PLEASANT GROVE — In my opinion, The Wizard of Oz is the greatest film of all time, bar none. So it’s no surprise that it’s often performed onstage. The Ruth is currently staging a dance-filled musical version, (adapted by the Royal Shakespeare Company in 1987), that will satisfy audiences looking for a live version of the familiar classic.
The Ruth’s production has strong performances and technical elements that stick closely to the film. Most of the cast — featuring Madeline Clifford as the Toto-wielding Dorothy, Logan Neville as the brainless Scarecrow, Collin Larsen as the heartless Tin Man, and Geoff Reynolds as the Cowardly Lion — give strong performances akin to popular depictions of the characters.
Editor’s Note: This production of The Wizard of Oz at The Ruth is double cast. This review is based on a performance of the MWF cast.
Clifford is strong and pugnacious as Dorothy, longing for home and growing confidence through the production until she dispatches evil from the Land of Oz. Her strong, clear singing voice provided a sincere and sweet “Over the Rainbow.” Reynolds also stands out with his excellent acting and stage presence as Lion. Neville gives a classic, physical-forward Scarecrow performance, and does his role well, with solid singing and dancing. His duet with Clifford is also a production highlight, and Dorothy’s kindness pairs nicely with his cluelessness.
One of my favorite things with familiar productions is looking for areas that are unique — for places where a director, actor or set designer put their own unique stamp on the production. While The Ruth’s rendition of The Wizard of Oz is fairly traditional, some unique aspects come to mind.
First, the minor character of Guard, played by Marshall Lamm, really stands out. He is hilarious in the role, giving his delivery a modern spin that wins scenes and made me laugh almost every time he opened his mouth.
Second, the set design for the Wizard of Oz is outstanding. Set designer Danny Rash went above and beyond the call of duty, piecing Oz’s throne room, and his giant, moving head, from what appeared to be shards of stained glass. The head of Oz is operated manually, and is in constant motion. It is really something – you have to see it to believe it.
The production’s fresh take on the Witch’s castle is also cool. Lighting designer Ryan Fallis uses neon-like green and purple lights to create an otherworldly feel, augmented by a backdrop of bleak, sparse stars. Three archways to nowhere also helped create a foreboding and thoroughly dead environment.
Earlier in the show, there is a delightful, yet small, quilt motif in the production design, specifically the costuming of Scarecrow and Lion and the Scarecrow’s set. This collaboration between costume designer Lexi Goldsberry and set design are tasteful, and I would’ve loved to see that theme explored more in the production.
The use of an adult chorus as the Munchkins, as well as other roles, is a welcome relief from productions which use children, (kids are many wonderful things, but there are few natural-born actors in the world). The chorus performs well throughout the production, and the fun, childish costumes of the Munchkins are quite fetching—including flower hats and lederhosen.
The strongest scene is also the one likely the least familiar to audiences — “The Jitterbug,” a big swing dance number that was cut from the 1939 film. Director Ashley Gardner Carlson shows a real knack for spooky content, as the scene acts as a technical tour de force, featuring flashes of orange spot lights that perfectly introduce the creepy bugs — played by actors who scurry back into darkness as soon as they appear. The song is super catchy too, and plays again after the show.
Eric Sciotto’s choreography often uses large groups of dancers, (whether bugs, Ozians, or Munchkins), with everyone onstage dancing together. It is all energetically performed, although some smaller groups may have added more diversity and focus for the dancing. Speaking of dancing, the people of Oz should probably learn to stop doing it, because it seems like no sooner do they start cutting a rug than The Wicked Witch of the West shows up, played by Shaunna Thompson in fine prosthetics by hair and makeup designer Emilie Rohnhaar. (I wonder if her prosthetics are the reason Dorothy’s bucket only tossed air instead of water?)
One caution to the audience, (which the production should probably address), is the use of fog in Act II. Patrons seated in the first four rows of the center front section were completely swamped in it, many using programs to fan the fog away for what felt like five minutes. One patron got up mid-scene to escape the all-encompassing mist. I recommend The Ruth use less fog, which would likely create the same effect without bothering patrons.
While it’s fun to see classic characters and scenes on the stage, this adaptation does have its limitations. It unfortunately bookends scenes with terrible puns, and the additional music added to the beginning of the three heroes’ songs, (“If I Only Had a Brain,” “If I Only Had a Heart,” and “If I Only Had the Nerve”), feels dated. Still, with so many iconic lines, songs, characters and scenes, the audience is always just a heartbeat away from something cool.
In conclusion, The Ruth’s production of “The Wizard of Oz” is a classic, faithful adaptation of a beloved property. With some strong technical elements and cast, it offers local families an opportunity to experience one of the greatest stories of all time performed by real people in the comfort of a modern theater.
SHOW INFO: “The Wizard of Oz” runs April 13 – May 23 in the Grand Theater at The Ruth Theater, located at 401 S Pleasant Grove Blvd, Pleasant Grove. For tickets and info, visit www.theruth.org.