Although Alice in Wonderland is well known in Britain, where it is danced exclusively by the English National Ballet, it is relatively unknown in Asia.

'It makes a refreshing change that Hong Kong would like to see this very family-oriented ballet,' said Wayne Eagling, artistic director of the English National Ballet.

When Davis and choreographer Derek Deane originally developed this adaptation in 1996, their goal was to make a popular ballet for the whole family, Eagling said. 'People know Alice in Wonderland - it's an easy story to follow, fun and enduring' he said. 'If somebody never goes to the ballet, it's a good thing to bring them to see - you can even bring your husband who doesn't normally like ballet.'

The show breathes life into a classic work of children's literature - Alice's Adventures in Wonderland.

Written by Victorian academic Lewis Carroll, the story was first published in 1866 and famously illustrated by renowned contemporary artist Sir John Tenniel and, some years later, by Harry Theaker.

Ballet-goers are told a surreal tale about a little girl with blonde hair, a blue dress and striped stockings.

After drifting off to sleep on her sister's lap, Alice awakes to find a talking white rabbit, muttering 'I'll be late, I'll be late' as he checks his fob watch. She follows him down a rabbit hole and tumbles into an absurd world of talking cards, sinister corridors and flamingo croquet. She encounters extraordinary creatures, including a crotchety caterpillar puffing on a hookah, a Mad March Hare and a bad-tempered queen.

Carroll's famous characters, both human and animal, are all richly costumed by Sue Blane, famous for her costume designs for the outrageous original film and musical versions of the cult classic The Rocky Horror Show. The audience can look forward to seeing dancers dressed as packs of cards with extraordinary square tutus, among other delights.

The March 4 to 8 performances are not only a first for Hong Kong but also constitute the ballet's Asian premiere. Ballet-goers are guaranteed a glowing production that is genuinely family oriented.

'It's great fun, with characters such as the White Rabbit, the Cheshire Cat and the Queen of Hearts, and it's very charming,' Eagling said.

Lovers of this wonderful tale can rest assured that the ballet follows Carroll's classic children's story faithfully. 'The music is tailored to fit the story telling and works very well,' he said.

At the same time, the audience is promised imaginative choreography and serious classical ballet. The ballet also features ingenious staging and breathtaking magical illusions by Paul Kieve, who also puts his magical skills to work as Daniel Radcliffe's private magic tutor for his role in the Harry Potter films.

Weird and wonderful characters take part in larger-than-life tea parties, beautiful roses are painted luscious colours and the corps de ballet performs visually stunning dances throughout as flowers and packs of cards.

High spots include a duet by the Knave of Hearts with the heroine, and breathtaking footwork by the White Rabbit.

Staging a large-scale ballet that is packed with surprises is no mean feat.

'It is quite challenging for the backstage crew, with lots of scene changes, floating cups and magic,' Eagling said. 'We take a larger crew than normal on tour, with 85 people altogether, including dancers and the backstage team.'

The English National Ballet is, however, using the services of a local orchestra, the Hong Kong Sinfonietta, which will be conducted by Gavin Sutherland.

'Ballets need live music - and Alice in Wonderland has lovely music - so this should be a very enjoyable evening.'

Eagling is no stranger to this part of the world, having danced in Hong Kong and, more recently, choreographed The Last Emperor, a ballet which was performed especially for the 1997 handover by the Hong Kong Ballet.

Theatre-goers are also offered the opportunity to share Eagling's insights into the ballet after the March 5 performance of Alice in Wonderland at a meet-the-artist session.

Alice in Wonderland, March, 4 to 7 (7.30pm) and March 8 (2pm), Grand Theatre, Hong Kong Cultural Centre