Al - ice - ness…

4 2 4 2 4
MAD HATTER & MARCH HARE:
(MARCH HARE)

V4 œ œ œ œ œ ˙ œ œ œ œœ œ œ
4 Œ ‰ œ
4 4 ˙
4
21 22 23 24

4 2 4 2 4
so not worth the pain, It’s mak - ing us in - sane!
œ. œ œ
DORMOUSE:
œ œ œ œ œœ œ œ ˙
V4 ∑ 4 4 4 4
Sick to death… It’s mak - ing us in - sane!

#9—Sick to Death of Alice-ness

— 144 — A l i c e B y H e a r t

4 œ œ œ
25
DORMOUSE:
œ œ œ œ œ œ ≈ œ œ œ œ
V4 Œ ‰ Œ
26

So, you think you’ve got the hang of Won - der - land,

(DORMOUSE)
bœ œ œ œ œ œ ≈ œ bœ œ œ œ œ ˙
V Œ ‰
27 28

Tel - ling rid - dles now as if you un - der - stand.

MAD HATTER:
V Œ ‰ bœ œ œ œ œ œ ≈ œ bœ œ œ œ bœ ˙
Tel - ling rid - dles now as if you un - der - stand.

MARCH HARE:
29
œ œ œ œ œ œ œ. œ œ ≈ œ
30
œ œ œ œ œ œ œ œ ≈ œ
V
Time to get back a - bove the ground– Not that they know you’re not a - round. Not

DORMOUSE:
MARCH HARE:

œ œ œ œ œ # œœ
MAD HATTER:
œ œ œ œ œ œ œ ˙. Œ # œœ œœ œœ œœ œœ œ Œ
31 32 33

V œ œ
that they wan - na hear a sound from you. Not a sound from you…

34 DORMOUSE/MARCH HARE:

œ.
MAD HATTER:
œœ œœ œœ œœ œœ œœ œœ ≈ œœ # œœ # œœ œœ
œœ œœ ˙˙
35

V œ.
Stop the a - na - ly - zing of ev - ’ry - thing you’ve read,

ALICE:

V œœ œœ œœ œœ œœ œœ œœ œœ ≈ œ œ œ œ œ œ ≈& r
36 37

J œ
œ
No more mak - ing - nice with us– we don’t want in your head. You’re

#9—Sick to Death of Alice-ness

 A l i c e B y H e a r t — 145 —

(By now, ALICE and the MARCH HARE are standing on top of the table, facing off)
(ALICE) MARCH HARE:
V œJ
38 39

& œ. œ œ. œ œ œ. œ œ œ œ œ œ.
œ
sick to death? Sure, tell you what, Oh, I'm sick to death. You

2 4
40
(MARCH HARE) ALICE:
œ œ œ œ œ
4 Œ ‰ j
4
41

V ˙ &œ
ought to be a - shamed, It’s
DORMOUSE: (in falsetto)

2 œ. œ œ 4
MAD HATTER:

V ∑ 4 œ. œ œ 4
Sick to death.

4 2 4
42
(ALICE)

&4 4 ‰ 4
43

œ œ œ œ œ œ œ œ. V

4 2 4
all a - bout your pain.
œ œ. œ
V4 ∑ 4 œ œ. œ 4
Al - ice - ness.

4
V4
MARCH HARE:
œ œ œ œ 2 ALICE:
4
œ
4 Œ ‰ & œj 4
44 45

4 2 4
Sor - ry but, whose pain? You’ll
œ. œ œ
V4 ∑ 4 œ. œ œ 4
Sick to death.

46
4
&4
47
∑
48 MARCH HARE:49
Œ œ œ œ ˙ Ó
œ œ œ œ œ œ œ V

4
leave me, all the same. I'm sick to death!
œ œ. œ œœ #˙
V4 ∑ œ œ. œ Œ œ œ ˙. ˙ Ó
Al - ice - ness. Oh I'm sick– to death!

#9—Sick to Death of Alice-ness

— 146 — A l i c e B y H e a r t

Brillig Braelig 10
Cue:
DR. BUTRIDGE: JABBERWOCK:
Stay away. Trembling Sickness. Delirium Tremens.
Orthostatic Tremor…
ALICE:
Dr. Butridge, no. Bring him back! ALICE:
What?
DR. BUTRIDGE:
There’s no returning. Terminal prognosis. JABBERWOCK: (Hard of hearing)
Awaaaay. [MUSIC GO] Whaaaat?
(As he speaks, DR. BUTRIDGE transforms into the ALICE:
JABBERWOCK.) What?
DR. BUTRIDGE: (cont.) JABBERWOCK: (Now fully the Jabberwock)
From that Haemoptystic Hare, that Buck Tubercular. “Beware the Jabberwock!”
“’Twas brillig, and the slithy lobes” –
ALICE:
ALICE: No! Alfred!
The Jabberwock!? That’s not what’s next.
(As if to banish him:) JABBERWOCK:
“Then came a pattering of feet on the stairs, and “Beware the frumious Bandersnatch,
Alice knew it was the Rabbit coming to look for her, The jaws that bite, the claws that catch!”
and she trembled –” [GO ON]

U
bbb 4
∑ 4
A (to 1)


(A hallucinatory dance sequence unfolds. The ensemble morphs into a nightmare.
= 97 Wielding rifles and crutches, they become the expansive limbs and claws of the Jabberwock.)

4JABBERWOCK:
1

bbb 4 ¿ ¿. ¿ ¿. ¿ ¿. ¿ ¿ ¿ ¿ ¿ ¿. ¿ ¿ ¿
2

V
Bril - lig brae - lig uff - ish - ness, und cryp - tic di - ag - no - sis.

b
Vb b ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Œ
3 4

Strep - to - mi - sis Gri - se - us, then too, Tu - ber - cu - lo - sis.

b
Vb b ¿ ¿ ¿ ¿ ¿ ¿. ¿. ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰ ¿
5 6

J
Words mean what we say they mean– and that’s the way it goes - es. So,

b
Vb b ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Œ
7 8

have a wee, a spot of tea, and dine on your a - lone - ness.

#10—Brillig Braelig
 A l i c e B y H e a r t — 147 —

b
&b b œ œ œ. œ œ. œ œ. œ œ œ œ ˙
SOP/ALTO: 10

Come, sick - y, sick - y, sick - y– front of the line.

b
Vb b œ œ œ. œ œ. œ œ. œ œ œ œ ˙
TEN/BARI:

Come, sick - y, sick - y, sick - y– front of the line.

JABBERWOCK:
bb ∑ Ó Œ ‰ j
11 12

V b œ
Un -
b
&b b œ œ œ œ œ. œ œ. œœ œœ œœ œœ œœ Œ
Spine up, you ick - y sick - y– sign up to die.
b œ œœ œœ œœ œœ . œœ œœ . œœ œœ œœ œœ œœ
Vb b œ . . Œ
Spine up, you ick - y sick - y– sign up to die.

13

b ‰. r
Vb b œ œ
14

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
rav- el all you’ve e - ver learned, and who knows what it meant? The

b ‰ . œr
Vb b œ
15 16

œ œ. œ œ œ œ œ. œ œ œ œ œ œ œ œ
thoughts you had, or thought you had, and who knows where they went? So,

b œ œ. œ œ œ œ œ ‰ œ œ
Vb b œ œ œ œ œ œ œ œ œ œ
17 18

œ
who is there, qua you– who cares?– if you are, quote, “at sea”? And who

b
Vb b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
19 20

œ
is here, be - fore you here, qua you, qua him, qua me?

#10—Brillig Braelig
— 148 — A l i c e B y H e a r t

(JABBERWOCK)
b œ œ ˙. ˙. œœœœ œ. œ ˙ ˙.
Vb b Œ
21 22 23 24

J
Ooooooh…

j
SOP/ALTO:
b
& b b œœœ œœœ ˙˙˙ ... ˙˙ ..
˙.
œœ œœ œœ œœ
œœœœ
œœ ..
œ. œœ ˙˙
œ ˙
˙˙ ..
˙.
Œ
Ooooooh…
b
Vb b ∑ ∑ ∑ ∑

b œ œ ˙. ˙ œ œ œ œ w
Vb b ∑
25 26 27 28

Ooooooh…
b
& b b œœœ œœœ ˙˙˙ ... ˙˙
˙
œœœ œœœ œœ
œ
œœ
œ
ww
w
∑
Ooooooh…
b
Vb b ∑ ∑ ∑ ∑

29
(JABBERWOCK)
bbb œ œ . œ œ œ œ œ œ œ œ œ. œ œ œ œ œ Œ
30

V
Bril - lig brae - lig uff - ish - ness, und Pseu - do - Pneu - mo - gno - sis.
(SOP/ALTO)
b
& b b œœ œœ .. œœ œœ œœ œœ œœ œœ œœ œœ œœ .. œœ œœ œœ œœ œœ Œ
Bril - lig brae - lig uff - ish - ness, und Pseu - do - Pneu - mo - gno - sis
b œ œ.TEN/BARI:
œ œ œ œ œ œ œ œ œ. œ œ œ œ œ
Vb b Œ
Bril - lig brae - lig uff - ish - ness, und Pseu - do - Pneu - mo - gno - sis.

