The Wizard of Oz

Many thanks to Blackpool & Fylde Light Opera Company for their invitation to follow the yellow brick road down to The Grand Theatre to enjoy their production of the Royal Shakespeare Company’s Wizard of Oz, and what a wiz of a show I was treated to! From the outset it was clear this was going to be a production of the highest standards and that instinct was proven correct time and again throughout the evening. 

Sophie Coulon’s excellent direction showed off all cast member’s strengths and abilities, making the most of the available space and using the full depth of the stage throughout to beautifully re-create the cinematic feel of the original well-loved film. I enjoyed the clever and subtle use of props to hint at the Kansas folks’ counterpart characters to come in Oz. The choreography by Danielle Woodhouse was inspired, enabling all ages and abilities to shine in their own right. The cast were clearly well rehearsed for their choreographed sequences, all moving and dancing with great energy and confidence. Of particular note was the way in which a few featured dancers dressed in black, flowing costumes were used to portray the tornado - this was very effective indeed, especially as they sporadically carried items such as fence panels and cows as they spun around Dorothy. I feel I must also just highlight Freddie Howson, an ensemble dancer and one of the crows. I am led to believe he doesn’t consider himself to be a dancer but nobody watching him on that stage would guess that! He is very much a natural dancer and really shone within the big ensemble dance numbers – well done Freddie and keep dancing! The music was provided by a 12-piece orchestra with George Baldwin ably at the helm; a young and very talented musician and musical director who has quickly made a name for himself across the region and is quite rightly in high demand. 

The orchestra was well balanced and sympathetic at all times to the on-stage action and needs of the cast, particularly during this performance when there were unfortunate technical issues affecting cast microphones in the second half for a while. George was quick to react and lead the orchestra in reducing their playing volume accordingly so that even without mics, the cast could be heard above the music (I was sat at the back of the dress circle) – very nicely done, bravo! Ensemble singing throughout, some of which was done from backstage was full of energy, some lovely harmonies and again, had clearly been well rehearsed.

The costumes, scenery, props and set pieces were delightful and scene changes were slick; this show really was a feast for the eyes and the flying rig was put to good use throughout with four different characters flying at various times.

Now to the main cast and what can I say about Dorothy?! Amy Dee Campbell shone brightly from the moment the overture ended and the spotlight was lit. She absolutely and wholeheartedly embodied the character in every aspect from her chosen tone of voice, vocal and facial expressions and solid accent, to her posture, movement and beautiful singing. It’s a while since I’ve sat in the audience and forgotten I’m watching an actor playing a character. Not forgetting of course, the natural way in which Amy skilfully handled Mr Ernie Bradley who, at only 6 months of age, made his stage debut as Toto! Amy – this really was a triumph of a performance from you, congratulations!

Jack Price, George Plant and Richie Reed as Scarecrow, Tin Man and Lion respectively worked very well together as a trio, with a lovely, natural chemistry between them. Jack’s Scarecrow was physically brilliant and he put all his dance training into creating the wobbly and unpredictable movements at all levels that we’ve come to expect from this character. George’s Tin Man never relaxed (I made a point of watching him when he wasn’t being featured in scenes) and he did a superb job of maintaining the stiff, almost robotic movements associated with the character. This was especially evident when performing unexpected movements like picking up dropped bits of costume/props fully in character. Richie created a very loveable cowardly lion without overdoing the cowardly aspect, which can sometimes ruin a performance – I felt he got the balance just right and he complimented the others of the trio perfectly. All three also had good vocals and very solid accents throughout, both in Oz and Kansas with each of them making appropriate choices in their delivery of dialogue, from tone to cadence to dynamic variance. Three solid and enjoyable performances; well done all.

Catherine Bradley and Amy Prendergast brought us the perfectly contrasting characters of the Wicked Witch/Miss Gulch and Glinda/Aunt Em. These again were both strong performances and they were well cast in these roles. Catherine struggled a little with her Kansas accent as neighbour Miss Gulch but once in Oz, she was a formidable character with a strong stage presence and really solid characterisation in voice and movement. Sophie Coulon directed an excellent witch melting scene which Catherine pulled off brilliantly. Amy brought a real air of softness and glamour to the stage and also had great stage presence, often having to grab attention on quite a packed stage. Her Aunt Em was a lovely strong character with some beautifully emotional interactions with Dorothy. Both Catherine and Amy did very well with the flying – it was graceful and didn’t look awkward at all.

Last but not least, the Munchkins were fabulous! They were all where they should be when they should be there and it was clear that they were loving their time on stage which is what amateur theatre is all about. Those with solo lines projected them confidently and they were all a real pleasure to watch.

Once again, thank you for inviting me to see this production. It really was a top-quality show and the cast dealt with the technical issues so professionally! I look forward to the next offering from BFLOC.

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