Written by Steven Maisonet
Ever since I was little, I’ve been obsessed with The Wizard of Oz. Something about the simplicity and practicality of the original motion picture has always brought me warmth and comfort. Herbert Stothart’s original score is a cinematic masterpiece that signals the start of the holiday season in my home. Lancaster Opera House’s production of The Wizard of Oz did that for me this holiday season, especially with Wicked now having hit the mainstream cinematic world. The LOH production, directed by David Bondrow, embraced the practicality of minimalism, using only a projector screen as the main set backdrop. This transported the audience to the Land of Oz and the realm of make-believe. It was as though the director wanted us to see through the smoke and mirrors of what the great and powerful Oz represents.
If you ever wonder how much of the world of Oz one person can consume, the answer is an infinite amount. The only stage adaptation of The Wizard of Oz I had seen before was Andrew Lloyd Webber’s 2011 musical, which, in comparison to L. Frank Baum’s original, stands out on its own. When it comes to The Wizard of Oz, there is no wrong way to tell the story because it’s about the idea and belief that one’s world can be better than it currently is. Sometimes, we just need an alternative perspective on what we already have.
This production is truly “over the rainbow” with its talented cast and exceptional directorial choices. Fran Landis did an incredible job directing the cast, ensuring they harmonized and never missed a note. Beyond the rainbow, this production delivered an ear-pleasing rendition of every song, one that would make Harold Arlen and E.Y. Harburg proud.
Isabella Bindemann stunned as Dorothy Gale. She captured Judy Garland’s innocence and sweetness, maintaining that charm as the show progressed. The production never lost its rhythm or momentum, and Bindemann was effortlessly absorbed in the role, bringing a fresh and original energy to the show. Aiden Durkin, who impressively puppeteered Toto, was a joy to watch among this diverse stage of seasoned and amateur actors. His skillful manipulation of the puppet added a unique dynamic to the show’s simplicity.
Clara Tan delivered a phenomenal performance as both Miss Gulch and the Wicked Witch of the West. Tran brought a cynical, mischievous energy that was both captivating and entertaining. As a fan of witches—having just seen Wicked and Marvel’s “Agatha All Along”—I found Tan’s portrayal of the Wicked Witch to be transcendent. There was truly “no good news” when her character was melted away by Bindemann’s Dorothy. Tan was a true pleasure to watch, both as Gulch and as the Wicked Witch. Alongside Dorothy on her journey down the Yellow Brick Road are the classic troupe of loyal companions: the thoughtless Scarecrow, who wishes he had a brain, played by Connor Hesch; the heartless Tin Man in search of a heart, portrayed by Joe Greenan; and the cowardly Lion seeking courage, played by the marvelous Michael Wells. Each actor brought something essential to their roles.
Wells, staying true to the original character created by Bert Lahr in the MGM film, infused the Cowardly Lion with both comedic timing and sass. In full costume, he truly embodied the “king of the forest.” Greenan, who shimmered in his silver makeup and Tin Man costume, also gave a masterful performance. His slow transformation from the rusted, stiff Tin Man—lacking a heart—into a character who gradually grows empathetic, alongside his companions on their path to the Emerald City, was a joy to watch. Lastly, Hesch, who was anything but “straw and hay,” was splendid as the Scarecrow. His choreography and dancing were spot-on, and he moved with such lightness and finesse that he might as well have been made of straw.
Emily Yancey, who played both Aunt Em and Glinda the Good Witch, did a phenomenal job at differentiating her characters. As Glinda, she was literally “bubbly,” with her bubble wand, which was a true pleasure to see on stage. As Aunt Em, she portrayed a cold, distant figure who just wants to count her chicks before the tornado strikes. Zachary Haumesser, who doubled as Uncle Henry and the sympathetic Emerald City Guard, was a thrill to watch as he brought his comedic and caring portrayals to life for both characters.
Jon May, who played the Great and Powerful Wizard of Oz (and Professor Marvel), maneuvered the seriousness of being the mysterious and illustrious man behind the
curtain. He may or may not have “swinked” Dorothy into going on her journey of self-discovery.
The show would not have been complete without the citizens of Munchkinland, the Ozians, and the Winkies—the troupe of refined actors who were abounding and boisterous. This troupe, composed of Sydney Conrad, Emerson Disch, Zachary Haumesser, Robert McKnight, Meg Periece, Matt Rittler, Aimee Walker, and Kira Whitehead, were the “swakified” bunch of this production of The Wizard of Oz. Aimee Walker’s show-stealing jitterbug scene—a song and scene originally cut from the film adaptation—truly made this production stand out with its minimalist choreography.
If your household is anything like mine, where a good classic brings in the holiday spirit, then look no further than Lancaster Opera House’s The Wizard of Oz. The production stays true to the original, and although they use backing tracks, the actors do a wonderful job of making the most of what they’re given, ensuring the show is a true pleasure to watch. The Wizard of Oz runs until December 8th, 2024, and tickets are available for purchase via the Lancaster Opera House website at www.lancasteropera.org or by visiting the Box Office.
