Adam Cerny, Sophie Kaegi, Jeremy Littlejohn, and Bobby Becher in The Wizard of Oz
Some stories don’t need a formal introduction. A few familiar images are enough to unlock an entire world: yellow brick road, ruby slippers, flying monkeys. See? You already know exactly where I’m headed. The Wizard of Oz is more than a beloved children’s book turned movie; it’s a cultural landmark whose characters, songs, and symbols have become stitched into the fabric of our childhoods.
The Wizard of Oz was a cornerstone of my childhood. I had a Dorothy costume, and I would slip on my ruby slippers, pop the well-worn VHS into the player, and watch Dorothy get swept away by a tornado, outwit a wicked witch, and remind me once again that there’s no place like home. So when I headed into the Circa '21 Dinner Playhouse for its July 8 preview performance of this show, I was on tenterhooks. Nostalgia has a funny way of raising the stakes. A mediocre production wouldn’t just be disappointing; it would feel like someone had replaced my ruby slippers with muddy boots and then trounced all over my childhood memories. Thankfully, director Tony Parise’s production bursts to life with color, imagination, and obvious affection for the material.
Visual spectacle is essential to Oz, and scenic designer Ken Brinson laid the perfect foundation with a whimsical, dreamlike set built around a tiered spiral that evoked both the swirling tornado and the winding yellow brick road. The simplicity allowed the production’s other visual elements to shine, while rolling set pieces – such as the Gale farmhouse porch and Emerald City gates – transported the audience from one location to the next. Lighting designer Nicole Blodig completed the illusion, bathing Kansas in sepia tones (a beautiful nod to the 1939 film) before bursting into the brilliant colors of Munchkinland and the rich greens of the Emerald City. Together, the scenery and lighting created the ideal canvas for the production’s greatest visual triumphs: the costumes.
Every scene transition became an event because I couldn’t wait to see what costume designer Bradley Robert Jensen had dreamed up next. One of the Quad Cities’ finest designers, Jensen filled Oz with distinctive palettes, textures, and personalities. Glinda’s spectacular pink ball gown, crowned with a tiara of shimmering bubbles, is every bit as enchanting as Dorothy’s famous gingham dress, whose transformation from Kansas’ muted sepia palette into a vibrant blue is a delightful touch. Better still are the ensemble costumes, which quietly reinforce the storytelling. Munchkinland explodes with cheerful blues and yellows, supporting Glinda’s claim that blue is the Munchkins’ favorite color, and the Emerald City’s citizens appear in rich green fabrics. Even the poppy field comes alive through performers transformed into crimson blossoms. As The Wizard of Oz progressed, I found myself eagerly anticipating every new costume reveal as much as every new scene.
Now that I’ve set the stage, it’s time to recognize the exceptional cast that brought Oz to life. Sophie Kaegi made for a thoroughly endearing Dorothy, capturing the youthful innocence and optimism of the character without ever feeling forced or overly childlike. Her rendition of “Somewhere Over the Rainbow” was filled with quiet longing, delivered in a clear, resonant voice that effortlessly filled the theatre. Throughout the evening, Kaegi met each new wonder of Oz with genuine curiosity and delight, making Dorothy’s journey feel fresh, even for audiences who know every twist and turn.
Her three traveling companions – the Scarecrow (Adam Cerny), Tin Man (Bobby Becher), and Cowardly Lion (Jeremy Littlejohn) – were equally enjoyable. These iconic characters can easily veer into caricature, but all three actors found the sweet spot between broad comedy and believable sincerity. Their performances were funny without becoming showy, allowing the story, and not just the punchlines, to remain the focus. Just as importantly, each actor subtly revealed that the brains, heart, and courage their characters sought had been within them all along. Littlejohn was especially entertaining during “King of the Forest,” throwing himself into the Lion’s blustering bravado with infectious enthusiasm.
Madeline Brennan relished every deliciously wicked moment as the Wicked Witch of the West. Clad in a striking purple-and-black ensemble reminiscent of Regina Mills from Once Upon a Time – another triumph for Jensen – Brennan dominated every scene she entered, and whether stalking the stage with her fingernails poised like daggers or plotting Dorothy’s demise, she was a delightfully menacing presence. Her spectacular fiery entrances, aided by FX director John B. Boss, were among the evening’s highlights. As her radiant counterpart, Gillian Weatherford’s Glinda projected warmth and serenity, serving as a reassuring guide through Oz’s many wonders. And yes, in case you’re wondering, Toto is played by a real dog. (A pup named Feyre performed the role at Wednesday’s preview.)
All told, the cast’s greatest accomplishment was resisting the temptation to imitate the 1939 film. Rather than borrowing Judy Garland’s earnestness or Bert Lahr’s unmistakable vocal quirks, each actor found an interpretation that felt genuine while remaining true to the spirit of the characters. The result was a production that honored a classic without feeling like a carbon copy of it.
As with any preview performance, a few rough edges remained. A handful of line stumbles were noticeable, particularly because John Kane’s adaptation stays remarkably faithful to the film, making even slight deviations easy to catch. The special effect for the Wizard’s floating head is an inventive idea that could benefit from a bit more polish, and I couldn’t help but miss the Wicked Witch of the East’s iconic striped legs beneath the farmhouse – a visual so ingrained in the Oz mythology that its absence stood out. A few technical hiccups also surfaced, but all of these are the sorts of elements I expected to be refined before opening night.
I walked into Circa '21 hoping this Wizard of Oz wouldn’t tarnish one of my favorite childhood memories. Happily, it didn't. It also reminded me why this story has remained a favorite. Whether you’re revisiting Oz or following the yellow brick road for the first time, this journey is well worth taking.
The Wizard of Oz runs at the Circa '21 Dinner Playhouse (1828 Third Avenue, Rock Island IL) through September 5, and more information and tickets are available by calling (309)786-7733 extension 2 and visiting Circa21.com.