#10—Brillig Braelig
 A l i c e B y H e a r t — 149 —

bbb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
(JABBERWOCK)
œ œ
31 32

V
Two days ’til his heart drops dead– a pro - mis - ing prog - no - sis.
(SOP/ALTO)
b
& b b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Œ
Two days ’til his heart drops dead– a pro - mis - ing prog - no - sis.
(TEN/BARI)
b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
Vb b
Two days ’til his heart drops dead– a pro - mis - ing prog - no - sis.

b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
Vb b
33 34

Sense - less twit, go grieve a bit, and soon we’ll have sa - mo - sas.
b
& b b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Œ
Sense - less twit, go grieve a bit, and soon we’ll have sa - mo - sas.
b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
Vb b
Sense - less twit, go grieve a bit, and soon we’ll have sa - mo - sas.

b œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
JABBERWOCK:
Vb b œ œ œ
35 36

Bril - lig is: you share a kiss, and soon you chuck his bones - es.

37

b SOP/ALTO:
&b b ¿ ¿ ¿. ¿ ¿. ¿ ¿. ¿ ¿ ¿ ¿ ·
38

Come, sick - y, stick - y, sick - y– sign up your mind.

b TEN/BARI:
Vb b ¿ ¿ ¿. ¿ ¿. ¿ ¿. ¿ ¿ ¿ ¿ ·
Come, sick - y, stick - y, sick - y– sign up your mind.

#10—Brillig Braelig
— 150 — A l i c e B y H e a r t

JABBERWOCK:
bb ∑ Ó Œ ‰. r
39 40

V b œ
There
b
&b b ¿ ¿ ¿ ¿ ¿. ¿ ¿. ¿ ¿ ¿ ¿ ¿ Œ
Spine up, you trick - y - dick - ies– line up to die.
b
Vb b ¿ ¿ ¿ ¿ ¿. ¿ ¿. ¿ ¿ ¿ ¿ ¿ Œ
Spine up, you trick - y - dick - ies– line up to die.
41

b ‰ . œr
Vb b œ œ œ
42

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
was a day the world was made of you and room and cat. But

b ‰ . œr
Vb b œ
43 44

œ œ œ. œ œ œ œ œ. œ œ œ œ œ œ œ œ
then one day the sor - row came and you moved in - to that. But

b ¿ ¿ ¿. œ œ. œ œ ‰. r
Vb b œ œ œ œ œ œ œ œ œ
45 46

œ œ
then– Cal - lay!– the Jab - ber came and made his room your mind. And

b
Vb b œ œ œ œ. œ œ œ œ œ. œ œ Œ
47 48

œ œ œ œ œ œ
Jab - ber ate and Jab - ber played: all Jab - ber all the time.

(JABBERWOCK)
b œ ˙.
Vb b œ ∑
49 50

Ooooooh…
SOP/ALTO:
b œœ ˙˙ ..
& b b œœœ œ ˙.
∑
Ooooooh…
b
Vb b ∑ ∑

#10—Brillig Braelig
 A l i c e B y H e a r t — 151 —

51
(JABBERWOCK)
bb œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
52

V b
Bril - lig brae - lig uff - ish - ness. O frab - jous day! You know what?
(SOP/ALTO)
b
& b b œœ œœ .. œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Œ
Bril - lig brae - lig uff - ish - ness. O frab - jous day! You know what?

b œ œ. œ
b TEN/BARI: œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
V b
Bril - lig brae - lig uff - ish - ness. O frab - jous day! You know what?

ALICE:
bb œ œ œ œœ œ Œ
53 54

& b œ œ œ œ œ œ œ œ œ œ œ
Words aren’t what you say they mean– he’s not some di - ag - no - sis.

55
b œ œ œ œ
b b JABBERWOCK: œ œ œ œ œ
56
œ œ œ œ œ œ œ Œ
V
This is where the sto - ry ends– go down your hole and hole up.
SOP/ALTO:
b Œ
& b b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
This is where the sto - ry ends– go down your hole and hole up.

b œ TEN/BARI:
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
Vb b
This is where the sto - ry ends– go down your hole and hole up.

ALICE:
b
&b b œ Œ
57 58

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Sense - less, heart - less i - di - ot– I will not give his soul up!

#10—Brillig Braelig
— 152 — A l i c e B y H e a r t

Some Things Fall Away 11

Cue:
CHESHIRE CAT:
It isn’t how much time. It’s how we use the time.
ALICE:
But he is always out of time.
CHESHIRE CAT:
Perhaps he hasn’t much to give. [MUSIC GO]
CHESHIRE CAT: (cont’d)
Alice, pause, and let the picture in.
To be there, Puss, that’s to be in Wonderland.


= 83
b 4
2 CHESHIRE CAT:

& b b b b 4 .. ∑ .. œ œ œ œ œ œ œ . œ . ‰ œ
1 3

œ œ œ œ œ œ œ œ
You can kick at heav - en, Or cry out to the sky. You can

b
& b bbb œ ‰. ‰. r
4 5

r
œ œ œ œ. œ œ œ œ œ œ œ œ œ œ
go be - low words, And still there’s no re - ply. And

b
& b bbb œ œ œ œ œ œ œ œ. œ Ó œ
6 7

œ œ œ œ œ
no, there is no rea - son, Some things fall a - way

b
& b bbb ˙ œ œ Œ Œ ‰. r
8 9

œ. J œ
(ay) The
10

b
& b bbb œ œ œ œ œ œ œ ‰. r ‰. r
11

œ œ œ œ œ œ œ œ
heav - ens are for - ev - er, Our days pass with the light. We

b
& b bbb œ œ ‰. ‰. r
12 13

œ œ œ œ œ œ. r œ
œ œ œ œ œ œ œ œ
rise up with the morn - ing, And then we bid good - night. And

#11—Some Things Fall Away

 A l i c e B y H e a r t — 153 —

bb œ œ œ.
&b b b œ œ œ œ œ œ Ó œ
14 15

œ œ œ œ œ
no, there is no rea - son, Some things fall a - way

bb
&b b b ˙ œ œ Œ Œ œ œ œ
16 17

œ. J
(ay)… Sor - row calls

18

b
& b bbb œ œ œ œ ‰ ≈ œ œ
19

œ œ œ œ œ œ œ œ œ œ œ
with the eve - ning, With the wind be - neath your door. Shad - ows pause

b
& b bbb œ . ≈ œ Œ ‰.
20 21

r
œ œ œ œ œ œ œ œ œ œ œ œ œ
at the win - dow, Meet their gaze– their grief is yours.

b
& b bbb j Œ Œ ‰. r
22 23 (to m. 29)

˙ œ œ j œ
œ œ
You

29

b
& b bbb œ œ œ œ œ ‰. r ‰. r
30

œ œ
œ œ œ œ œ œ œ œ œ
close the book at mid - night, You dream it can’t be true. You

b
& b bbb œ œ ‰. r ‰. r
31 32

œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ
look a - gain, next morn - ing They’re still not there with you. And

b
& b bbb œ œ œ œ œ œ œ œ. œ Ó œ
33 34

œ œ œ.
no, there is no rea - son no one comes

#11—Some Things Fall Away

— 154 — A l i c e B y H e a r t

bb
&b b b œ œ ˙ œ ‰ œ œ œ
35 36

œ œ œ œ. J J
to stay (ay)… Sor - row calls

37

bb
&b b b œ œ œ œ ‰ œ ≈ œ
38

œ œ œ œ œ œ œ œ œ œ œ
with the eve - ning, Troub - le knocks on ev - ery door. Shad - ows fade

b
& b bbb œ . ≈ Œ ‰.
39 40 (to 42)

r
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
from the win - dow; On their way– The grief - is yours

b U
& b bbb ˙ j Ó ∑
42 43 44

œ œ j
œ ˙

Mock Turtle Intro 11A

TACET

#11—Some Things Fall Away

 A l i c e B y H e a r t — 155 —

Your Shell of Grief 12

Cue:
ALICE:
But…I don’t know how to let him go.
MOCK MOCK TURTLE:
Don’t. [MUSIC GO] If you never move forward…
MOCK TURTLE:
You never have to leave your friends behind.
(The MOCK TURTLE leads ALICE to the turtles, inviting her to become part of them.)
 = 115
4
4

#
Œ ‰ Jœ .. œ Œ ‰ œj
MOCK TURTLE:
œ œ œ. œ.
4 Œ .. ∑ Ó
1 2 3 5

V œ œ œ
Just cry and it’s a cri - sis. You

# j 3
j j8
3
Œ ‰
6 7

V œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ
sigh and put the sigh back in Si - lence. My Tort-oise taught, don’t pee in the

MOCK
#
‰ œJ
3 MOCK TURTLE:
Œ Œ
9 10 11

V œ œ ˙ œ œ œ œ œ œ œ ˙
sea. Give in - to your grief like me. Don’t

12

# œ œ œ
œ . œ œ Œ ‰ œj
3
œ œ Œ ‰œ œ
13 14 15

V œ . œ œ . œ œ œ œ œ œ œ
both - er with de - ni - al, Be - reave - ment is the key to sur - vi - val. That

# 3
Ó œ Ó
16 17 18 19

V œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ ˙ &
Tort - oise was my hus - band you see– Live and breathe your grief like me.

20 MOCK MOCK
# œ
ALICE:
‰ œj ˙
3 3 MOCK TURTLE:
œ œ œ œ œ œ Œ œ œ œ ˙. ‰ œ
21 22 23

& œ J
Mock me, I’m liv - ing in shock here– My cheeks thick with tears… My

#12—Your Shell of Grief

— 156 — A l i c e B y H e a r t

MOCK
(M.M.M. TURTLE) MOCK MOCK
# MOCK TURTLE:
œ ‰ œ œ œ œ œ œ œ œ ˙. V‰ œ
24 25 26 27

& ˙. ˙
J
heart is a dark po - lar block, dear. No one comes near… No

28

# œ œ œ j j
3
Œ ‰ œ . œ œ Œ ‰ œj
29 30 31

V œ. œ œ œ œ. œ œ œ œ œ œ œ œ œ
loss could ev - er match mine– They weep the weep, but I lost my Rab - bi. My

32
# 3 33
Ó
34 35

V œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ w &
Tort - oise taught us Tor - ah, you see. Meet your - self in grief like me.

