The Wizard of Oz

The Wizard of Oz needs no introduction, although it has to be said that I rarely get the opportunity to see this Classic musical due to the technical complexity of the production.  However I am delighted to say that tonight the Mansfield Operatic team created an interpretation that had exactly the right balance of technical wizardry while at the same time a focus on telling the story through excellent characterisation, vocal quality and dance prowess.

At the heart of any production of the Wizard of Oz is Dorothy, and to be a successful production the actor playing Dorothy needs to be a true triple-threat majoring on vocal delivery and acting and in Macey Shaw we have a performer who was full of the talent required to fill the Ruby Slippers and drive the production from Cansas to Oz, and back again.  Macey’s vocal delivery was always s on point from solo work in “Over the Rainbow” to close harmony work with the Scarecrow, Lion and Tinman, to leading the full ensemble of munchkins and townspeople alike. 

Not only do you need a strong Dorothy but the other essential ingredient in a production of Oz is the actions and reactions Dorothy has with the aforementioned characters and here, once again the production had three actors who excelled in their various dual roles.  Jamie Savage was, as usual, in sparkling form as the Scarecrow and Hunk.  Jamie managed to immediately establish his Scarecrow as a firm favourite with the audience.  You could easily believe he was made out of straw as his movement was so dynamic and fluid in “If I only had a Brain”.  Also in great form was Oliver Ward as the Tinman/Hickory again his physical prowess brought his character to life for the moment he started to move each limb as it was oiled.  In addition to his physicality Oliver was vocally strong throughout the night and his acting and reacting with Macey and the rest of the crew was very well judged.  Lat but by no means least we come to Wayne Shutt as Zeke/Cowardly Lion.  I have never heard anyone channel Burt Lahr more effectively and this was clearly the case for the rest of the audience judging by their reaction to “Put um Up!”  The success of Wayne’s performance was grounded in his comic abilities both in terms of movement, comic timing, vocal delivery and ability to throw in the odd ad-lib that didn’t distract from or upstage his colleagues.

Helen Savage and Carolyn Frith were clearly having great fun as the two sparring Witches (North and West respectively).  I was particularly impressed with the ability of Helen to deliver a perfect acting performance while suspended 20 feet above the stage and was always entertained by the scene stealing stagecraft that Carolyn brought to every scene she was in.  Her broom work shown in the “making of” picture in the programme was testament to how committed she and all the team were to making all the stage effects “real” for the audience both young and young at heart alike.

Matthew Bird pitched his performance as both Professor Marvel and The Wizard at just the right level.  His bombast was suitably intimidating, complete with green screen enhancement and when exposed as a fraud his humility was not overly exaggerated.  Garry Richardson took what could be a minor role and filled the Emerald City Guard with such comic timing and dynamic movement that he became one of my highlights of the whole production.  Without upstaging his fellow cast members, Garry managed to draw my attention in every scene he was in!

Although the show’s storyline focuses on all things Oz, you do need a strong sympathetic Aunt Em and Uncle Henry to make Dorothy’s desire to get back home believable.  Ann Colgan and Graham Berridge both delivered just the right performances to achieve this making the final return to Cansas a celebration rather than an anti-climax which sometime can be the case.

No production can be a success without a strong Ensemble and Dancers in Munchkinland, On the Yellow Brick Road, The Emerald City and the Wicked Witches Castle.  It was be invidious to single out any performer, human and canine alike, so I will simply say that together you all delivered essential elements to the production including:  The “Wall of Harmonic Sound” where every part was distinct and combined to deliver spine chilling choral and solo numbers and; the Dance breaks that drove the story forward, filled with precision and humour, and finally the technically complex elements of the production that were made to look effortless, the flying, the pre-prepared video inserts and the storm sequences all added to the production without overpowering the central story lines.

This technical show is a monster to attempt and I must congratulate Cassey Brough-Savage for her willingness to take on this double choreography and directing challenge.  You certainly succeeded in creating a great piece of theatre that I very much enjoyed!  Roger Holland, your attention to detail in the rehearsal room was clear throughout the night. Great diction and characterisation from principals and ensemble members alike making each Oz community and scene distinct.  The only drawback you faced was that you can’t easily vamp a backing track but the occasional silence between scene changes didn’t interfere with my enjoyment.  The backstage crew made all the scene changes move at pace to ensure that the pacing of show never faltered.  The technical effects were superb – congratulation to the unsung hero’s making them happen.   Costuming, lighting and sound all added to the production with a great balance between the musical accompaniment and on-stage performances.

Thanks all for a very entertaining night and I look forward to seeing you again in 2026 for Charlie and the Chocolate Factory.

© NODA CIO. All rights reserved.