At first thought it seems incredible that the subtle comedy of _Alice in Wonderland_ could lend itself to the wider stage values; but the dialogue loses nothing—it gains, rather, by the transposition. Some doubt has been expressed as to whether _Alice_ is really a children’s classic or an adult classic. On the stage that doubt is resolved—it is both. The children appreciate seeing all the quaint creatures and people that Alice meets in her adventures, and the grown-ups enjoy the humor of the dialogue and the extraordinary real unreality of Carroll’s imagination. As a matter of fact the psychology of Lewis Carroll is amazing! He lived long before Mme. Montessori; yet in his own whimsical fashion he has recorded how absurdly unreal and fantastic the unrelated elements of education must seem to the child mind! The grown-up who does not appreciate the humor of _Alice in Wonderland_ must be a very dull person. Both the fun and the dream quality of the original have been carefully emphasized in the production. Mr. Henderson’s scenery is successful in more senses than one. First of all it is beautiful and entirely in the spirit of the play, and, secondly, it does not sacrifice the actors as so much of the new stage craft has a tendency to do. Although extremely rich and varied in color, the setting waits for the final complement of the actors in costume before the design is complete. As Mr. Henderson is a _painter_, rather than a “man of the theatre”—that vague term invented by Craig—he knows how to obtain effects on the stage by color, and does not depend upon the manipulation of direct lighting—often as imitative and theatrical as the old style scenery—to create illusion. He obtains the effect of depth or distance on the stage by the tonal quality of his painted drop, rather than by an increased cubic depth which is apt to reduce an actor to the thin and non-existent quality of a paper silhouette. It is well to indicate these principles, for they are all important in connection with drama that depends upon speech, and in his use of these principles Mr. Henderson is probably the most radical of all the advanced scenic artists.