ALICE:
36 M. TURTLE (at pitch): M.M.M.
# j39
‰ œj ˙
ALICE: 3 TURTLE:
œ œ œ œ œ œ œ Œ ‰ œ œ ˙. ‰ œ
37 38

& œ œ ˙ œ œ ˙. J
Mock me, I’m liv - ing in shock here. Such pearls are my tears. My

M.M.M. TURTLE:
ALICE:
# 3
j j j M.M. TURTLE:
nœ
& œJ ‰ ‰ œ œ œ œ œ ˙. ‰ œœ œœ œœ œœ œ ˙. V‰
40 41 42 43

œ #œ ˙. J
heart is a mock - Loch Ness mon - ster, Just don’t come near… My

44 (M.M. TURTLE)
# œ œ œ ALICE: 46
j M. TURTLE: 3
Œ V ‰ . œr œ œ œ œ . œ œ Œ ‰ œj
œ . œ œ . œ œ œ & ‰ œj œ œ œ ‰
45 47

V
life has lost all por - poise. I lost my Hare– But I lost my Tort - oise. So,
# M.M. TURTLE:
V ∑ ∑ ≈¿ ¿ ¿ ¿ Ó ∑
I lost my hair!

# 3 M.M.M.M. TURTLE: M.M. TURTLE:

Ó ‰ j
48 49 50 51

V œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙ œ œ œ
so, I sing, King Lear - i - al - ly, Dwell with - in your shell like me. Just build your

#12—Your Shell of Grief

 A l i c e B y H e a r t — 157 —

(The TURTLES form a shell around ALICE.

She merges into their hard, grieving shell)
M. TURTLE,
M.M. TURTLE, M.M.M.M.
52
& M.M.M.M. TURTLE: TURTLE:
# M.M.M. TURTLE:54 M. TURTLE:
Œ ‰ j ‰Œ &‰ j Œ V ‰ . œr œ œ œ œ . œj ‰ Œ œ œ .
53 55

V ˙ œ œ
œ œ œ œ œ
wall, Re - tract your head– You won’t get wet - ter! Love is
That’s bet - ter–
BACKUP TURTLES:
# SOP/ALTO:
& œ . œj œ . œ
j œ œ œ œ œ . œj œ . j
œ œ Œ Ó
Tell the shell of grief, the won - der. Tell the shell of grief.
# œ. œ œ.
TEN/BARI:
œ œ œ œ. œ œ. œ œ
V J J œ œ J J Œ Ó
Tell the shell of grief, the won - der. Tell the shell of grief.

rall.
(M.M.M. TURTLE
M. TURTLE:
#
on top note)

‰ œj œ . œ ˙
ALL 4:
Œ œ œ j ˙˙˙ ¿ ¿
M. TURTLE:
œ œ œ
56 57 58 59

V ˙ œ. ˙
brief– And time’s a thief. Climb in - to your shell of grief. So sweet!
# j j j j Ó
& œ. œ œ. œ œ œ œ œ œ. œ œ. œ ˙
Swell the shell of grief, duck un - der. Swell the shell of grief.
# œ. œ œ. œ œ œ œ œ œ. œ œ. œ ˙ Ó
V J J J J
Swell the shell of grief, duck un - der. Swell the shell of grief.

#12—Your Shell of Grief

— 158 — A l i c e B y H e a r t

Another Room 13
in Your Head
Cue:
ALFRED:
It doesn’t always end as books would have it end.
I’m a rabbit in a waist-coat, really.
Running out of time in Wonderland. [MUSIC GO]
ALICE:
But how shall I be here without you, now?
ALFRED:
That is the riddle.
(This lands. A silence. ALICE’s cot appears, within some blank space of
Wonderland, as if they were between both worlds. ALFRED leads her to it.)


= 161
# 12
V # 8 .. ∑ ..
1

##
ALFRED:
œ œ œ Œ.
2 3

V œ œ œ œ œ œ œ œ œ œ œ œ‰ œ œ œ œ œ œ œ.
What will you do, when I’m not here with you, And you sit here and you’re not with me?

## .
œ œ œ ‰‰ œ œ œ œ œ œ. Œ
4 5

œ œ œ œ œ œ
(to 17)

V œ œ œ œ œ œ œ
How will you do, find-ing some-thing to do, When there’s so much you thought that we’d see?

17

## 18
œ œ œ œ œ œ Œ.
V œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ.
Will I still sleep in some part of your mind, In some way I may ne - ver know?

ALICE:
##
œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ. Œ.
19 20

& œ œ œ œ œ œ œ œ œ œ
Will I still dream that you’re here and you’re mine, And I ne - ver have to let you go?

#13—Another Room in Your Head

 A l i c e B y H e a r t — 159 —

21

## ALICE:
‰
22

& ˙. œ. œ œ œ. œ. œ. œ œ œ œ œ œ
Oh, will you find an - oth - er room in your
# # ALFRED:
˙. œ.
V œ. ‰ œ œ œ. œ. œ œ œ œ œ œ
Oh, will you find an - oth - er room in your

##
‰
23 24

& j œ œ œ. œ. œ œ œ œ œ œ
œ œ œ. œ. œ œ
head? Spend some time in an - oth - er room in your
## j ‰ œ œ œ. œ.
V œ œ œ. #œ . œ œ œ œ œ œ œ œ
head? Spend some time in an - oth - er room in your
QUEEN OF DIAMONDS:
##
Ó. Œ.
(with ALICE)

& ‰ œ.
œ œ œ. œ œ œ œ œ œ œ œ
DUCHESS: Spend some time in an - oth - er room in your
## œ œ. œ.
Ó. Œ.
(with ALFRED)

V ‰ œ œ œ œ œ œ œ œ œ
Spend some time in an - oth - er room in your

##
‰ Œ.
25 26 27

& j œ œ.œ.œ œ œ œ œ œ œ œ
œ œ œ. œ. œ œ . œ œ œ #œ œ .
head? Wond’ - ring why in an - oth - er room in your head?
## j œ œ.œ.œ œ œ œ œ œ œ œ ALFRED:
œ
V œ œ œ œJ # œ . ‰ œ œ . œ # œ œ œ œ .‰ œ œ
head? Wond’ - ring why in an - oth - er room in your head? Will you dream

# # Ó CHESHIRE
. Œ . ‰
CAT:
˙. œ œ œ œ œ œ œ œ .
& œ œ ˙. œ .Œ
Wond’ - ring why in an - oth - er room in your head?
#
& # œj œ œ . Œ . ∑ ∑
œ.
head? CATERPILLAR:
## j
V œ œ œ œJ # œ . ‰ œ œ œ.œ.œ œ œ œ. ˙. œ .Œ .
head? Wond’ - ring why

#13—Another Room in Your Head

— 160 — A l i c e B y H e a r t

28

##
ALICE:
∑ Ó. Œ. ‰ œ œ
29

&
Will you
# (ALFRED)
V # œ œ œ œJ œ
œ œ œœœ œ œ œ œ œ œ œ œ. Œ.
J
it’s like al - ways, haunting
- as al - ways, You still there, want - ing my love?

30
# # (ALICE)
œ œ œ œ œ œ œ œ œ œ œ œ
31
œ œ œ œ œ œ œ. ‰
& œ œ
dream I’m still watch - ing, full of such long - ing? Want - ing so much still, my love? In my
# ALFRED:
V # ∑ Ó. Œ. ‰ œ œ
In my

##
‰
32 33

& œ œ œ œ œ œ œ œ œ œ œ. œ œ œ. œ œ œ œ.
œ œ
dreams, when I’m fall - ing, fall - ing and fall - ing, You’ll be there, want - ing my love… In my
# œ œ œ œ œ œ œ œ œ œ œ. œ œ œ. œ œ œ œ.
V # ‰ œ œ
dreams, when I’m fall - ing, fall - ing and fall - ing, You’ll be there, want - ing my love… In my

## .
œ œ œ. Œ
34 35

& œ œ œ œ œ œ œ œ œ œ œ. œ œ œ. œ
dreams, you’ll be call - ing, call - ing with long - ing, No - thing there, haunt ing our love
# œ œ œ. œ
V # œ œ œ œ œ œ œ œ œ œ œ. œ œ œ. Œ.
dreams, you’ll be call - ing, call - ing with long - ing, No - thing there, haunt - ing our love.

#13—Another Room in Your Head

 A l i c e B y H e a r t — 161 —

# # ALFRED:
œ œ œ œ œ Œ.
œ
36 37

V ˙. ˙. œ.
You still there, want - ing my love.
# # SOP/ALTO:
& ww ..
ww ..
Ooh
# TEN/BARI:
V # ww .. ww ..
Ooh

38
(ALFRED)
##
œ œ œ œ œj ‰ œ œ œ Œ.
39

V œ œ œ œ œ œ œ œ œ œ.
œ œ œ œ
What will you do, when I’m not here with you, And you sit here and you’re not with me?

##
40
ALICE:

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ
How will you do, when there’s no - thing to do, And there’s

41
## (ALICE)
‰ ‰
& œ œ œ œ œ œ œ œ œ. œ œ
so much we thought that we’d see? When there’s
## ALFRED:
V Ó. Œ. ‰ ‰ œ œ
When there’s

## 6 12
œ 8 8
42 43

& œ œ œ œ œ œ œ œ œ. ˙.

6 12
so much we thought we would be?
# œ
V # œ œ œ œ œ œ œ œ œ. 8 ˙. 8
so much we thought we would be?

