Review: THE WIZARD OF OZ, New Wimbledon Theatre
Direct from The London Palladium, the Andrew Lloyd Webber and Jeremy Sams adaptation of The Wizard of Oz has found a new home this March at the New Wimbledon Theatre. With music by Harold Arlen and lyrics by E.Y Harburg, this latest trip to the land of Oz gives a fresh take on L.Frank Baum’s beloved book The Wonderful Wizard of Oz.
Futuristic and modern elements are blended into this reimaging, with Glinda (Emily Bull) arriving on stage riding a pink moped with her traditional magic wand transformed into a remote control. At times, these kind of creative choices elevate the classic moments we have come to know and love, such as when he Munchkins of Munchkin Land corden off Dorothy’s house with Crime Scene tape as it sits on top of the now deceased Wicked Witch of the East, whilst her legs dangle out from underneath it showcasing those famous ruby red slippers.
At other points in the show, however, the modernisation feels a little haphazard and disjointed; somewhat minimising key moments of the story. This is noticeable during the famous musical number ‘Follow the Yellow Brick Road’, where the ensemble arrive on stage dressed as Roadworkers riding broken pieces of yellow illuminated arrow-shaped platforms. Although it was still engaging, we felt a little disappointed to be deprived of the traditional image of the characters linking arms as they follow a long and winding road.
Rachael Canning’s costume design perfectly embodies the vibrancy and colour we have come to associate with the magical world of Oz, whilst incorporating the adaptation’s modernised twist. The show relies heavily on screen projection to transport us to various locations as opposed to using large elements of sets on stage. It also serves to give a nod to the 1939 classic with a brief montage of film clips incorporated into the opening scene graphics, and an image of Judy Garland’s face can be seen on a skyscraper billboard when we are introduced to the Emerald City. Although it’s an effective way to set the scene, the graphics did feel a little dated for a production of its magnitude and contradict the high-tech aesthetic applied to this futuristic version of Oz.
The core story is still consistent throughout, as we follow Dorothy (Aviva Tulley) on her journey with loyal companion Toto by her side, who is skillfully puppetered by Abigail Matthews. Matthew’s performance is so seamless, we almost forget she is the mechanical force behind the puppet, and Toto becomes an engaging character in his own right. The Tin Man (Marley Fenton) and The Cowardly Lion (Nic Greenshields) play up to their roles as expected, and still hold true to the traditional character traits, despite their updated costume designs.
The headline stars, The Wicked Witch of the West (The Vivienne) and The Wizard (Gary Wilmot) drew in the crowds and didn’t disappoint with their vocal talents, however, it was Benjamin Yate’s portrayal of The Scarecrow which was one of the more notable performances. He brought fun and silliness to the stage with excellent comedic timing and a playful characterisation of the lovably dim-witted straw man longing for a brain. Despite the modernisation being a little hit and miss, diehard Wizard of Oz fans won’t be disappointed by Tulley’s emotional rendition of ‘Somewhere Over the Rainbow’.
Overall, the show is lighthearted family fun, with a nod to nostalgia.
*** Three stars
Reviewed by: Chess Hayden
The Wizard of Oz plays at the New Wimbledon Theatre from12-16 March. For more information, please click here.