Q&A: New ‘Alice in Wonderland’ show at Disneyland Paris

How did you come up with the concept for this brand-new show?

I wanted to offer our guests a different experience from what we’re already familiar with at Walt Disney Studios Park: Mickey and the Magician, a musical illusion show, and Together: a Pixar Musical Adventure that uses technology to immerse spectators in the Pixar universe.

I wanted to imagine something completely different that would surprise our guests. At the same time, I wanted to pay tribute to a Disney animation classic. “Alice in Wonderland” was an obvious choice, as it’s one of the most universally known Disney stories. Everyone knows Alice, the Queen of Hearts, and the Mad Hatter, and their adventures are beautifully celebrated at Disneyland Park in Alice’s Curious Labyrinth and Mad Hatter’s Tea Cups. I knew I could build on those references to have more fun with these iconic characters.

Is it true this universe lends itself to every kind of extravagance?

Yes, anything is possible in Wonderland! I conceived this show in the unique setting of this extraordinary stage—68 meters long (about 223 feet) and 16 meters deep (about 53 feet)—which until 2020 hosted the Lights, Motors, Action! Stunt Show Spectacular and is now being transformed for the show. It’s a magnificent playground for which I’ve imagined something big, colorful, and rich—an experience that is unprecedented and astonishing.

How did you reimagine the original 1951 film?

I put a lot of thought into the graphic style with our set designer, Olivier Dusautoir. We sat down and exchanged ideas on how we could represent Wonderland. It was important for us to keep the key elements of the 1951 film, such as the labyrinth, the little animals in Tulgey Wood, and other iconic references from the cartoon, while giving them a modern touch. Entering the world of this show is like waking up in Wonderland but in 2024.

I worked with author Ludovic-Alexandre Vidal – who also helped create The Disney Junior Dream Factory show – on the story we wanted to tell. We started with an iconic moment from the film – the Mad Hatter’s tea party – and asked ourselves how we could follow it up. Watching the 1951 classic, we realized the story didn’t really end. There’s the croquet game, followed by Alice’s trial, which ends abruptly when Alice wakes up. So, we came up with a new tea party where the Mad Hatter invites the audience and two special guests – Alice and the Queen of Hearts – who come face-to-face once again.

The Queen of Hearts is not happy, as she feels she alone should be the guest of honor, so a new face-off between Alice and the Queen follows, bringing the croquet game to a close and finally deciding which of the two will be celebrated. All this under the watchful eye of the Mad Hatter, who handles things, shall we say… his way!

How did you ensure the audience feels like they’re part of the action?

We really wanted the audience to feel immersed in this universe and involved in our story. When you discover this unique setting, you’re immediately plunged into Wonderland. To achieve this, we moved the stage closer to the bleachers than in the original configuration.

We also wanted our guests to feel connected to one character or another and, at some point, be able to influence the end of the show by deciding how the story would unfold. Because that’s what Wonderland is all about: you never know what to expect!

What makes Alice & the Queen of Hearts: Back to Wonderland such a modern show with a contemporary message?

There is no good or bad character in our story, and both protagonists are interesting. Alice embodies the idea that we have to believe in our dreams and imagination – that’s how we can create our own universe and change the world. The Queen of Hearts is much more self-centered. She will defend her vision: you have to believe in yourself to succeed in whatever you do.

Both messages are important, and this duality is expressed through the music and artistic disciplines involved.

How does music play a key role in this show?

I’d go so far as to say that it’s the center of everything. It was really important for me to propose music that would resonate with this vast space—new, very contemporary music that pays tribute to the cartoon by incorporating nods to the 1951 melodies.

For Alice, we went for a very joyful and festive pop style (even K-pop at times), which is also associated with the Mad Hatter. On the other hand, the Queen of Hearts is associated with a classic rock universe, with percussion and electric guitar. We experimented with different styles and found that this duality worked perfectly for our show.

Do you think the strength of this music is that much of it is performed live?

For each show, we have six singers on stage: Alice, the Queen of Hearts, the Mad Hatter, the Caterpillar, the March Hare, and the White Rabbit, who all sing and help tell the story. In addition, we have four musicians: two percussionists, who play instruments specially designed for our show, as well as a guitarist and a player of the keytar – a keyboard-guitar.

How does the show incorporate acrobatics (some never seen before at Disneyland Paris)?

It all started with the music. Once we determined the musical universe of Alice and the Queen of Hearts, I asked myself what artistic disciplines could complement these styles. At the same time, I had to consider the size of the stage (both horizontally and vertically) to fully utilize its potential.

I called on two different disciplines that have the unique ability to resonate with music: trampoline and BMX. We’d already used trampolines in some of our shows at Disneyland Paris, but never in their “trampo-wall” form. It enhances the height of our sets and, at the same time, echoes the energy and bouncy feel of the music. As for BMX, we often think of it as a sport, which is true, but we forget this discipline can be a form of artistic expression when combined with music. In both cases, you can create striking images and genuine choreography.

How did you approach the choreography of this show?

A musical without dancers would be pointless, so I called on choreographers Céline and Caïn Kitsais, who previously worked on Together: a Pixar Musical Adventure because they had exactly the spirit I was looking for. We did a lot of research and experimentation to translate the quirky world of Wonderland into original choreography.

It takes a lot of energy to inhabit this gigantic stage, and we’ve got a few surprises in store to help make our show even more dynamic. I’ll say no more…

What about the one important character you haven’t mentioned yet: the Cheshire Cat?

He’ll be there! He’ll appear in the show… just like a cat, that is, when he feels like it, and how he feels like it! He’s a truly unique character, full of surprises. That’s why I can’t tell you any more at the moment…

It’s clear you have a strong affinity for the world of Alice.

It’s a world I’ve known for a long time, and I was delighted to immerse myself in it again for this show. I hadn’t seen the film for some time and discovered facets I hadn’t seen as a child. I was fascinated by it, and I did a lot of research. I read Lewis Carroll’s novel and books on the creation of the 1951 film. As I discovered how the Disney artists worked, I realized they had done the same thing I had: brought their vision to a timeless classic. In fact, this show is also a tribute to their work and unique creativity.

Walt Disney Studios Park is ideal for creating immersive and different experiences like Alice & The Queen of Hearts: Back to Wonderland. This can be done in a variety of ways, but the aim is always the same: to transport our guests to the heart of our stories, while surprising and delighting them.

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