#13—Another Room in Your Head

— 162 — A l i c e B y H e a r t

12
44

##
8 ‰
45

& œ. œ.
˙. #œ . œ œ œ. œ œ œ œ œ œ
12
will you find an - oth - er room in your
##
Oh,
œ.
V 8 ˙. #œ . ‰ œ œ œ. œ. œ œ œ œ œ œ
Oh, will you find an - oth - er room in your

## 12 SOP/ALTO:
& 8 ˙. ‰
œ œ œ. œ. œ. œ œ œ œ œ œ
#œ . will you
Oh, find an - oth - er room in your

## 12 TEN/BARI: œ.
V 8 ˙. #œ . ‰ œ œ œ. œ. œ œ œ œ œ œ
Oh, will you find an - oth - er room in your

## ‰ œ . œ . œ œ œ œ œ œ œ œ œj œ œ . œ ‰ œ œ
46 47 48

& j œ œ
œ œ œ . #œ . .
Lose your mind in an - oth - er room in your head? Left be -
# j œ . œ . œ œ œ œ œ œ œ œ œj œ œ œ . Œ .
head?
V # œ œ œ . #œ . ‰ œ œ J#œ
head? Lose your mind in an - oth - er room in your head?

## ∑ ∑ Ó. Œ. ‰ œ œ
CATERPILLAR:
V
Left be -
#
& # j ‰
œ œ œ . œ . œ œ œ œ œ œ œ œ œj œ œ . ‰ œ œ
œ œ
.
œ œ œ #œ . œ.
Lose your mind in an - oth - er room in your head? Left be -
# j j
head?
œ. œ. œ œ œ œ œ œ œ œ
V # œ œ œ . #œ . ‰ œ œ œ œ œ œJ # œ . ‰ œ œ
head? Lose your mind in an - oth - er room in your head? Left be -

#13—Another Room in Your Head

 A l i c e B y H e a r t — 163 —

##
œ. Œ.
49 50

& œ. œ œ œ œ œ œ œ œ ˙. œ.
hind in an - oth - er room in your head?
# ‰ œ œ œ œ
V # ∑ Ó. Œ.
In an - oth - er
# . œ œ
V # œ œ. œ œ. ˙. œ. Œ.
hind
#
& # œœ .. œœ .. œœ œœ œœ œœ œœ œœ œœ œœ ˙œ .. Œ.
œ œ œ # œ œœ ..
hind in an - oth - er room in your
# .
V # œ œ. œ œ œ œ œ œ œ œ Œ.
head?
œ. œ #œ œ œ œ .
hind in an - oth - er room in your head?

51

## 52
j
& w. ˙. œ œ œ œ #œ
Ooh, ooh… In a - noth - er
# . œ. ‰ œ œ œ œ
V # ˙ œ œ œ œ œ
J œ. œ.
room in your head... In an - oth - er
# j
& # w. ˙. œ œ œ œœ # œœ
Ooh, ooh… In a - noth - er
# .
V # œ œ. œ. œ. ˙. #˙ .
In a - noth - er room…

#13—Another Room in Your Head

— 164 — A l i c e B y H e a r t

53
## ˙.
54
j
& ˙. ˙. œ œ œ œ œ
room, a room… In a - noth - er
# ˙. œ. œ œ œ œ œ œ œ
V # œ œ
J œ. ˙.
room, a - no - ther room in your head…
#
& # ˙. ˙.
˙. œ œ œ œ œ
j
room, a room… In a - noth - er
# . j j
V # œ œ. œ. œ. ˙. #œ œ œ œ
In a - noth - er room… A - noth - er -

(ALICE and ALFRED are seated on a cot.

She moves closer to him.) ALFRED:
ALICE: They’re calling me, not you.
Take me with you. ALICE:
(ALICE leans close – for a kiss. ALFRED I hear them calling, too.
pulls back, for fear of infecting ALICE.) (ALICE urges forward for the kiss.
ALFRED: ALFRED almost surrenders to it, but
Alice! No – you mustn’t get too close. catches himself, grabs her shoulders,
stopping her. Assuming his role as Court
ALICE: Herald, he summons Wonderland around
Drink me. them.)
ALFRED: WHITE RABBIT:
And lose you too? Silence in the Court!
ALICE: ALICE:
I’ll be there. Always. With you. Don’t! No! [MUSIC OUT]
57 Vamp
## .. ..
∑ ∑ ∑ ∑
55 56 58

&

#
& # ww . ˙˙ .. ˙˙ ..
..
ww .. ˙˙ .. ˙˙ ..
..
.
roo - oo - m… Hmm…
#
V # ww .. ˙˙ .. # ˙˙ .. .. ww .. ˙˙ .. # ˙˙ .. ..
roo oo - m… Hmm…

#13—Another Room in Your Head

 A l i c e B y H e a r t — 165 —

Intro to the Trial 13A

TACET

Wonderland Fanfare 13B

TACET

Notes From the Jury 13C

TACET

#13A—New Trial Transition

— 166 — A l i c e B y H e a r t

Isn’t It a Trial? 14
Cue:
QUEEN OF HEARTS:
Love love love love love – make me puke.
You shameful girlish thing.
You hate the part that’s tiny still in you.
And yet, you want to hide within the child in you. [MUSIC GO]

ALICE: QUEEN OF HEARTS: ALICE: QUEEN OF HEARTS:

I won’t. You caahn’t, you mean. I– You can no longer not know what we mean.

## 6
= 176
4
& 8 1-4

# #QUEEN OF HEARTS:
‰ ‰ ‰
6 7

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Talk and talk and talk, Still, you’re ne - ver not you. All the same old wants–

## 4

œ ‰ œ ‰ œ œ œ œ œ œ ‰
8 9 10

& œ œ œ œ œ œ œ œ œ
Now where have they brought you? Shuf - fle all your hearts, Play like Sis - ter taught you.

##
≈ r œ Œ.
11 12 13

& œ œ œ œ j œ œ œ œ
œ œ œ œ œ
No one wins at cards, Or plays like they ought œ Is - n’t it a
to.
14

##
‰ ‰ œj œ œ j ‰ ‰.
15 16 17

& ˙. r
œ œ œ œ œ. œ œ œ œ œ
trial, To try and stay a child? When ev - ery-thing you’ve
#
SOP/ALTO:

& # Œ. œ œ œ œ. ‰ ‰
œ
j œ. œœœ œ
j
œ. Œ.
Is - n’t it? To stay a child…
KNAVES:
Hearts/Clubs:

# . ˙˙ ..
V # ˙˙ .
Spades:

# œœ .. Œ. œœ .. Œ.
Trial… Child…

#14—Isn’t It a Trial
 A l i c e B y H e a r t — 167 —

## (QUEEN OF HEARTS)
‰
18 19

& œ. œ œ œ œ œ œ œ
œ. œ
read Swells your lit - tle head. Shall we have a
#
& # ∑ ∑

# # (KNAVES)
Œ. œœ .. œœ œœ œœ Ó
V # œœ
Swells your lit - tle - head.

20

## (QUEEN OF HEARTS)
j
œ œ. ‰
21 22

& œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ
song For the Girl Gone Nau - ghty? Some - how feels so wrong Now to have that

23
## j
24
œ.
25

& œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ
bo - dy. Rab - bit got so big– What’s his Ma - ma fed him? Though you feel a

##
Œ.
26 27 28

& œ. j œ œ œ œ
œ œ œ œ #œ œ œ.
pig, Still you want to Is - n’t it a
pet him.

29

##
‰ ‰ j œ j ‰ ‰. r œ
30 31 32

& ˙. œ œ œ œ œ œ œ. œ œ œ
œ
trial, To try and stay a child? The world no long - er
SOP/ALTO:
#
& # Œ. œ œ œ œ. ‰ ‰
œ
j œ. œ œ œ œ
j
œ.
Œ.
Is - n’t it? To stay a child…
KNAVES:
# ˙. ˙˙ ..
V # ˙. # œœ .. Œ. œœ .. Œ.
Trial… Child…

#14—Isn’t It a Trial
— 168 — A l i c e B y H e a r t

## j œ j
œ œ œ œ œ. œ. œ œ œ œ
33 34 35 36

& j œ œ
œ œ . œ œ œ œ
fits, And still you’re stuck in it. Oh, is - n’t it a trial? No child can stay
#
& # ∑ ∑ Œ. œ œ œ œ. Œ
œ
j
Is - n’t it? To
# j ˙˙ ..
V # ‰ ‰ œœ œœ .. œœ œœ œœ # œœ .
. Œ. # œœ .. Œ.
And still you’re stuck in it. Trial…

#
& # œ j
37 38

œ œ. œ œ œ. œ œ œ œ
a child. God knows what you
#
& # œ. œ œ œ œ
j
œ. Œ.
stay a child…
# ˙.
V # ˙. œœ .. Œ.
Child…

## CATERPILLAR:
œ
V‰ ‰
39 40

& j œ. œ œ œ œ. J
œ œ
did, but now you’re not a kid. So
#
& # ∑ ∑

# j
V # ‰ ‰ œœ œœ .. œœ œœ œœ # œœ .. Œ.
But now you’re not a kid.

œ œ œ œ
41

## œ . œ.
(CATERPILLAR)
œ œ œ œ ‰ ‰ œJ nœ œ œ œ J J
42 43 44

V J J
now you have a past, and no one un - der - stands, Just
#
‰ œ
QUEEN OF DIAMONDS:
& # ∑ ∑ ∑ Œ.
Just

#14—Isn’t It a Trial
 A l i c e B y H e a r t — 169 —

## œ .
(CATERPILLAR)
œ. œ œ œ œ. œ nœ œ œ œ œ.
‰ ‰ J œ œ J
45 46 47 48

V J J
turn a - noth - er page, my dear, you look your age
# # (QUEEN
œ. œ. œ œ œ œ.
OF DIAMONDS)
‰ ‰ Jœ œ bœ œ œ œ œ œ.
& J J J
turn a - noth - er page, my dear, you look your age
QUEEN:
mœ
ad lib.
#˙ .
Really?
49
## ˙ . 50 51
" œ
QUEEN OF HEARTS:
V &J œ œ œ œ
Aaaaage! Aaaaand!! –Is - n’t it a
# " ‰
& # ˙. ˙. Œ Œ.

