When in 1865 an extravagant mathematics professor at Oxford University gave to the presses a volume entitled Alice in Wonderland, he probably could not have imagined even in the most ambitious of his dreams that his little heroine would become one of the foundational figures of European literature and that a century after her death children and adults all over the world would continue to to read her adventures in enchanted country and those in the mirror (the subject of a second volume in 1872). Least of all could Carroll have been touched by the suspicion that Alice would have entered to animate in the most varied of ways the imaginations of artists, undergoing the most unthinkable expressive metamorphoses.This musical version of Alice, which arose from the fertile imaginative marriage of authorial sources of disparate provenance (a French librettist, an Italian composer, a German set designer as well as costume designer, a Polish director for a Slovenian production), promises a quite peculiar variation on the well-known tale. In fact, the staging devised from Janusz Kica is more than just a musical, even though the music and songs play a salient part in it and contribute in no small measure to shaping the atmosphere and lyrical charge of the staging: they never lapse to a trivial, song-like level, so to speak, but rather constitute a complement to it, an integrative thread. On the other hand, then, the staging is, from a technical point of view, so perfected and pushed to the limits of excellence from arousing in the viewer a genuine wonder in the face of a true artistic perfection that also finds expression in the choral scenes, in the evocative mists, in the lighting effects and in the fluid concatenation of the scenes. Before the viewer unravels step by step a fairy-tale world of amusing gimmicks and plot twists, in which the actors constantly question the threshold that separates dream from reality, challenged by the question, whether life is nothing but a dream.