See ‘Oz’ because of the wonderful things it does
Published 12:59 pm Thursday, February 28, 2008
EVERETT — If you’re a fan of “The Wizard of Oz,” you’ll definitely enjoy a trip to the Emerald City with the Northwest Savoyards, who will keep your toes tapping and your mind humming all week long with catchy musical choruses.
Devotees of the movie version of “Oz” won’t be disappointed with this 2½-hour production, thanks to a script and score that stick fairly close to the hugely popular film, following young Dorothy Gale from Kansas to the magical land of Oz and back.
This Royal Shakespeare Co. stage adaptation of the 1939 film opened last week and it was definitely the musical numbers that hit the highest theatrical notes of the night.
Pitch, despite a diverse cast of 53 people of all ages and experience levels, including 23 children, came off pretty much perfectly, especially when paired with the excellent 15-member orchestra (situated in a sectioned-off area of the auditorium seating) and expert musical direction by David Spring.
Dorothy’s “Over the Rainbow” — beautifully and professionally interpreted by a radiant 14-year-old Sabrina Otness — started the production off strong.
Spot-on musical stylings continued with the spirited, munchkin-driven “Ding, Dong, the Witch is Dead,” an energetic, hopeful “We’re Off to See the Wizard” and an especially joyful rendition of “The Merry Old Land of Oz.”
But there were other melodic surprises in the show, which continues through March 9.
During the Scarecrow’s charming “If I Only Had a Brain” solo, delivered with ease by Roger Bare, three masked men playing sarcastic black crows sang sweet backup harmonies into corn cobs.
Midway through the second act, not long after a doomful “March of the Winkies,” came the biggest musical treat of all in “The Jitterbug,” a spooky-silly forest scene — deleted from the original movie version of “Oz” — taken to the next level here as a whimsical, snappy romp with original choreography by director John Edwards.
Costuming and makeup added special highlights throughout the show.
Dorothy’s dress, braids and sparkling red shoes were just right.
The Cowardly Lion’s mane and tail both made for ideal acting props when combined with the hilariously animated facial expressions and scaredy-cat antics of Mark Abel.
The Tin Man’s armor was convincing, complete with a silver funnel hat and silver shoes, all brought gradually to life by Noah Dorson.
The Scarecrow’s outfit, meanwhile, may have been the simplest. But the performance was one of the strongest as played by Bare. His physical comedy skills were a huge hit with the audience.
Munchkins came equipped with adorable hats with daisies shooting out of them for the girls and propellers spinning around the top for boys.
While the sets were sparse, they were well constructed and their placement well executed, using the space to the fullest, including elaborate balcony scenes.
Audiences, however, should expect to use their imagination in many cases, which isn’t hard to do with all the smart costuming, singing, dancing and acting.
Though a few minor characters seemed to be slightly slow in getting to their lines, this “Oz” cast told a fluid, confident story on opening night.
Otness, a Kamiak High School freshman, fills the shoes of Judy Garland completely, never distracting from the story while still putting some of herself into the demanding role.
Her character’s connection with the lovable Scarecrow is perhaps the most believable. They meet first, after all, on the Yellow Brick Road.
Toto, a rescued Shih Tzu named Bayle in real life, most definitely enhanced the show, with nary a stray bark. He jumped dutifully in and out of Dorothy’s basket with ease and shared the stage with the humans most diplomatically.
Both witches, though perfectly cast and costumed, seemed more comedic than sugary-sweet good and devilishly bad.
It was a treat watching Glinda the Good Witch of the North, played by a glowing Dawn Goodwin, make her entrances with her extra-tall crown, dazzling gown and trail of sparkling bubbles. But she seemed more cynical than you’d expect from an Ozian queen.
The Wicked Witch of the West (Gina Wilhelm) exploded in and out of scenes with smoke and wonderfully mischievous cackles, but seemed to lack viciousness.
Then again, maybe the production wasn’t going for caricatures such as pure good or evil.
This was Everett’s interpretation of “Oz,” after all, where anything can happen.
Reporter Sarah Jackson: 425-339-3037 or sjackson@heraldnet.com