52

## œ.
53
œ j œ
3

& œ. œ œ œ œ œ
trial, To try and stay a

## SOP/ALTO:
& Œ. œ œ œ œ. ‰ ‰ j
œ
Is - n’t it? To

# # ‰KNAVES:
H:

œœ œœ œœ œœ œœ # œœœ ... Œ.
C:

V
S:

It’s a trial, it’s a trial

#
& # ˙.
4
‰ ‰
54 55

j œ œ œ œ
œ
child? And no one, no one
#
& # œ. œ œ œ œ
j
œ.
Œ.
stay a child…

#
CATERPILLAR:
œ nœ œ œ œ KNAVES:
V # ‰ ‰ J œ. ‰ œ œ
To try and stay a child… No one

#14—Isn’t It a Trial
— 170 — A l i c e B y H e a r t

## (QUEEN OF HEARTS)
‰
56 57

& j œ œ œ œ œ œ œ œ
œ œ œ
knows The way out of the hole? Is - n’t it a
#
& # ∑ ∑
Hearts:

j
Clubs:

# œœ œœ œ
Spades:

V # œœœ œœœ
J
œœ œœœ œ œ # œœ ‰ Œ.
knows the way out of the hole?

58

## œ j
œ. œ
59

& œ. œ œ œ œ
trial? No child can stay a
#
& # Œ. œ œ œ œ. Œ
œ
j
Is - n’t it? To
# œœ
œœ œœ œœ œœ # œœ
H/C:

V # ‰ ‰ Œ.
S:

It’s a trial, it’s a trial

## 4
‰ ‰
60 61

& ˙. j œ œ œ œ
œ
child. The sto - ry ne - ver
#
& # œ. œ œ œ œ. Œ.
stay a child…

œ
# # CATERPILLAR: œ nœ œ œ œ œ œ
‰ ‰ J œ Œ.
V
No child can stay a child.

#14—Isn’t It a Trial
 A l i c e B y H e a r t — 171 —

## (QUEEN OF HEARTS)
j
j ‰
62 63

& j œ œ œ œ œ œ œ œ œ
œ œ œ
told, How Won - der - land grows old. Oh, is - n’t it a
#
& # ∑ ∑
KNAVES:

# œœ
H:

. œ
V # œœœ .. œœ # œœ Œ.
C:

œ œ ‰
S:

J
Told… Grows old…

3
(The QUEEN OF HEARTS gathers dust and whitens her hair with it.)

##
j
64

& œ œ œ. 65-67
trial?

rit.
## U
∑ Œ. j
68 69 70

& œ œ œ œ œ œ œ.
Is - n’t it a trial?

Notes From the Jury 14A

(Part 2)
TACET

#14—Isn’t It a Trial
— 172 — A l i c e B y H e a r t

Do You Think We 15
Think You’re Alice?
Cue:
QUEEN OF HEARTS:
Do you think our dream needs you to dream it?
You, who are no longer you. [MUSIC GO]
(All the Witnesses in Wonderland bolt to the opposite
side of the stage and become the Jury. As they do,
ALICE turns privately to ALFRED.)
ALICE:
How can you bow to their madness?
Why did you turn the page?
WHITE RABBIT:
That is the story.
Time to close the Book.

 = 132
7X to → 3

b
V b bbbb C j
KING OF HEARTS:
.. Ó Œ ‰ œ œ .. œ œ œ œ œ ‰
1

nœ œ
Do you think we think you’re A - lice?
WONDERLAND:
bb
& b b bb C .. .. Ó
SOP/ALTO:
∑ Œ ‰
œ œ
bb C
Ooh, you
V b b bb .. .. Ó
TEN/BARI:
∑ Œ ‰ œ œ
Ooh, you

QUEEN OF HEARTS:
b
V b bbbb Ó ‰ &œ œ œ œ œ œ œ œj ‰
4 5

J œ œ
You’re some one and on - ly A - lice.
b
& b bbbb Œ Ó ‰ œ œ œ
J
œ œ œ œ œ nœ So the one
b
think we think you’re A - lice?
V b bbbb œ œ œ œ œ nœ Œ Ó ‰ œ œ œ
J
think we think you’re A - lice? So the one

#15—Do You Think We Think You’re Alice?

 A l i c e B y H e a r t — 173 —

bb KING OF HEARTS:
œ œ œ œ œ œ nœ
& b b bb Ó ‰ œ
6 7

VJ J œ.
And we’re noth - ing when you’re not here?
bb
& b b bb œ œ œ œ œ œ Œ Ó ‰ j
œ œ œ
and on - ly A - lice. No no, noth -
bb œ œ œ
V b b bb œ œ œ œ œ œ Œ Ó ‰ J
and on - ly A - lice. No no, noth -

DUCHESS:
b j
V b bbbb œ Œ ‰ œ œ.
8 9

œ œ œ œ œ œ œ J
And so some - thing once you’ve got here?
b
& b bbbb œ œ œ nœ
j Œ ‰ j
œ œ. œ œ œ œ
- ing when you’re not here. So so some -
b œ j
V b bbbb œ œ nœ œ
J œ. œ Œ ‰ œ œ œ
- ing when you’re not here. So so some -

QUEEN OF DIAMONDS:
b
V b bbbb œ
3
Œ Œ &‰ œ œ œ œ œ œ œ nœ .
10 11

J
Do you think we think, “Oh duck - ie!”
b
& b bbbb
3

j Œ Œ ‰ œ œ
œ œ œ œ œ œ. œ
- thing once you’ve got here. Now you’re
b
V b bbbb œ œ œ. œ
3
œ œ œ Œ Œ ‰ œ œ
J
- thing once you’ve got here. Now you’re

#15—Do You Think We Think You’re Alice?

— 174 — A l i c e B y H e a r t

MAD HATTER:
bb
& b b bb œ Œ V‰ œ œ
12 13

J œ œ œ œ œ œ
J œ.
“Now you’re here, we’ll all go punt - ing!”
bb
& b b bb œ œ œ œ œ nœ Œ Ó ‰ œ
J
œ œ
here, Dear God, we’re luck - y! Now you’re here,
bb
V b b bb œ œ œ œ œ nœ Œ Ó ‰ œ
J
œ œ
here, Dear God, we’re luck - y! Now you’re here,

b œ œ œ œ
CATERPILLAR:
V b bbbb Œ ‰ œ œ nœ œ œ
14 15

œ J œ
Like, we’re wait - ing ’til you turn the page,
b
& b bbbb œ œ œ œ œ œ Œ ∑
my heart is thump - ing!
b
V b bbbb œ œ œ œ œ œ Œ ∑
my heart is thump - ing!

DUCHESS:
b
KING OF HEARTS:
V b bbbb œ Œ Œ œ œ œ œ œ œ œ œ Œ ‰ œ
16 17 18

œ œ ˙ J
To pop out of our dis - mal beige. ’Cause

19
QUEEN OF HEARTS:
b œ.
V b bbbb nœ œ œ œ œ œ Œ ‰
20

J & j œ
œ œ
Won - der - land was si - lent, ’Til some vis -
b
& b bbbb Ó ‰ j œ
Œ
œ œ œ œ œ nœ œ œ
All our minds be - came so mind - less…
b
V b bbbb Ó ‰ œ
J
œ œ œ œ nœ œ œ œ Œ
All our minds be - came so mind - less…

#15—Do You Think We Think You’re Alice?

 A l i c e B y H e a r t — 175 —

bb (QUEEN OF HEARTS) QUEEN OF DIAMONDS:

‰ Jœ
& b b bb Œ Œ
21 22

j
œ œ nœ œ œ œ. œ
- it from your High - ness. Ev -
CATERPILLAR:

bb
MAD HATTER:
œ
V b b bb ∑ Ó Œ ‰ œJ
Ev -
bb
& b b bb Ó ‰ j œ
Œ
œ œ œ œ œ nœ œ œ
First, you’re high, and now, “Your High - ness.”
b
V b bbbb Ó ‰ œ
J
œ œ œ œ nœ œ œ œ Œ
First, you’re high, and now, “Your High - ness.”

b
& b bbbb œ nœ œ œ œ œ ˙ Œ
23 24

œ œ œ œ
- ’ry - thing just wait - ing here in place,
b œ n œœ œœ œœ œ œ œ œ œ œ ˙
V b bbbb œ œ œ œ œ œ œ ˙ Œ

‰ œj
- ’ry - thing just wait - ing here in place,
b
& b bbbb ∑ Ó Œ
A
b
V b bbbb ∑ Ó Œ ‰ œj
A

b
& b bbbb
ALICE:
∑ ∑ Ó Œ ‰ œ œ
25 26 27

Well, you’re
b j
& b bbbb nœ . œ œ œœ ww ˙˙ Ó
hope - less place…
b j œœœ www ˙˙˙
V b bbbb nœ . œ œ Ó
hope - less place…

#15—Do You Think We Think You’re Alice?

