The original title of Lewis Carroll's classic tale was "The Adventures of Alice in Wonderland." Maybe that's what choreographer Derek Deane had in mind for his England National Ballet production of "Alice in Wonderland," which is that rarity: the ballet adventure.

Not that classic ballet hasn't plumbed the nooks and crannies of the world in search of locations, or that Pittsburgh Ballet Theatre hasn't ventured into "Alice" territory before -- the company performed Ben Stevenson's smaller-scaled version in 1995. Deane's interpretation should truly entertain audiences when PBT tours the ballet nationally next season.

In Pittsburgh Ballet's North American premiere of "Alice" Thursday night, Deane's own idea of daring took the original Victorian illustrations of John Tenniel, fancifully transformed to the Benedum Center stage by costume and set designer Sue Blanc, with illusions by Paul Kieve and lighting by Hugh Vanstone, and combined it with a nifty Carl Davis arrangement of Tchaikovsky's score for plenty of drama, plus a dazzling contemporary dance sensibility that was true to Carroll's story.

In fact, virtually everything about the original "Alice" could be found in this singularly imaginative ballet, from the Caterpillar, played with seductive grace by Alan Obuzor, presiding over his magical bouquet of Pansies, to the Duchess' house, a hoot of a scene with Christopher Bandy as the Duchess in grand British music hall tradition and Alison Kappes as the peppery Cook. Also included, of course, was the Rose Garden, ruled with imperious comic flair by Julia Erickson.

Which is to say that our own Kansas heroine, Dorothy, has nothing on this English lass, played with chin-up courage and joie de vivre by Mabel Modrono.

Sometimes it seemed too much, almost as if Alice threatened to get swallowed by the virtually nonstop action. The opening rabbit-hole sequence had undulating drops, flying teacups (if not saucers) and a drove of assorted doors. But that was just the appetizer. It was followed by the floating Pool of Tears and a deliciously mad-cap Tea Party, with a surprisingly endearing Dormouse (Kumiko Tsuji). There were also the Dodo, the Crab and the Monkey -- oh my!

Christopher Rendall-Jackson displayed a wonderful rippling effect as the Gryphon with sad partner, the Mock Turtle (Kwang Suk-Choi) performing pirouettes in full shell regalia. And we mustn't forget the White Rabbit, played with resilient aplomb by Daisuke Takeuchi.

Each of the animals had its own vocabulary, which is where the real charm lies in this ballet. Deane didn't just focus on the story with terrific special effects. There were many choice sections of witty, intelligent dance -- a lovely pas de deux for Tiger Lilies Christine Schwaner and Choi, a bounding duet for the Fish Footman (Aaron Ingley) and Frog Footman (Luca Sbrizzi), a piquant quartet of Lobsters (Kaori Ogasawara, Alexandra Kochis, Christine Schwaner and Eva Trapp), and a silky dream-within-a-dream "Alice" duet for Erin Halloran and Nurlan Abougaliev.

Last, but not least, were the Pack of Cards corps of women, arms as sharp as the edges on those square tutus but with a panache resembling Balanchine's "Symphony in C."

Quite a list in retrospect, but the PBT dancers seemed to eat it up. They were larger than life and, by gum, had a rollicking good time. Why not? Amid all the seeming chaotic adventures, there was still a sense of control from Deane, plus large doses of his classically dry British wit.

His "Alice" is fun for all, a large ballet feast where the audiences can pick and choose from an array of delectable options. But the end result is simply to enjoy.