The Wizard of Oz Arena Spectacular

It’s always impressive to see a massive cast of thousands all working together in a well-rehearsed show. That’s exactly what this production delivers. Aside from the core cast, it includes over 700 young performers in its ensemble. The scale is mind boggling as hundreds and hundreds of munchkins appear out of nowhere, popping up right next to you in the aisles, singing and dancing their little hearts out.

Naturally, that many performers require space, so the thrust set design by Fran Hannaway has to accommodate with a vast space on the floor at the front of the main stage. This is all well and good when the full cast is present, but it is left feeling vast and empty during other scenes when just a few core players are relegated to the main stage, meters away from the front row of the audience. The issue could be solved by flying in some set pieces from above or sides to fill the space to absorb some of the reverb in the echoey venue, or with a movable stage.

The set design itself is really well done, incorporating a nine-metre screen with animated digital set design by Craig Wilkinson. This is used very imaginatively and to great effect. The production being almost completely true to the film interpretation, begins with sepia tones in the costuming, matched by the digital set. Once we reach Oz, the full colour explosion is extremely impressive and awe inspiring. There are over 3,500 costumes and over 2,000 wigs in the show, and clearly no expense has been spared in this department.

Director Tim O’Connor has clearly put in a lot of work in pre-production to bring this massive show together. Choreography by Callum Mansfield is packed with imagination and great effects that work well up close and from afar. Most notably, the pollen effect as dancers represented the field of poppies is beautiful. Singing is also great, with performers giving it their all.

The show could use the loving assistance of an accent coach, especially for poor Glinda (Aurelie Roque) whose accent goes on an adventure through Kansas, South Africa, Australia and beyond, mostly dwelling somewhere in the Scottish Highlands.

Carly Bettinson as Dorothy is perfect casting exemplified. She’s very believable, unforced, and natural. She could just slow her pace at times to be better understood in the echoey venue. Chris Geoghegan as Scarecrow displays great physical acting skills. Bil Heit as the Wicked Witch has the best wicked laugh ever and good comic timing. She’s scary, but not so scary as to terrify the kids in the audience.

The star of the show is undoubtably John Wood as the Wizard. He is amazing. His command of the stage is magnetic. He has the audience in the palm of his hand the entire time he’s performing.

The Wizard of Oz Arena Spectacular is a fun and entertaining show for families. You can’t help but be impressed by the sheer scale of the production.

Kiesten McCauley

Debra Bela also reviewedThe Wizard of Oz

Dorothy didn’t choose to go to the Land of Oz, but that was where she met some wonderful friends and discovered her own strengths and abilities.

So when the sound faultered and nine metre tall rear screen froze in the middle of the opening mass ensemble piece choreographed with the precision of an Olympic Games opening ceremony, it was a moment of truth for Harvest Rain.

“So sorry everyone, as you can see we’re having some technical difficulties,” a voice from the sky announced across the Brisbane Entertainment Centre arena.

On stage was a mass ensemble of over 800 young people from across South East Queensland, all dressed like Munchkins in white costumes with rainbow coloured troll wigs pointing to the sky. 

On the program, the Wicked Witch, Bil Heit, is described as a ‘versatile actor’ of international renown. To this she can now add crowd controller, for having just made her entrance among the Munchkins of Munchkin Land, she improvised her way though the next three to four minutes, commanding the tiny townsfolk to stay crouched on the specially designed dance floor and keeping them all under the power of her broomstick until the cast were told to ‘reset’ to just before the mayor’s line.

This was when the magic happened, with 800 bodies suddenly melting back into the shadows off stage and around the auditorium without confusion or supervision or chatter, to ‘reset’ to exactly where the voice in the sky wanted them to be.

The mighty Wizard of Oz himself could not have pulled this off.

If there was ever an arena spectacular glitch that so effectively demonstrated the depth of talent and professionalism both on stage and behind the scenes, from training and choreography to management and direction, this was it.

Importantly, the audience was with them 100 per cent.

“Like I said before, where’s my sister?” Heit cackled.

“She’s there, still dead,” replied Glinda the good witch, aka Aurelie Roque, and the audience cheered.

With Heit and Roque setting the tone, the show never looked back, with its strength in the visual spectacle of its mass ensemble.

Incidentally, it was from a previous Harvest Rain ensemble cast that Carly Bettinson emerged to take the lead as Dorothy in this show and she gave a strong performance here.

The synchronicity of the poppy fans number was mesmerising and even the stadium seating was shaking for the March of the Winkies.

This production is based on the motion picture and except for the odd Lion King and Peter Pan reference, it stuck to tradition.

Beloved Australian actor John Wood made a guest appearance as the Wizard and was suitably absent-minde. Chris Geoghegan was svelt in straw and a standout among the principals as Scarecrow.

Michael Nunn played the Tinman with C3PO precision and Josh Whitten, fresh from performing in Wicked, dedicated his robust performance of Lion to his Nan.

Special shout out to Matty Johnston who was all over this show, playing five different characters, including his hilarious Emerald City Guard. 

Throwing an animal into this sea of young performers would probably have tempted fate but after all that clever puppetry, a live Toto jumping out of the basket would have iced the cake.

This show is touring nationally and is a visual extravaganza with over 3500 costumes, 2000 wigs, and over 5000 mass ensemble performers taking part across the states.

Debra Bela