— 176 — A l i c e B y H e a r t

28

bb j
(ALICE)
& b b bb œ œ œ œ œ œ ‰ ∑
29

œ
no - one with - out A - lice.
bb QUEEN OF HEARTS:
& b b bb Ó Œ ‰ œ œ œ œ œ œ œ œ Œ
Oh, we’re no one with - out A - lice.
bb
V b b bb
DUCHESS:
∑ Ó ‰ œ œ œ
J
Such a no

b
& b bbbb Œ œ j
œ ‰ Ó ‰ œ œ
30 31

œ œ œ œ
J
No, I’m A - lice. I fell down
DORMOUSE:

b
(DUCHESS) œ
MAD HATTER:
œ œ œ œ œ œ œ œ
V b bbbb œ œ Œ ‰ œ œ œ œ œ œ œ œ œ Œ
J
one.
No no no no no no A - lice.

b
& b bbbb œ œ Œ Ó
32 33

œ œ œ œ. œ V
J
the hole to get here.
bb j
& b b bb Ó ‰ œ œ œ œ œ œ œ œ œ
WONDERLAND: Yes you’ve dug a love - ly ditch, dear.
b j
V b bbbb Ó ‰ œ œ œ œ œ œ œ œ œ
Yes you’ve dug a love - ly ditch, dear.

DUCHESS:
b j KING OF HEARTS:
V b bbbb ‰ Œ Œ ‰ œ œ
34 35

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
Do you think we give a fig, dear? Do you

#15—Do You Think We Think You’re Alice?

 A l i c e B y H e a r t — 177 —

36
QUEEN OF HEARTS:
bb j
(KING OF HEARTS)
V b b bb œ œ œ œ œ œ ‰ Ó &‰ œ
37

œ œ œ
J
think we hold no wis - dom, ’Til our pag -
bb
& b b bb Ó Œ ‰ Œ
œ œ œ œ œ œ œ œ
Do you think we hold no wis - dom,
bb
V b b bb Ó Œ ‰ œ œ œ œ œ œ œ œ Œ
Do you think we hold no wis - dom,

b
& b bbbb œ œ j
œ ‰ ∑
38 39

œ œ œ œ
- es hold you in them?
b
& b bbbb Ó ‰ œ
J
œ œ œ œ œ œ œ œ ‰
œ
j
’Til our pa - ges hold you in them? Like,
bb œ
V b b bb Ó ‰ œ
J
œ œ œ œ œ œ œ œ ‰ J
’Til our pa - ges hold you in them? Like,

bb ##
& b b bb ∑ ∑
40 41 42

j œ
œ. œ œ
Guil - ty bitch!
b ##
& b bbbb œ Œ ∑
nœ œ œ œ œ œ œ œ œ ˙
we’re here to
scratch your Al - ice itch.
b ##
V b bbbb œ nœ œ œ œ œ œ œ œ œ ˙ Œ ∑
we’re here to scratch your Al - ice itch.
[Attaca #16 – “I’ve Shrunk Enough”]

#15—Do You Think We Think You’re Alice?

— 178 — A l i c e B y H e a r t

I’ve Shrunk Enough 16

Cue:
[Attaca from #15 – “Do You Think We Think You’re Alice”]

QUEEN OF HEARTS:
Suppress her! Suppress her!
(The QUEEN’s henchmen set a red
hood of execution over ALICE’s head.)
(The blade of the truncheon-guillotine
QUEEN OF HEARTS (cont’d): hovers above ALICE’s neck. Suddenly,


On your knees! Get her with a defiant gesture, she stops time.
= 186 head! Watch her shrink! [MUSIC OUT] Everyone freezes.)

## 2 Vamp
4 .. ˙ ∑ ..
1 2

&
(bitch)

ALICE: (With that, ALICE gestures again. The world of the

2
Watch me shrink? I don’t think so. Trial resumes, but she is taking a stand.) [MUSIC GO]
## ALICE:
∑ Œ ‰ œ œ
→ 4A 4B (to 5)

&
3-4
No, I’m

#
& # œ. œ.
6 7 8

œ œ œ œ œ œ œ œ ≈œ œ œ. œ œ œ œ œ œ. œ œ. œ
not gon na plead, so you can judge, If lov - ing is the thing I'm guilt - y of. I’ve shrunk e -

##
œ œ œ
9 10 11 12

& œ œ œ œ œ œ œ œ œ
œ. œ œ. œ
nough, to puff and puff you up. It’s done– I’m done, I’ve shrunk e - nough.

QUEEN OF HEARTS:
Hold your tongue!
15
Cut out her tongue!
# ALICE:
j
& # ∑ Œ ‰
13 14

œ œ. œ œ œ
No Queen can make of

#16—I’ve Shrunk Enough

 A l i c e B y H e a r t — 179 —

16
## ‰. r
17 18
‰. r
& œ œ œ œ œ œ œ œ œ
me A mouth with - out a scream. You

## ‰ j ‰ j
19 20 21 22

& œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
do know what I mean, You in - tro - duced the theme. I

## ‰ œj œ ‰ œj
23 24 25 26

& œ. œ œ œ œ œ œ œ œ œ œ
hold the hand I hold, no shuf - fling with my soul. My

## ‰ j Œ
27 28 29 30

& œ œ œ œ œ œ œ œ œ œ œ œ œ
High - ness is your low. Stand back and watch me grow.

31 ALICE:
##
CHESHIRE CAT: 32 33 34

& œœ .. œœ œœ œœ .. œœ œœ œœ œœ
# œœ œ # œœ œ
Oh, and I am huge - est, Faced with fools like you, yes;

#
& # œœ œœ œœ œœ œœ œœ ˙ Œ œœ œœ
35 36 37 38

Schooled by your ab - u - ses, But you’re

# ALICE:
& # œœ ‰ œ œ
39 40 41 42

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
out of time– Grow - ing up is not a crime. And I

43

#
& # œ œ œ
44 45 46

œ œ. œ œ œ œ œ œ. œ œ. œ œ œ œ œ œ œ œ
am gon - na speak what you won’t speak; How you fear the strong and mock the weak. I’m not

#16—I’ve Shrunk Enough

— 180 — A l i c e B y H e a r t

QUEEN OF
## HEARTS: 49
œ œ œ
47 48 50

& œ œ œ œ œ œ œ œ j j œ œ œ œ œ
œ œ œ
turn - ing an - y oth - er cheek. E - nough’s e - nough! Go, lock her up.

51
## ∑
52
∑
53
∑
54
∑
&

##
WONDERLAND: (all but Alice, W. Rabbit, or C. Cat)

& ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
Mock, mock– Turn the lock! Mock, mock– Turn the lock!
#
V # ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
Mock, mock– Turn the lock! Mock, mock– Turn the lock!

(The WHITE RABBIT/ALFRED

cannot bear to see all of Wonderland
attacking ALICE. He mutinies)

# # WHITE RABBIT (at pitch): 56

‰
55 57 58

& œ j œ œ œ œœ œ
œ œ. œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ
Sor - ry, Queen, I hope you un - der stand Why I’d pull the Rab - bit from your hand. Now,

+ALICE: (top note)

## j j œ œ œœ œœ
59 60 61 62

& œ œ œ œ œ ≈ œ œ œ œ œ
œ œ œ œ œ
Al - ice holds the cards in Won - der land. The game is up– I’ve shrunk enough
-

63

##
∑ ∑ ∑ ∑
64 65 66

&
WONDERLAND:
##
& Œ
œ œ œ. œ œ œ. œ œ. œ œ. œ
##
“Oh, Al - ice fell, hot and both - ered, down our well.

V œ œ œ. œ œ œ. œ œ. œ œ. œ Œ
“Oh, Al - ice fell, hot and both - ered, down our well.

#16—I’ve Shrunk Enough

 A l i c e B y H e a r t — 181 —

QUEEN OF
# HEARTS:
& # ∑ ∑ ∑ Œ ‰ j
67 68 69 70

œ
“But
## KING OF HEARTS: j
V ∑ ∑ ∑ Œ ‰ œ
“But
## œ œ œ œ œ
& œ œ œ œ œ œ ‰ œ œ œ œ Œ
J
Such a nas - ty girl– thinks she’s ru - ler of the world.”
# œ œ œ œ œ
V # œ œ œ œ œ œ ‰ œ
J
œ œ œ Œ
Such a nas - ty girl– thinks she’s ru - ler of the world.”

(QUEEN OF HEARTS)
71
## 72
‰
73 74
‰
& œ œ œ œ œ œ œ œ œ
œ œ œ
time will prove, we own her like the truth: We own
# (KING OF HEARTS)
V # œ œ œ ‰ œ œ œ œ œ œ œ ‰ œ œ
time will prove, we own her like the truth: We own

## œ œ ‰ œ œ œ œ œ œ œ œ Œ
75 76 77 78

& œ œ œ
the fut - ure too, be - cause we own the youth.”
# œ œ œ œ œ œ
V # œ œ œ œ œ ‰ œ œ Œ
the fut - ure too, be - cause we own the youth.”

