cast members from The Wizard of Oz
The summer-theatre season trundles on with the latest from the Timber Lake Playhouse: The Wizard of Oz. While it features some strong performances, a children’s choir double digits strong, and even an acting dog, certain directing choices made by Chaz Wolcott hinder this timeless classic.
Based on L. Frank Baum's book series and originally released by MGM in 1939, The Wizard of Oz has become one of most lauded and revered films of all time. As with all things financially viable, it was only a matter of time before it was turned into a stage musical. If you somehow haven’t seen the movie, watch that instead of this theatrical conversion. If you have seen the movie, you already know the plot, and I don’t need to get into it here. By the way, I use the word “conversion” because seemingly very little work was done to adapt this story for the stage. The only concern seemed to be padding out the runtime to better justify an intermission, with additional music, lyrics, and dialogue coming from Andrew Lloyd Webber, Tim Rice, and Jeremy Sams. And even though it’s been years since I last watched the movie, the new material sticks out like a sore thumb.
I did not especially enjoy my time during Friday's performance. I wish I had, and the right ingredients were all there, but things never congealed in a way that felt satisfying. Part of the blame I will assign to the book and most of the rest I’ll lay at the feet of Wolcott. Things went awry early and were indicative of things to come. When Dorothy (Caroline Lynch Desmarais) is whisked away to Oz, she enters on a fly system. As the storm picks up intensity, she's hoisted into the air and floats in the middle of the tornado. It’s a fine moment, and helps sell the transition to Oz. But in the very next scene, when Glinda the Good Witch (Anya Katherine Jones) enters in her magic bubble, she also enters on a fly system. Unfortunately, there’s nothing magical about this entrance – what should be the first moment of true magic in the show – because we’ve already seen the wires.
Similarly, the transition to Oz feels like a missed opportunity. When you first enter the theatre, you’re greeted by sepia wood panels and a massive barn facade. Stretched across the stage is a tan tarp, concealing most of the floor. As Dorothy enters Oz, the lights go out and all these items are struck or changed so that when the lights come back up, you’re splashed with dazzling color. And while it works, it’s a lot like the twister. A little more theatricality could have gone a long way in selling the “wow” moment that the film conveys so well. Seeing the transition happen in front of our eyes, as opposed to in the pitch-dark of a scene change, would have been so much cooler.
I’ll admit, my tone hasn’t been that forgiving so far, but this production really is fine. I maybe expect a little more from a professional venue, but I’ve seen far worse shows in far more professional settings. There are plenty of good (great, even) things that happen. Dorothy's core trio of companions, for instance, are a lot of fun. Lucas Diego Marinetto has a stunning tap number as the Tin Man, Jack Catena has perfect physicality as the Scarecrow, and Nathan Wright does an impeccable impersonation of the film's Bert Lahr. Emma Theroit and Matthew Hommel are standout members of the ensemble with small bits that they land well. Then there are the denizens of Munchkinland, all of whom are adorably twee. But the chorus' highlight is Ryker Robinson playing the Mayor Munchkin and clearly having the absolute time of his life. And throughout the whole show, Wolcott's choreography is playful and energizing, while Alexa Wiljanen's lighting design helps convey mood and setting splendidly.
As I already spent a few paragraphs griping, I’ll be brief here. Happily, this marks the first time that I’ve seen a show at Timber Lake when there weren’t any mic issues. Unfortunately, they were supplanted by atypical pacing issues. The individual scenes themselves were often plodding, with no real sense of urgency, but the real killers were the transitions between scenes, which were both too numerous and too long. And while the pit would usually play music to help keep things moving, they would often run out of score to play, leaving the audience in silent darkness.
This Wizard of Oz is an enjoyable-enough night out for fans of the movie. It’s got plenty of high moments, and you can easily overlook the low moments if you aren’t as picky as I am (and few people are). Things certainly could have been better, but things can always be better, no matter the show or venue. And make no mistake: The audience rose to their feet for an overwhelming ovation at the end, so my dissatisfaction was evidently a minority opinion.
The Wizard of Oz runs at the Timber Lake Playhouse (8215 Black Oak Road, Mt. Carroll IL) through July 28, and more information and tickets are available by calling (815)244-2035 or visiting TimberLakePlayhouse.org.
