THE WIZARD OF OZ
The REP, Birmingham, Thursday 29th November, 2018
Frank Baum’s classic tale comes to Birmingham in this vibrant new production from director Liam Steel. Updating the framing story of Dorothy and her aunt and uncle eking out a living on a farm to the 1950s, the early scenes of this production look like a John Steinbeck and sound like a Tennessee Williams – especially when Miss Gulch appears, drawling like a Southern belle, lording it over the po’ folk. The opening scenes serve to set up what is to come, when our plucky heroine finds herself transported to a magical land, just as elements from our everyday lives filter into our dreams. It’s downbeat, dramatic stuff, until Dorothy (a superlative Chisara Agor) sits on her bed and sings Over The Rainbow, her face sweetly optimistic, her voice rich and soulful. This is the first ‘wow’ moment of the evening. There are more to come.
The tornado that drops the house on the Wicked Witch of the East, is stylistically presented, with swirling stagehands dismantling the farmhouse shack the Gale family calls home. The frame of the house remains present throughout, a centrepiece of the set, just as home is ever at the forefront of Dorothy’s thoughts, which is where we are, in effect, in Dorothy’s noggin all along. Sorry, if that’s a spoiler.
Chisara Agor is matched by an excellent ensemble, ranging from Dillon Scott-Lewis’s pop-and-locking, robotic Tin Man to Kelly Agbowu’s cowardly Lion, who brings the house down with her singing voice rather than her roar. Shanay Holmes’s good witch Glinda channels the likes of Mariah and Whitney for her big numbers – the singing in this production is top notch, inducing shivers down your spine. Jos Vantyler’s Wicked Witch of the West, with cheekbones for days and the kinkiest boots is a bitter and twisted delight, but I fell in love with Scarecrow, played by an apparently boneless Ed Wade, who brings an astonishing physicality to the role.
The great and powerful Lorna Laidlaw doubles as the charlatan Professor Marvel, gesticulating grandly over a crystal ball, and as the eponymous Wizard, playing both with humour and warmth.
The production elements are as impressive as the cast. Liam Steel’s Oz seems to be heavily influenced by Priscilla, Queen of the Desert, with its diva-esque apple trees and flamboyant carnivorous plants, courtesy of some brilliant design work from Angela Davies and costumes by Samuel Wyer. The drag queen aesthetic is strong in this one. The Emerald City is a stylish, avant garde place, like the swishiest nightclub in the gay village. The familiar and well-worn songs are given new, contemporary arrangements by musical director George Dyer, refreshing them like a new coat of paint, but retaining, thank goodness, the catchy tunes and witty lyrics of Harold Arlen and E Y Harburg.
With charming, sometimes scary, puppetry, and plenty of inventive scenic ideas, this production pulls off the magic trick of meeting audience expectations of the famous story while providing enough that is fresh and new and surprising to renew our acquaintance with Baum’s timeless brilliance. The REP has gone that extra mile along the yellow brick road to produce this magical spectacle. A wonderfully inclusive show for all the family, it will make you laugh and it will melt your heart like water on a wicked witch.
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