ALICE:
ALICE: CHESHIRE:
CHESHIRE CAT:
# # ALICE: j W.R. (at pitch):
˙˙ ˙˙ ˙˙ œ ‰ ‰ œ œœ
79 80 81 82 83 84

& œ œ œœ œœ œ œ œ (A/C
W.R.)
No. No. No. You don’t! Go back

## œ
WHITE RABBIT:
œ œ j
V ∑ ∑ œ ˙ #œ ‰ Œ
No. No. No. You don’t!

#16—I’ve Shrunk Enough

— 182 — A l i c e B y H e a r t

(The ENSEMBLE create a tableau as in the opening scene:

85 the HATTER holding tea, the DUCHESS, the CATERPILLAR…)
#
& # œœ .. œœ œœ
86 87 88

œ. œ œ œ. œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ
to be - ing pict - ures in my dream! You’re noth - ing but a Hat - ter hold ing tea, Tell - ing

##
(to 95)

‰. œœ œœœ œœœ ≈ œ
89 90 91 92

& œ œ. œœ œœ œ r œœ œœ œœ
œ. œ œ œœ œœ œ
rid - dles not worth an - swer - ing. It’s done– I’m done, I’ve shrunk e - nough. You

#
& # œ œ œœœ œœ .. j‰
95 96 97 98

œ œ œ. œ œ œ œ œ œ œ. œ œ. œ œ œ œ œ œ
can “turn the lock,” I hold the key, I’m not your lit - tle pig, we’re not a “we”.

##
œœ œœœ œœœ
99 100 101 102

& œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ
œ
Cat - er - pil - lar–poof!– I’m some new me. Go, huff and puff, I’ve shrunk e - nough.

# DUCHESS, KING OF HEARTS, QUEEN OF HEARTS (at pitch):

V # ∑ ∑ ∑ Œ ‰ œ
J
You’ve

103

## ALICE:
j
∑ ∑ ∑ Œ ‰
104 105 106

& œ
But
# # (DUCHESS,
œ œ
KING OF HEARTS, QUEEN OF HEARTS (at pitch))
œ œ œ ‰
WHITE RABBIT:
V œ ‰ Œ ‰ œ Œ ‰ œ
J J J J
had e - nough? Well, suck it up. But

QUEEN OF
##
≈ œj .
HEARTS:
œ œ Œ ‰ œ
107 108 109 110

& œ œ œ œ œ. J
but but but– I’ve shrunk e - nough. You
## œ œ.
V œ œ œ Œ ∑ ∑
but but but–

#16—I’ve Shrunk Enough

 A l i c e B y H e a r t — 183 —

111
# #(QUEEN OF HEARTS)
œ œ œ ‰
112
Œ ‰
113
‰
114
Œ
ALICE:
‰ j
& J j œ œ j œ
œ œ
fat - faced runt, We’ll rough you up. Done
## ∑
KING OF HEARTS & DUCHESS:
Œ ‰ œ œ œ œ ‰
WHITE RABBIT:
Œ ‰ œ
V J J J
We’ll rough you up. Done

ALICE:
##
CHESHIRE CAT:
j
Œ ∑ Œ ‰ œœ
115 116 117 118

& œ œ œ œ
done and done. E -
# œ œ œ œ œ œ œ. œ œ ‰ Jœ
WHITE RABBIT:
V # ≈ Œ
done and done. I’ve shrunk e - nough E -

# œ œœ j œœ œœ j
& # œ œœ Œ ‰ œœ œœ Œ ‰ œœ
119 120 121 122

nough’s e - nough– I’ve shrunk e - nough. I’ve

# œ œ œ ‰ œJ œ œ œ ‰ Jœ
V # Œ Œ
nough’s e - nough– I’ve shrunk e - nough. I’ve

#
& # œœ œœ
(unis.)
œœ ‰ œ œ œ œ Œ
123 124 125

J
shrunk e - nough. And time is up!
# œ œ œ
V # ‰ œ
J
œ œ œ Œ
shrunk e - nough. And time is up!

#16—I’ve Shrunk Enough

— 184 — A l i c e B y H e a r t

Still (Reprise) 17
Cue:
ALICE:
So little left, and still you gave me that.
You changed the page.
ALFRED:
A parting gift. [MUSIC GO]
ALFRED: (cont’d) (from the book) ALFRED:
“Don’t let them know he loved her best, I can’t tell you what it’s meant,
For this must ever be to come here once again – to run here once again.
A secret kept from all the rest,
(In a pool of light, YOUNG ALFRED appears and
Between yourself and me.”
addresses the older ALICE)
ALICE:
YOUNG ALFRED:
Yes.
I hope you will remember how it was…?

#### #
= 142
12 .. 4
& # 8 1-4
..

(In a pool of light,

5 YOUNG ALICE appears) YOUNG ALICE:
# # #
ALICE: ALICE:
& # ## œ œ œ œ œ œ Ó. Ó.
6 7 8

˙. œœ œœ œœ œœ œœ œœ ˙˙ ..
Run and play with me still… On this page with me still…
#### # ∑ ∑ ∑ Ó.
ALFRED:
Œ . ‰ ‰ œj
V #
But

YOUNG ALICE:
#### # ALICE: 11 U
∑ ∑
9 10

& # ww ..
Still…
YOUNG ALFRED:
#### # œ
ALFRED:
Ó.
U
ww ..
V # œ œ œ œ œ ˙.
Time is chas - in’ me still… Still…

#17—Still (Reprise)
 A l i c e B y H e a r t — 185 —

Afternoon 18
Cue:
ALFRED:
In the story, there’s no moment of farewell, you know. [MUSIC GO]
ALFRED: (cont’d) (YOUNG ALICE and YOUNG
And so. ALFRED sit in a pool of light
beside an imaginary river bank,


reading from their book.)
= ca. 70 - 74
4
to → 5

# ALICE:
‰ . # œr œ œ œ
& # 4 ∑ Ó Œ œ œ œ ‰ œ œ
1 2

œ œ
A lit - tle talk could hold me For a

## . r
3
. r
œ œ œ œ Œ ‰ #œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ Œ ‰ #œ
6 7 8

&
lit - tle while; A - noth - er brush of whis - kers And that dis - tant smile… So

## œ
‰ œ œ œ œ œ œ œ œ ‰.
9 10

& #œ œ œ œ œ œ œ #œ œ R
lit - tle light re - main - ing, And the shad - ows won’t con - tain me… The

# œ œ
& # œ œ Œ Ó
11 12

œ œ œ œ œ œ œ
book of night is clos - ing for the child.
## ALFRED:
r
V ∑ Ó Œ ‰. #œ
I

13

##
(ALFRED)
‰ Œ ‰. r
14

V œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
knew you were a strange girl– Or I thought you were. You

#18—Afternoon
— 186 — A l i c e B y H e a r t

(ALFRED)
15
## 16
Œ ‰. r
V œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
sum - moned all the wond - der From a room of hurt. We

##
‰ œ œ œ œ. ‰ œ œ
17 18

V #œ œ œ œ œ œ œ œ œ #œ œ œ
knew the world of sum - mer, Like a sis - ter, Like a bro - ther, And the

(The lights fade to black on YOUNG

ALICE and YOUNG ALFRED)
19
## ∑
20
Ó Œ
ALICE:
‰.
& r
œ
Hole…
# (ALFRED)
V # œ œ œ œ œ Œ œ œ œ œ œ œ
œ œ œ œ œ œ
mel - o - dies were sweet-er left un - heard… We fell down a hole,

21

##
j j œ Œ Œ ‰ œ #œ Œ Œ ‰
22 23 24

& ˙ œ œ œ ˙ œ œ #œ œ œ œ œ œ
Re - mem - ber? Be - low…
## j œ œj Œ œ œ
3
œ œœ œ ˙ œœ œ œœ œ ‰. œ œ œ œ œ œ
V ˙ œ œ R
Don’t you re - mem - ber? We fell so far be - low,

##
j j . r
œ ‰ œ œ œ œ œ
.
œ ‰ œr œ œ œ œ œ
25 26 27 28

&
˙ œ œ œ ˙. œœ œ
And nev - er found the cen - ter; A - noth - er word or
# j j ˙.
V # ˙ œ œ œ œ ‰ . Rœ œ œ œ œ œœ œ œ Œ Ó
And nev - er found the cen - ter;

#18—Afternoon
 A l i c e B y H e a r t — 187 —

(ALICE)
29
## j œ œj œ ‰ . r
30 31 32
‰
& ˙ œ œ œ . œ œ œ #œ w œ œ œ œ œ œ œ œ
two, And all the sum - mer knew, In the song of the aft - er -
(ALFRED)
# j
V # ˙ œ œ œJ œ Œ Œ ‰. œ w #œ Œ Œ œ œ
R
Two… Knew… Af - ter -

## ‰ . œr
w ˙ Ó œ œ ˙ œ Œ
33 34 35 36

& œ ˙
noon. Af - ter - noon… You
# œ œ ˙
V # w ˙ Ó œ œ ˙ Ó
noon. Af - ter - noon…

37
(As they sing, ALICE leads ALFRED back to his cot, and they sit)
## ‰
3
Œ
38

& œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
nev - er play Sep - tem - ber In a win - ter game.
# r
V # ∑ Ó Œ ‰. œ
The

39
## ∑
40
Ó Œ ‰. r
& œ
The
#
V # œ œ œ œ œ œ œ œ. ‰
œ œ
j
œ œ j Œ
œ œ
heart will not re - mem - ber What it will not name.

