The Wizard of Oz

The Wizard of Oz is an iconic musical from the childhood of just about all of us. Who hasn’t, in their childhood, sat at a window and wondered what lies beyond the rainbow? Who hasn’t heard Judy Garland sing the song? And how many of us called a much loved pet “Toto”? It’s part of our makeup, our psyche. Beautifully realised on film, with a huge budget, it sets the bar for fantasy so high that it takes a brave theatre company to even attempt to match it.

MLOC have given it their best shot in an ambitious production, and there are some worthy moments and some excellent casting. However, the show seems very under-rehearsed, there are interminable pauses between lines and picking up cues and, despite some terrific costuming, the set is unimpressive and poorly thought out. The yellow brick road is a slight ramp running right the UPSTAGE width of the stage, rather than downstage where it belongs. This means that much of the action is lost for the principals in exits and entrances, while we’re looking at trees or some other scenery downstage.

Sarah Gousse makes an engaging Dorothy, and Toto is a natural star…running around the stage and engaging with other cast members. He totally upstages the human cast at every opportunity. John Davidson is a delightful Hunk/Scarecrow. His warmth and professionalism make up for the shortcomings of Anthony Julian (Hickory/Tin Man) who seemed stunned with nerves and unable to execute even the most basic of dance steps. Colin Sephton (Zeke/Lion) had some endearing moments and was a favourite with the audience, and the delightfully named Cat Stephens (Gulch/Wicked Witch) added some glamour, great diction and a strong voice, but not the subtlety director Lucy Nicolson had promised.

On the negative side, the 41 children as Munchkins etc ranged from excellent to poor and needed far more rehearsal on their dance routines. Graeme Marriott  (Prof Marvel/Oz) almost brought the show to a complete standstill as he fumbled for each line and spent an age picking up each cue. I can only assume that he was not well. Hopefully he will have recovered for those who see the show this week.

The band was strong and Tanya Chaves proved an accomplished Musical Director. However, Lucy Nicolson’s direction suggests that she’s not ready for such a complex show, despite some terrific original ideas like the whirling umbrellas as the Twister. Kids will no doubt love it, particularly if the pace is tightened in the second act, but there is no pot of gold at this rainbow’s end.

Coral Drouyn