TThis exhilarating revival of Andrew Lloyd Webber and Jeremy Sams’ musical adaptation offers a unique blend of theater and cinema. The proscenium arch is transformed into a captivating screen, paying homage to the 1939 film. However, the nostalgic images of rural Kansas are juxtaposed with a futuristic world, transporting us to an Oz that is grand, kitschy, and unfamiliar.
Under the direction of Nikolai Foster, Dorothy and her companions’ adventures are reimagined as a Steven Spielberg-style action movie, with the backdrop resembling a virtual reality game. We glide down the Yellow Brick Road and into Emerald City, a sight reminiscent of New York’s Times Square, adorned with a vibrant green hue.
The core concept of the story is inspired: Dorothy (Georgina Onuorah) is an outsider, at odds with the Kansas community, potentially alluding to America’s history of segregation and exclusions before the civil rights movement. She embodies innocence and determination, enhanced by Onuorah’s captivating voice, which leaves us spellbound during her numerous renditions of “Over the Rainbow.”
However, the kinetic screen and overpowering magnitude of Harold Arlen’s music (with additional music by Lloyd Webber) often overshadows everything else. The lyrics by EY Harburg (with contributions from Tim Rice) are unremarkable, and the book, adapted from L Frank Baum’s children’s novel, sounds overly sentimental and old-fashioned against the futuristic backdrop.
When it quietens, the performances shine … l to r Ben Thompson as Toto, Georgina Onuorah as Dorothy, Jason Manford as the Cowardly Lion, Ashley Banjo as the Tin Man and Louis Gaunt as the Scarecrow.
Photograph: Marc Brenner
Previously showcased at Leicester’s Curve, this show is bursting with imagination and distorted realities. However, it overwhelms us with sensory overload, making us feel more like participants in an arcade game or a hallucinatory quiz show than inside Dorothy’s dream. Yet, amidst the chaos, the performances truly shine. The story comes alive when the screen projects vast empty skies and open roads, reminiscent of a road trip movie.
Gary Wilmot delivers a convincing portrayal of the Wizard, while Louis Gaunt excels as the Scarecrow, effortlessly balancing the role of a naive fool with graceful and agile movements. Ashley Banjo, as the Tin Man, and Jason Manford, as the Cowardly Lion, are less impressive in comparison.
The Wicked Witch of the West (Dianne Pilkington) channels the spirit of pantomime, while Christina Bianco’s Glinda brings depth and emotion to “Already Home,” along with Jacqui Dubois as Aunt Em.
However, the true standout is Toto the dog, an absolutely adorable puppet skillfully controlled by Ben Thompson. Despite its small size, it steals the show with its quiet presence.
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