##
#œ œ œ œ œ œ œ œ ‰ œ œ Œ
41 42

& #œ œ œ œ œ œ œ œ
cat - er - pill - ar ga - zes On a world of old - er fac - es,
#
V # ∑ Ó Œ ‰ œ œ
But the

#18—Afternoon
— 188 — A l i c e B y H e a r t

## (ALICE)
∑ Ó Œ ‰.
43 44

& r
œ
Hole,
# (ALFRED)
V # œ œ œ œ œ œ œ œ
Œ œ œ œ œ œ œ
œ œ œ
but - ter - flies go float - ing, all the same… We fell down a hole,

45

##
j j œ Œ Œ ‰ œ #œ Œ Œ ‰
46 47 48

& ˙ œ œ œ ˙ œ œ #œ œ œ œ œ œ
Re - mem - ber? Be - low,
## j œ œj Œ œ œ
3
œ œœ œ ˙ œœ œ œœ œ Œ œ œ œ œ œ
V ˙ œ œ
Won’t you re - mem - ber? Fell so far be - low,
# SOP/ALTO:
& # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Ooh… Ooh…
# TEN/BARI:
V # œ œ œ œ œ œ œ œ œ #œ œ œ œ #œ œ œ
Ooh… Ooh…

##
j œ œj ‰. r ‰. r
49 50 51 52

& ˙ œ œ œ œ œ œ œ ˙. œœ œ œ œ œ œ œ œœ œ
We nev - er found the cen - ter; And who knew what to do
# j j ˙.
V # ˙ œ œ œ œ ‰ . œR œ œ œ œ œœ œ œŒ Ó
We nev - er found the cen - ter;
#
& # œ œ œ œ œœ œ œ œ œ œ œ œœ œ œ
Ooh… Ooh… Ooh…

# œœ œ œ
V # #œ œ œ œ #œ œ œ œ œ œ œ œ
Ooh… Ooh… Ooh…

#18—Afternoon
 A l i c e B y H e a r t — 189 —

(During this final chorus, ALFRED departs as if his spirit were ascending)
53
(ALICE)
## j œ œj œ ‰ . r
54 55 56
‰
& ˙ œ œ œ. œ œ œ
#w œ œ œ œ œ œ œ œ
With all I felt for you, In the song of the af - ter -
#
& # w ∑ ∑ ∑

#
V # w ∑ ∑ ∑

## (ALICE)
œ ˙
w ˙ Ó œ œ Ó
57 58 59 60

& œ ˙
noon… Af - ter noon…
#
& # ∑ ∑ œ œ ˙ œ œ ˙ Ó
Af - ter noon…
# œ œ ˙ œ
V # ∑ ∑ œ ˙ Ó
Af - ter noon…

(As the song concludes, the shadowy form of the Underground station

2 2
slowly fills in around ALICE. She sits alone on ALFRED’s cot.)

## molto rit.
&
61-62 63-64

#18—Afternoon
— 190 — A l i c e B y H e a r t

Winter Blooms 19
Cue:
CLARISSA:
Well, at least that story’s done.
ALICE: (More to herself)
No, never done. [MUSIC GO]
 = 139
4
(ALICE gathers pages from the platform.)
## 4
& 4 1-4

## ALICE:
Ó Ó ∑
6 7 8

& j j j j
œ œ œ œ œ œ œ œ ˙
Win - ter blooms in Aut - umn light,

## 3
Ó Ó Ó Œ
9 10 11 12

& j j
œ œ œ œ œ œ œ œ ˙ œ œ
Af - ter - noons once sum - mer white, Fad - ing

13
## 14
Œ ‰ œj œ
15 16
∑
& w œ œ œ ˙.
blue through the night.

17

##
Ó ∑
18 19 20

& j j
œ œ œ œ œ œ œ œ œ w
Ros - es lin - ger with a sigh,

#
& # Ó Ó j
21 22 23 24

œ œ j œ
œ œ œ œ œ œ œ w œ œ
with the eve - ning in their eyes. Ev - ery bloom

##
Œ ‰ œj œ ∑
25 26 27 28

& w œ œ œ ˙.
bids good - bye.

#19—Winter Blooms
 A l i c e B y H e a r t — 191 —

29

## ALICE & TABATHA:

œ œ j
Œ œ œ œ œ œ œj ˙ ∑
30 31 32

& œ œ œ œ œ œ
J J
No - thing comes or goes with - out a sha - dow.
# SOP/ALTO:
& # ˙ ˙ ˙ ˙ ˙ ˙ w
Noth - ing comes or goes…
# TEN/BARI:
V # ˙ ˙ ˙
˙ w w
Noth - ing comes or goes…

## œ œ j
Œ œ œ œ œ œ œ œj ˙ ∑
33 34 35 36

& œ œ œ œ œ
J J
Some - where in the soul you hold the can - dle.
#
& # ˙ ˙ ˙ ˙ ˙ ˙ w
Some - where in the soul…
#
V # ˙ ˙ ˙ ˙ w w
Some where in the soul…

# œ œ œ œ j 38
& # Œ œ œ œj ˙
3

œ œ œ œ œ Ó Œ
37 39 40

œ œ
J J œ œ
Let the sor - row go, it’s half the bat - tle. Down the
#
& # ˙ ˙ ˙ ˙ ˙ ˙ w
Let the sor - row go…
#
V # ˙ ˙ ˙ ˙ w w
Let the sor - row go…

#19—Winter Blooms
— 192 — A l i c e B y H e a r t

##
(ALICE & TABATHA) 42 3
j Ó Œ
41 43 44

& ˙. œ œ œ. œ œ œ œ w œ œ
hole you go, to where you are. Down the
#
& # w w w ˙. Œ
Ohh…
#
V # n˙ ˙ w w ˙. Œ
Down the hole…

45
## 46
j
47 48
∑
& ˙. œ œ œ. œ œ œ œ w
hole you go, to where you are.
#
& # w w w ˙. Œ
Ohh…
#
V # n˙ ˙ w w ˙. Œ
Down the hole…

49

## ALICE:
Ó Ó ∑
50 51 52

& œ œ œ
œ œ œ œ œ œ ˙
There are rooms you leave be - hind,

#
& # Ó Ó Ó j
53 54 55 56

j j j j j œ
œ œ œ œ œ œ œ œ œ ˙ œ œ
Oth - er wounds of oth - er times. Oth - er songs

##
Œ ‰ œj œ ∑
57 58 59 60

& w œ œ œ ˙.
fill your mind.

#19—Winter Blooms
 A l i c e B y H e a r t — 193 —

61

## (ALICE)
Ó Ó ∑
62 63 64

& j j œ œ
œ œ œ œ œ œ œ ˙
Rab - bits lead you for a while,
#
& # ˙.
“Down The Hole”

w ˙ Œ
œ ˙. œ œ
Hmm Hmm
# ˙. ˙. w ˙
V # œ œ Œ œ
Hmm Hmm

#
& # Ó Œ Ó ‰ j
65 66 67 68

j j j
œ œ œ œ œ œ œ. œœœœ œ œ œ œ
Pic - ture books, a Che - shire smile; Sum - mer drifts,
#
& # ˙. œ ˙.
œ w ˙ Ó

# ˙. ˙. w ˙
V # œ œ Ó

## (ALICE)
Œ ‰ œj œ ∑
69 70 71 72

& w œ œ œ ˙.
like a child.

ALICE &
# # Πf TABATHA:
73

œ œ œ j
œ œ œ œ œj ˙ ∑
74 75 76

& œ œ œ œ œ œ
J J
No - thing comes or goes with - out a sha - dow.
#
& # ˙˙
(DORMOUSE on ALTO line)

˙˙ ˙˙ ˙˙ ww ww
No - thing comes or goes…
#
V # ˙˙ ˙˙ ˙˙ ˙˙ ww ww
No - thing comes or goes…

#19—Winter Blooms
— 194 — A l i c e B y H e a r t

## œ œ j
Œ œ œ œ œ œ œ œj ˙ ∑
77 78 79 80

& œ œ œ œ œ
J J
Some - where in the soul you hold the can - dle.
#
& # ˙˙ ˙˙ ˙˙ ˙˙ ww ww
Some - where in the soul…
#
V # ˙˙ ˙˙ ˙˙
˙˙ ww ww
Some - where in the soul…

TABATHA:
# œ œ œ œ j 82
& # Œ œ œ œj ˙
3

œ œ œ œ œ Ó Œ
81 83 84

J œ œ J œ œ
Let the sor - row go, it’s half the bat - tle. Down the

# w
Let the sor - row go…
w˙ ˙˙
& # ˙ ˙ ˙ ˙˙ ww
Let the sor - row go…
# ˙ ˙˙ ˙˙ w ww
V # ˙ ˙˙ w
Let the sor - row go…

ALICE & TABATHA:

## ALICE: 3
j Ó Ó Œ
85 86 87 88

& ˙. œ œ œ. œ œ œ œ ˙ œ œ
hole you go, To where you are. Down the
#
& # w w ˙ ˙ ˙.
Œ
Ohh… Where you are…
#
V # n˙ ˙ w w ˙. Œ
Down the hole…

#19—Winter Blooms
 A l i c e B y H e a r t — 195 —

## j Ó
3
Ó Œ
89 90 91 92

& ˙. œ œ œ. œ œ œ œ ˙ œ œ
hole you go, To where you are. Down the
##
3

& w w ˙˙ ˙˙ ˙˙ Œ œ œ
w +DORMOUSE œ
œ
Ohh… Where you are… Down the
#
3

V # n˙ ˙ n ww w ˙ Œ œ œœ
Down the hole… Down the

## j
ALICE:
Ó ‰ j
93 94 95 96

& ˙. œ œ œ. œ œ œ œ w œ
œ
hole you go, and there you are. Down the
# j œœ ww
& # n ˙˙˙ .. œœ œœ
œ œ
œœ . .
œ.
œœ œœ
œ œ œœ ww ∑
. J
j
hole you go, and there you are.
## ˙˙ .. œœ œœ œœ .. n œœ œœ œœ ww ∑
V
J
hole you go and there you are.

(ALICE holds out the

pages she’s gathered, an
offering to the audience.
colla voce The lights fade. The End.)
97
## (ALICE) 98
j
99

& ˙. œ œ œ. œ œ œ œ w
hole you go, and there you are.

Bows (Winter Blooms) 20

TACET

#19—Winter Blooms