Theater review: The Wizard of Oz

by Gina Robertson of of John Garcia's The Column

It's an ill wind that blows pretty good in Dallas when that famous Kansas twister drops a house and a talented national touring company onto the stage in Dallas Summer Musical's presentation of The Wizard of Oz (now playing at the Music Hall at Fair Park). It's a story everyone knows of a farm girl who dreams of a happier place somewhere over the rainbow and runs away to find it before being swept away by a tornado and transported to the magical land of Oz where she meets friends, heroes, and possibly the most legendary villain of classic children's stories, the Wicked Witch of the West.

The stage production is a treat for those who have seen only the 1939 cinema version because several new songs and colorful characters are introduced. Without much room for interpretation in the story itself, special effects, costumes, and sets are the key to making it all seem brand new. This production succeeds in that with spectacular projection effects and richly detailed colorful costumes. Although the Kansas prairie projected on the set for the farm scenes looks more like the mesa and mountains of Arizona, the images projected on stage are visually stunning, especially during the tornado sequence when wind and debris (and people) are swirling around transparently so that Dorothy can be seen inside being blown and buffeted by the storm. All of this builds to a climax in a thunderous explosion and darkness as the house drops down into Oz, and the lights come up on a vivid new land straight out of Dorothy's imagination.

The character of Dorothy Gale is a challenge for any actress because she is quite simple and one-dimensional. She is sweet, innocent, kind, and vulnerable, and she must be all of these things and only these things. There isn't a lot that an actress can bring to the role to make it her own, especially when audiences are already so familiar with the character as portrayed by a very famous actress I won't mention whose initials are "Judy Garland." How does one portray Dorothy without being merely an impersonation or a cliché? Cassie Okenka manages to do just that. She is everything that Dorothy can and must be, yet she makes the character her own somehow. Never a particular fan of the music in this show, I was surprised to discover Okenka's ability to bring out goosebumps with her voice in "Over the Rainbow." I just have to say … Judy who?

Twelve children from the Dallas area were chosen at auditions to perform the roles of Munchkins. This presents a challenge for choreographer Leigh Constantine, who must prepare dance numbers for these kids without knowing their talent or abilities, and for the children, who must learn and rehearse the routines very quickly before joining the regular cast on opening night. As a result, the first big musical numbers in the show, "Ding Dong! The Witch is Dead" and "Yellow Brick Road," performed by Glinda, Dorothy and the Munchkins, are disappointingly simple and uninspired, particularly after the spectacular tornado sequence leading into the breathtaking stage transformation into the land of Oz. All of the performers down to the smallest child bring amazing professionalism and energy to the stage but are underutilized with choreography that gives them nothing particularly interesting or challenging to do. This is in contrast to later remarkably impressive dance numbers involving crows, trees, poppies and jitterbugs. It's a shame the Lollipop Kids aren't able in this production to show audiences what talented children the Dallas theater community is fortunate enough to enjoy.

Noah Aberlin gives a delightfully acrobatic performance as the floppy-legged Scarecrow, and Jason Simon is the comedy leader with his cowardly Lion. Chris Kind as the Tinman provides a comfortable fourth for the famous travelers, though he isn't able to do as much with his role because of the limitations of the costume.

Pat Sibley basically mirrors the movie version with her portrayal of the Wicked Witch, right down to the screaming, cackling laughter. What's missing is the sinister aura of malevolence brought to the character in 1939 by Margaret Hamilton that made this one of the scariest, most memorable villains in movie history. Sibley's appearance on stage seems rushed; her scenes seem secondary to anything else going on. Her special effects are mild and unremarkable. She is never seen stalking the unwary band of travelers, nor does she lunge or grab at them or storm around in a fury over the ruby slippers. Instead she recites "I hate her, I hate her not, I hate her, I hate her, I hate her," while plucking flower petals. She just doesn't seem very dangerous at all or to pose enough of a threat to be effective as a villain.

Caitlin Maloney is all comfort and goodness as Aunt Em and Glinda the Good Witch, and Bruce Warren (Uncle Henry) is memorable as the Emerald City guard. Robert John Biedermann completes the cast as the wonderful Wizard of Oz and brings a certain cleverness to the role.

Perhaps the most amazing performance of all is given by the little dog Toto, played by Snickers (sometimes Princess). He earns an affectionate murmur with every stage entrance, and he manages to keep his cool amid smoke, flashing strobe lights, explosions, and being fought over and shoved into a basket.