The Wizard of Oz

It's a brave thing to take an iconic movie such as “The Wizard of Oz” and put it on the stage, especially when the script is almost verbatim what people know from the movie.

But the Woodland Opera House has created a delightfully enchanting production, directed and choreographed by Jason Hammond (who also designed the sets), with musical direction by Jeff Poppings.

Danielle Hansen is not only a wonderful actress and singer, but she managed to stay in character, and not miss a note or a word of dialog while all the while dealing with a Toto who was determined to upstage everyone, and even attack a couple of the other actors.

Hansen handled Bella the pup skillfully, taking her offstage when her barking threatened to drown out everyone else, and still gave us a Dorothy who was sweet, innocent and full of hope and wonder. Congratulations, Danielle — it was a memorable performance.

Dorothy's companions on her travels around the land of Oz could not have been better cast. Matthew Kohrt as the Scarecrow is thin and floppy and his dancing was every bit as delightful as Ray Bolger's in the film.

Eric Alley, in his “dream role,” is a noble Tin Man, with a big voice and a big heart in his empty chest.

Erik Catalan, sharing the stage with his daughter, Munchkin Naomi, is just plain fun as the Cowardly Lion.

Angela Frost Baltezore is returning to the Opera House stage after a 35-year hiatus (during which time she managed to win 15 Elly awards for performances elsewhere) to play both Aunt Em and Glinda, both roles played well.

Patricia Glass, last seen in Woodland's “Noises Off,” is the Wicked Witch of the West and has great fun chewing up the scenery, though her performance is not enough to scare the little children in the audience.

Dennis Updegraff does an OK job as Uncle Henry, but he really pulls out all the stops as the Oz Guard.

James C. Glica-Hernandez emerged from the orchestra pit to play only his second on-stage role in 20 years, yet acquits himself well as Professor Marvel and The Wizard of Oz.

Members of Woodland's Young People theater program do an outstanding job as Munchkins and those who have larger roles, particularly Riley Spieler as the Munchkin Mayor and Bailey Robinson-Bermester as the Coroner, give highly polished performances.

Hammond's choreography is perfect, especially in “Ding Dong, the Witch is Dead” and “The Jitterbug.”

The scenery is brightly colored and cleverly designed to give the impression of magical entrances and costume changes ... and it worked beautifully, particularly in transforming an overalls-clad farm girl to a pinafore-wearing Oz girl.

Not surprisingly, Laurie Everly-Klassen's costumes were wonderful. It must be such fun to design a show that has so much fantasy about it.

There are a few special effects that work better on film (such as the exposition of the Wizard), but basically most come off quite well. I loved the departure of the balloon.

Small children in the opening night audience loved the show. Adults loved the show. For those familiar with the movie, it will be fun to hear the songs as they were originally written, complete with the verse that precedes the better known choruses. It was also fun to have “The Jitterbug,” cut from the movie, included.

If Bella learns to stop attacking her fellow actors and to listen instead of barking all the time (or leaping up on Dorothy to get a treat) this will be a much more enjoyable show, but kudos to the cast and crew for dealing with her in such a professional way.

The Wizard of Oz

I have a soft spot in my heart for “The Wizard of Oz,” so I was delighted to see that the Davis Musical Theater Company’s current production (in the newly-carpeted Hoblit Performing Arts Center through May 14) is mostly charming. The production brings the movie version of the L. Frank Baum story of the little girl from Kansas who is transported over the rainbow for adventures in the land of Oz to the stage, almost unchanged, with all the Harold Arlen and E.Y. Harburg songs (including “The Jitterbug,” cut from the movie) and dialog almost verbatim from John Kane’s screenplay.

Sadly, this is not DMTC’s finest orchestra. There are some serious problems with the music, but the splendid cast, direction (by Jan Isaacson), music direction (by Steve Isaacson), costumes (by Jeanne Henderson), choreography (by Dian Hoel), scenic design (by John Ewing) and lighting design (by Dannette Vassar) make it easier to ignore the sour notes coming from the pit.

Anyone familiar with the movie will remember the monochromatic Kansas scenes, which in this stage production are done in drab black and white, making the transition to the wildly colorful Oz that much more striking.

Alissa Steiner is almost perfect as Dorothy. She’s a bit tall and mature for the part, but the innocence she projects makes that not really a factor. Her “Over the Rainbow” is delivered in a clear, sweet voice that shows the longing of a young girl looking for a place where there isn’t any trouble.

“Leroy,” who plays Toto, is a lovable dog who can be a real scene stealer.

The rest of the cast is likewise excellent.

Kevin Carvavalho as the farmhand Hunk, and the Scarecrow has a child-like charm about him, and absolutely no bones at all, as befits a proper scarecrow.

Jason McDowell is Hickory the farmhand and also The Tinman. He clanks his way effectively around the stage and is at his most endearing when he learns that the heart for which he has so long hoped is capable of breaking.

And was there ever a better part for Steve Isaacson than that of the Cowardly Lion (also the farmhand, Zeke)? Isaacson presents his very best Bert Lahr impression and becomes an instant audience favorite.

Jill Wright was born to play Glinda, the good witch of the North. She is simply outstanding.

Buffee Ann Gillihan as Miss Gulch and the Wicked Witch gave the role her own interpretation which was, at the same time in jarring contrast to the familiar inflections from the rest of the cast, and refreshing that she made the role her own.

Auntie Em and Uncle Henry are solidly played by the familiar Mary Young and the newcomer Chuck Snipes. Professor Marvel/The Wizard of Oz was the entertaining Adam Sartain.

The children who play the Munchkins were adorable. Unnamed in the program, yet worthy of note were the three girls of the Lullaby League and the endearing three boys for the Lollipop Guild. The children also play the flying monkeys and look like they are having the time of their lives doing so.

This low budget production lacks a lot of the pizzazz that high tech special effects can add, but innovative and often clever substitutions are made. Instead of a razzle-dazzle tornado, we have storm dancers, instead of a yellow brick road we have – we’ll you’ll have to see the unique solution to that problem. Somehow it all just works, though sometimes lengthy scene changes slow the momentum. (And unless the orchestra can play in tune, the interim music should be done by keyboard alone.)

Scenic design was basic, but effective. Using an upper level for the Witch’s castle was perfect and one of the better scenes in the show. No specific credit is given for the construction of the mechanical Wizard, so I assume it was made by scenic designer Ewing. It was great!

With all of the innovative ways of dealing with special effects one scene is a puzzlement. When Dorothy, the Scarecrow and Tinman enter the forest where they encounter the Cowardly Lion, they shudder at how “dark and creepy” it is, though they are walking onto a brightly-lit stage with only a few bare trees for scenery. Later in the show, when they enter the witch’s forest, the lighting is spooky and there are dark branches overhead, so it is not beyond the designers’ abilities to create the “dark and creepy” forest described. The contrast between dialog and actual setting is jarring.

This is a show that will delight any audience, particularly children. One hopes that with a few shows under its belt the orchestra will come together, but the rest of the show is well worth the price of admission.