Dorothy, Toto and gang on Carousel stage
9/4/2008 - West Side Leader
Stage version of ‘Wizard of Oz’ might not live up to movie
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| From left, the Tin Man (Chad Coudriet), Lion (Brian Michael Hoffman), Dorothy (Kelsey Crouch-Pinter) and the Scarecrow (Ben Franklin) arrive at the Emerald City in Carousel Dinner Theatre’s production of “The Wizard of Oz.” |
| Photo: Eric Mull |
Baum wrote “The Wonderful Wizard of Oz” as a children’s book. The book was published in 1900, and for two years after its publication, “The Wonderful Wizard of Oz” was the best-selling children’s book in this country. Following its success as a book, the title was shortened to “The Wizard of Oz” and found a place on the stage, as well as in the 1939 movie, starring Judy Garland.
The music for the movie and stage version was written by Harold Arlen and E.Y. Harburg (music and lyrics). The stage script was adapted by John Kane for the Royal Shakespeare Company.
Now “The Wizard of Oz,” directed and choreographed by Marc Robin, is playing at Carousel. Except for the successful “Breakfast With Santa,” this is the first time Carousel has offered a children’s production.
The story hasn’t changed. Dorothy is still knocked unconscious during a tornado, and her dream of Oz involves most of the production. However, in this production, when she finally wakes up back in Kansas, she is greeted only by Aunt Em and Uncle Henry. Zeke, Hickory and Hunk, the farmhands, don’t welcome her back, probably because they want to keep on their Lion, Tin Man and Scarecrow costumes for the curtain call.
This production has the largest cast ever assembled for a Carousel production. Early materials provided by the theater indicates the cast, including the orchestra, is close to 60 people. In addition to the leading roles, the cast includes more than 30 local children and teenagers, who sing and dance and play a variety of roles — Munchkins, Winkies, Jitterbugs and others.
One of the bright spots of the show is a wonderful apple tree loaded with apples. This tree divides into three performers, carrying umbrellas that represent the branches and the apples. The trunk and branches of the tree are long gowns worn by the performers, who play the trees as drag queens. This apple tree earned laughter and applause from the audience.
At intermission, the wait-staff gave everyone a pair of glasses with green lenses (think of the old 3-D glasses). These make everything in Oz a bright green. However, if you cheat a bit, you’ll notice that once Dorothy and friends arrive in Oz, the cast is dressed in white clothing and, in truth, the production looks better without the glasses. But the glasses are a cute gimmick that give the children a take-home treat.
Robin has brought some brilliant work to the Carousel stage. He directed and choreographed memorable productions of “Singing in the Rain,” “Cats,” “Thoroughly Modern Millie” and “The Nutcracker.”
However, his work on “Wizard of Oz” is not up to his usual high standards. The choreography seems labored and lacks his usual inventiveness. The Jitterbugs seem an anachronism as they dance what seems to be a version of the Charleston. In Robin’s defense, I imagine he had the usual short period of time to rehearse this gigantic production. The large cast and multiple set changes could eat up precious rehearsal time.
According to the program, some of the costumes were provided by The Fullerton Civic Light Opera Company. However, Dale DiBernardo (resident costume designer) had significant responsibilities for the costumes for this production.
Scenic designer Robert Kovach created a set that provides ample room for the big cast, the big production numbers and costumes with big skirts and hats.
A large number of puppets also were used in the production, and Robin Vanlear and Ian Petroni (puppet designs) created a gigantic puppet for the gatekeeper that was a dream come true. The puppeteer, who was not identified in the program, spoke the lines and sang the lyrics for the puppet. The puppeteer wore the puppet’s feet on top of his shoes. From a position between the legs of the puppet, the puppeteer moved long sticks that controlled the puppet’s arms. This puppet was so tall that the head almost hit the top of the proscenium arch.
Later, one flying monkey wore anti-gravity boots that permitted him to bounce in the air. Unfortunately, not all of the flying monkeys had the same type of boots. Their scene would have been remarkable if all the flying monkeys could have bounced in the air like the lead flying monkey.
So much is right about this production. Unfortunately, any stage production of “The Wizard of Oz” will automatically be compared to the movie. That comparison will doom the stage version to failure. I tested my thoughts on this production at the curtain call. The audience did not stand for the cast. In fact, the cast received a tepid round of applause as everyone rushed for the door.
Carousel is a dinner theater, and the meal is an important part of the evening. I ordered the baked cod, which seemed murky and lumpy beneath a heavy coating of blackberry balsamic glaze. Friends at another table laughed when I told them about the cod. Their server told them she’d had so many complaints about the cod that she thought they should order something else. They had the seared bistro filet and thought it was excellent.
“The Wizard of Oz” continues through Nov. 1. However, that doesn’t mean theater-goers should wait to order tickets. Carousel had the largest audience I’ve ever seen in that facility when I saw the show Aug. 30. Expect “The Wizard of Oz” to do well at the box office, and those who want good seats need to make reservations soon. For ticket information, call (330) 724-9855.
David Ritchey has a Ph.D. in communications and is a professor of communications at The University of Akron. He is a member of the American Theatre Critics Association.
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