Although it’s not technically what one might consider a “Christmas show,” Skylight Music Theater’s Wizard of Oz provides all the magic, fantasy and good moral lessons that might be found in more “typical” holiday fare. Plus, there’s a cute little dog and two witches! What kids wouldn’t want to see a show about that? One hopes that audiences will turn out in large numbers to see this amazing production, which excels in both its casting and production values.
All the elements of the 1939 film are included in this production – even the less-than-thrilling tune, “The Jitterbug,” which ultimately was cut from the film. (It could be cut here, too, since the show stretches to more than two hours and 40 minutes - veering close to the time limits of patient young children. However, the show moves forward at a good clip, with sets and backdrops appearing and disappearing from above, below and both sides of the stage. The orchestra is fine, too, under the direction of Leslie B. Dunner.)
Pun intended, this “finely tuned” production seems to go off without a hitch, despite its advanced technical wizardry. But director Linda Brovsky and set designer Peter Dean Beck seem to agree that sometimes, the simplest effects are the most powerful. One example is the “twister” (tornado), which is no more than a funnel of fabric attached to the base of Dorothy’s house. As the house spins on a turntable (which is used to excellent effect elsewhere in the show), the twister seems to authentically move with the breeze.
Making this scene even more effective are Dorothy’s nightmarish hallucinations as the house travels to Oz. As if on cue, Toto barks noisily at the alarmingly realistic “flying cow” that soars past the house, not to mention a grandma who’s knitting in her rocking chair, etc.
Although the cast could hardly be improved upon, lets face it: most of the kids’ attention is going to be focused on Toto, who appears in about 85 percent of the show. Two well-trained dogs (not professional ones, just adorable house pets) alternate with each performance. Hillie, a dead-ringer for Judy Garland’s Toto in the film, appeared in the performance seen by this reviewer.”
Although the “Wizard of Oz” film wasn’t an immediate hit when it was released in 1939, generations of American children have grown up watching the film via TV. As Dorothy, actor Susan Wiedmeyer brings the necessary wide-eyed wonder to her character. She sings perfectly on pitch; however, Wiedmeyer could use a bit of extra volume. It’s impossible to know whether Wiedmeyer is “saving” her voice to last throughout the show’s many performances, or whether she lacks the capacity to take her voice into the powerhouse range. Her rendition of the show’s most famous song, “Over the Rainbow,” is more sweetly – and perhaps, more innocently – sung than one recalls from the powerful execution by Judy Garland.
All of the show’s “farm hands” – who eventually become Dorothy’s friends and protectors in Oz – are uniformly excellent. This include the loose-limbed dancing of Ryan Cappleman (as the Scarecrow), the yearning manner of Doug Clemons (as the Tin Man) and the powerful voice and presence of Andrew Varela (as the Lion).
Even the show’s “good” and “bad” witches seem to invest more personality in their fleeting roles. As Glinda, the “good” witch, Susan Spencer dazzles in a pink gown to rival the one worn in the big-budget 1939 film. She plays the part with more assertiveness than one would expect. In earlier scenes, she doubles as the careworn Aunt Em. Her thin frame is made to look almost gaunt beneath Em’s colorless, shapeless shift dress.
As the Wicked Witch and Miss Gulch (the snippy, arrogant spinster who threatens to do away with Toto after he nips her), Liz Norton is a dream. Tall and angular, her sharp features are perfectly suited for both roles. She makes the most of her vocal range, too. The plucky Dorothy shows she’s not afraid of either Miss Gulch or the witch, so it’s important that the “mean” characters are true to form. As Henry, Aunt Em’s husband, actor Christopher Elst must be firm with Dorothy while also demonstrating his protectiveness towards her. He plays both extremes very well, saving his harshest words for his “loafing” by his farm hands. He and Em convey the “salt of the earth” qualities for which Dorothy yearns when she is separated from them.
Another of the show’s high points, particularly in the second act, is a series of nicely performed production numbers. Credit goes to Milwaukee-based choreographer Pam Kriger. A couple of these numbers enlist the whole ensemble, who tap dance in response to their carefree life in the Emerald City. Even the audience might be tempted to tap for joy at this colorful, soul-stirring show.
