WASHINGTON TERRACE — The first show I have conscious memory of seeing was The Sound of Music at Beverly’s Terrace Plaza Playhouse (BTTP). My mother took me to the bathroom in the middle of Act One, returning just in time to see a line of Von Trapp children ready to make their Lonely Goatherd entrance. I looked at the girl playing Gretl and thought I want to do what she’s doing.
While I grew up outside of Utah, my grandparents were life-long Ogden residents and season ticket holders at the theatre for years. It’s safe to say that BTTP has been part of my family for a long time, but I’m ashamed to say that attending The Wizard of Oz directed by Aaron Larsen-Ford is the first time I’ve been back since that momentous trip to The Sound of Music. The Wizard of Oz by L. Frank Baum is adapted into this musical by John Kane based on the film of the same name with music by Harold Arlen and E.Y. Harburg. While this production has some rough spots, it’s clearly created with a good deal of heart and has lots to love.
Stand-Out Performances
As Dorothy, Maren Messerly (doubled with Maura Gardner) is tasked with carrying the weight of the show on her shoulders. Dorothy virtually never leaves the stage, and her emotional vulnerability and urgency are demanding. Messerly was enormously endearing as Dorothy. She was earnest and believable throughout. Her voice is lovely, and her performance of “Over the Rainbow” was touching. She’s a worthy heroine and it was easy to love her.
Mailee Halpin’s performance as Aunt Em/Glinda was the most captivating of the night. Her Aunt Em was kind and had a clear connection to and love for Dorothy. Her Glinda was enthusiastic and vivacious. Though it’s clear she took inspiration from Wicked, her Glinda is still individual and grounded in this particular version of the story. She was dynamic yet grounded, elevating every scene she appeared in. I’d love to see her level of energy and commitment from every actor.
I also enjoyed Josh Curtis’ performance, particularly as the quirky Emerald City Guard, as well as Megan Mariano, Kenadie Mckay, and Amelia Palmer as the feisty apple-bearing trees. With limited stage time to build upon, they each brought distinct, entertaining performances. In truth, the entire ensemble was a joy to watch, and my favorite scenes were those involving the full cast.
Maren Messerly as Dorothy in The Wizard of Oz playing through September 20th, 2025 at Beverly Terrace Plaza Playhouse in Washington Terrace. Photo Credit: Bryant Larsen
Additional Cast
Rounding out the principal cast are Autumn Spangler (Scarecrow/Hunk), Trey Montgomery Cornell (Tinman/Hickory), and David Hales (Lion/Zeke). I would have liked to see more settled performances from each. Though each had moments that were effective, their work as a trio and connection with Dorothy still feels rough. The relationship among the four is the driving force to the beating heart of The Wizard of Oz, and I hope that as the run goes on their connection to each other is more apparent.
As the Wicked Witch and Wizard of Oz, Jacci Florence and David Storm respectively also feels almost there. Florence’s performance reads better as the mean-spirited neighbor Mrs. Gulch than it does as the witch, and while she has a truly villainous laugh, I’d love to see her physical performance lean further into the world of caricature when she’s in green. Similarly, I’d prefer more salesmanship swagger and confidence out of Storm as both the traveling “Professor” and (especially) the Wizard.
There were also opportunities left on the table with the portrayal of Toto. Toto’s inclusion in the show is a challenge for any theatre, and even those using live dogs rarely have them on stage the entire time, typically alternating between a live dog and a prop. Incorporating puppetry is an excellent idea–it allows for Toto to be a perpetually active part of the show. He does instigate much of Dorothy’s troubles, after all, and her love for him is at the center of most of the action. The trick with introducing a puppet on stage is in absolute commitment to that puppet being alive. They must always be actively engaged in the scene, always treated as alive. Seeing Toto carried off like a prop rather than a living thing in multiple scenes was disappointing. Additionally, I’d have preferred Toto to still be “performing” even when being held and more actively included throughout. Unfortunately, puppeteer Beckett Ronnow is largely left watching the action rather than being incorporated into it.
Excellent Design
Costume design by Stephanie Colyar is inventive and memorable. I was particularly impressed with the stunning design for the ensemble in Munchkinland and the Emerald City. In particular, I was delighted to see her design extended to unique footwear for each individual, creating unique characters in each scene that were truly a enjoyable seeing at such close range. The prop bags, with prop design by Bryant Larsen-Ford, carried by shoppers in Oz with uniquely designed, intricate logos was another charming detail, as was the sunflower with roots still hanging off it given to Dorothy in Munchkinland.
Similarly, the use of projection, design by Bryant Larsen-Ford, is lovely and supports the rest of the technical scene design by Nathan Fawcett. I was particularly tickled to see the Emerald City making clear references to the buildings of a farm, and the names of buildings within the Emerald City itself were also a nice touch.
For such a small space and such a grand show, the design overall is very effective and fun, and the transition from the sepia-toned Kansas to the full spectrum of Oz is a visual feast and a real tribute to the entire technical accomplishment of the show.
Technical Hiccups
It’s worth mentioning that there were some technical snafus on opening night that will hopefully get ironed out as the run continues. The overture was played twice with no explanation (it would have been nice to make a quick announcement so audiences knew there was going to be a quick reset), and the sound balance was a bit rough. It’s hard to tell what is a byproduct of working in an older space and what is from early-in-the-run growing pains, but I wish the sound for sequences like the Cyclone could be punched up quite a bit more, and I found it hard to hear Spangler and Cornell throughout the night, even in a small space.
Conclusion
Ultimately, the struggling cast chemistry (particularly with Dorothy and the Scarecrow, Tinman, Lion, and Toto) offers the biggest opportunity left on the table in this production. The Wizard of Oz, particularly in the wake of Wicked, serves as counter-story to the strained relationship of Glinda and Elphaba. While Glinda and Elphaba’s story is centered around how their desire for more puts strains on their friendship, one of the most powerful messages of Oz is that home isn’t a building, it’s the relationships we hold onto most tightly.
BTTP’s production of The Wizard of Oz is not perfect, but it does have much to enjoy and admire. Much like my experience attending The Sound of Music a (redacted) number of years ago, it is a fun, magical night out for the family.
