This chapter applies the book’s theoretical model to Alice’s Adventures in Wonderland, exploring how novel to stage adaptations negotiate textual fidelity, theatrical innovation, and intermedial strategies. It examines two contrasting adaptations: Henry Savile Clarke, Henry Savile. 1886. Alice in Wonderland A Dream Play for Children. Court Circular Office production and Moira Buffini’s Wonder.land (2015). Clarke’s adaptation closely follows Carroll’s text, preserving its linguistic structure and reflecting the author’s influence on staging. In contrast, Wonder.land radically reinterprets the narrative through digital media, integrating virtual environments and contemporary themes to reflect internet culture. These adaptations illustrate distinct intersemiotic and intermedial approaches, one grounded in textual fidelity and period aesthetics, the other embracing digital hybridity and cultural reinterpretation. The chapter’s individual and comparative analyses reveal that, in both productions, decisions made during the selection stage of intermedial circulation directly shaped intersemiotic strategies, which in turn influenced how the production was labelled and received within intermedial circulation.