Book to Screen
The classic motion picture was based on L. Frank Baum’s novel published in 1900. John Kane adapted the film for the Royal Shakespeare Company in 1987, and it is now playing in an exhilarating revival at the Metropolis Performing Arts Centre in Arlington Heights, Illinois.With his novel, Baum was trying to write a modern fairy tale that had the charm of classic children’s tales but none of its nightmarish qualities. In his introduction, Baum wrote that he wanted to eliminate “the horrible and blood-curdling” aspects of authors like the Brothers Grimm and Hans Christian Andersen. He felt that since modern education already included morality, children’s stories should focus purely on entertainment.
That perspective reveals what was expected of education at the turn of the century. It also surprising in light of the morals and life lessons that permeate the story. “The Wizard of Oz” teaches us that true values come, not from outside ourself, but from within. That is demonstrated by the way in which the Scarecrow looks for a brain, which he already has; in how the Cowardly Lion is searching for courage, which he already has; and how the Tin Man is looking externally for a heart that is already beating within him. These inspiring characters are unaware that they possess the very qualities they believed they lacked.
Screen to Stage
While attempting to transfer a beloved musical film onto the stage may seem daunting, the Metropolis Performing Arts Centre has risen wonderfully to the challenge. Directed and choreographed by Tor Campbell, the production brings all the wonders of “The Wizard of Oz” to life. Indeed, it’s amazing to watch the way the dance choreography creates the feeling that there’s a tornado loose in the countryside, spinning and sweeping as it tears through Kansas.
The stunning change between the drab farmland setting that is transformed into color as Dorothy enters Oz is dazzling. This is done through scenic designer Alyssa Mohn’s backdrop images, projections by Tony Churchill, colorful lighting effects by Sierra Walker, and costuming by Theresa Ham recreating the wondrous land of Oz. We believe Dorothy when she says, “Toto, I’ve a feeling we’re not in Kansas anymore.”
All the terrific songs, which include “Ding-Dong! The Witch is Dead,” “Follow the Yellow Brick Road,” and “We’re Off to See the Wizard,” written by Harold Arlen and E.Y. Harburg, come through with exuberance as led by music director Sharon Mason.
Moreover, the superb performances by an exceptional ensemble of players has us totally empathetic to the engaging characters. Nora Wragg is captivating and strongly suggests Judy Garland as she sings “Over the Rainbow” (a song that the movie producers at first thought would slow down the film but later left it in.)
In addition, Nolan Robinson delivers a convincing portrait of the Scarecrow. Jake Elkins comes through as a pussycat Cowardly Lion as does David Omari as the creaking Tin Man. Genevieve Thiers is a hoot trying to be a scary Wicked Witch, while Gabe Fries offers a humorous take as the blusterous Wizard, and Cali Spence is adorable as Toto.
Baum believed he was conjuring up a clever tale that would be fun for children. Little could he have imagined that “The Wizard of Oz” would steal the hearts of grown-ups as well. Those who have seen the movie will appreciate the cinematic delight come to life on stage, and those who have never seen the silver-screen motion picture will be in for a sumptuous treat.
