The Wizard of Oz

The East Cheshire Musical Theatre Company returned to the stage with their production of The Wizard of Oz at The Forum Theatre, Romiley. This is a musical I’ve seen many times over the years, though not recently, so I was genuinely excited to revisit the magic of Oz and see how this company would bring such a beloved classic to life. From the moment the audience took their seats, it was clear that a great deal of thought had gone into creating a world that felt familiar yet freshly imagined. The stage setting immediately set the tone: a carefully constructed Kansas landscape with strategically placed set pieces that hinted at the journey ahead. Dorothy’s house, complete with an underground trap, sat prominently, while an old‑fashioned cart balanced the opposite side of the stage. Haze drifted across the set, and the pre‑show lighting created a soft, nostalgic atmosphere. It was a strong visual foundation that prepared us for the story’s emotional and fantastical shifts.

The opening number, Over the Rainbow, sung by Isabella Fallon as Dorothy, was a beautiful introduction to the production. Isabella’s interpretation was refreshingly understated she resisted the temptation to over sing or overact, instead delivering a version that felt honest and heartfelt. Her vocals were controlled, with excellent pacing, pitch accuracy, and breath support. It was a performance that captured Dorothy’s innocence and longing without ever feeling forced.

The transition into the cyclone scene was handled with energy and tension. We were introduced to Aunt Em, Uncle Henry, Hunk, Hickory, and Zeke, all of whom delivered grounded, genuine portrayals that honoured the original story. Their interactions built the emotional stakes effectively as the storm approached. While the projections and lighting during the cyclone were atmospheric and well‑designed, I did feel that the moment lost some of its dramatic impact due to the visibility of stage crew moving set pieces. A blackout would have preserved the illusion and heightened the chaos of the storm.

Arriving in Munchkinland, the audience was greeted by the cleverly placed legs of the Wicked Witch beneath Dorothy’s fallen house a humorous and iconic touch. Glinda, played by Francesca Bowman, made a graceful entrance. Francesca’s costume was stunning, and she carried herself with a serene elegance that suited the character perfectly. Her dialogue was delivered with a soft, nurturing tone that made Glinda feel genuinely comforting rather than overly whimsical. Her musical number was beautifully sung, with a warm, crystalline vocal quality that floated effortlessly through the theatre. The Munchkins themselves were a highlight of the production. These young performers brought infectious energy to the stage, fully committing to their roles with enthusiasm and discipline. Their vocals were bright and confident, and the choreography, executed with precision, showcased their excellent stagecraft. They should be incredibly proud of their contribution; they helped create one of the most vibrant and joyful scenes in the show.

Dorothy’s journey continued with the introduction of the Scarecrow, played by Adrian Godding. Adrian’s physicality was particularly impressive, his loose, floppy movements captured the essence of a man made of straw. However, the recurring issue of his hat falling off did break the illusion slightly, revealing the hood underneath and distracting from the character. There were also moments in the dialogue where the Scarecrow’s personality didn’t fully come through; I wanted to hear more of the character’s trademark uncertainty and charm in his spoken lines. Vocally, though, Adrian delivered a strong performance with clear tone and confident musicality.

Next came the Tinman, portrayed by Kris O’Neill. Kris demonstrated excellent control over the Tinman’s mechanical movements, and his gestures were well‑defined and consistent. At times, the dialogue slipped out of character, which softened the impact of his otherwise strong physical performance. His vocals, however, were rich and expressive, bringing warmth to a character who famously longs for a heart. The Lion, played by Adam Garnett, was a standout. Adam struck the perfect balance between comedic exaggeration and genuine vulnerability. His characterisation was not overplayed, which made his cowardice endearing rather than cartoonish. He commanded the stage with confidence, particularly in scenes where his bravado crumbled into whimpers and nervous gestures. His timing, both comedic and emotional, was excellent.

Another standout performance came from Kate Longden, who took on the dual roles of Miss Gulch and the Wicked Witch of the West with remarkable skill. Her entrance and exit on the bicycle as Miss Gulch were executed with absolute confidence and added a wonderfully theatrical touch to the Kansas scenes. As the Wicked Witch, Kate demonstrated excellent control of the character, delivering sharp, commanding vocals and a perfectly pitched sense of menace. Her physicality, timing, and commitment to the role ensured that every appearance shifted the atmosphere on stage, making her one of the most memorable performers in the production.

The chemistry between Dorothy and her three companions was charming and believable. Their interactions felt natural, and the group numbers were cohesive and well‑blended. Isabella’s portrayal of Dorothy remained strong throughout, her sincerity, vocal consistency, and emotional clarity anchored the production. Gareth Baddeley’s performance as the Oz Guard was delightful. He brought humour, personality, and a memorable presence to the role, elevating scenes that can sometimes feel like transitional filler. Jon Gardner’s Wizard was equally impressive; he captured the character’s blustering authority while also revealing the insecurity beneath the façade. His scenes were engaging and well‑paced.

A special mention must go to Luna, the dog playing Toto. She was remarkably well‑behaved and added an adorable authenticity to the production. By the end of the show, she did look a little tired, understandable after such a demanding performance schedule, but she remained a charming presence throughout.

Producer Heidi Fletcher ensured that the production maintained a clear narrative flow, with strong characterisation in many key moments. There were times when scenes felt slightly laboured or dialogue lingered longer than necessary, but the overall creative vision was cohesive. The set design, props, and visual storytelling were thoughtfully executed. Choreography by Sally Hilliard was particularly strong for the younger cast members. Formations were clean, movements were well‑rehearsed, and the choreography enhanced rather than overshadowed the storytelling. Musical direction by Ed Nurse was confident and well‑balanced, with the live band delivering a wonderfully rich accompaniment that supported the cast without overpowering them.

Overall, this production of The Wizard of Oz was heartfelt, visually engaging, and filled with memorable performances. While there were moments that could be tightened or refined, the dedication of the cast and creative team shone through. East Cheshire Musical Theatre Company delivered a warm, nostalgic journey down the Yellow Brick Road, one that left the audience smiling long after the final bow.

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