The Wizard of Oz

Rainbow Roadies

The Wizard of Oz

by L Frank Baum, adapted by John Kane for the Royal Shakespeare Company

Step on Stage at the Hampton Hill Theatre until 13^th January

Review by Michelle Hood

The delightful Wizard of Oz rarely fails to enthrall audiences with its familiar mix of rich characters, fantasy and memorable melodies.  And this production at Hampton Hill Theatre, by the performing arts school Step on Stage is no exception.  Indeed, this was an ambitious project for a children’s production, using the full-length RSC adaptation, and running for some two and a half hours.  With a cast of just under forty children and young adults, all under sixteen, even the marshalling of the performers and their many entrances, exits and costume changes was a vast undertaking, and which was managed seamlessly.

Director Emma Tinniswood is to be congratulated by the way she filled the stage with colour and movement, aided by Ashley Johnson’s creative choreography, which was capably executed by an energetic cast.  The production values were enhanced by good use of colour, from the drab greys and blacks of Kansas to the bright yellows and greens of Oz.  Particularly effective were the use of different coloured umbrellas, such as the blue and green umbrellas in the “munchkin” scene and the red umbrellas in the “poppies” scene.  Effects too were excellently executed, such as the tornado scene, and the countless costumes reflected what must have been hours of work put into their creation, from frilly white tutus to polka-dot skirts – all key elements in creating the enchanted world of Dorothy with her ruby slippers and blue and white gingham dress.

Most of all, congratulations must go to the whole cast for their well-drilled ensemble work with much talent on show.  Underpinning this exuberant cast were Freya Peltonen (the good witch Glinda) and Jessica Jenner (Wicked Witch of the West).  Both displayed a confidence beyond their years and held the stage with authority and presence.  In fact, Jessica Jenner’s green-faced witch was spellbinding throughout, from her initial entrance from the back of the auditorium, scaring some audience members rigid, to her final screaming melt-down scene.  Freya Peltonen created a fresh dynamic to the character of Glinda making her a modern-day girl complete with scooter, streetwise manners and contemporary accessories such as her pink leather jacket. 

The other main characters were shared between two different cast members, on alternate performances, including the roles of Dorothy, Scarecrow, Tinman, Lion, Professor Marvel-Oz and Aunty Em among others.  On the first night, Dorothy was played by Scarlett Powell who gave a sincere performance and maintained a strong singing voice throughout with an especially emotional rendering of her “Rainbow” reprise; a commendable performance in which she held the stage with an effective presence.  It was, however, unfortunate for both the Dorothys that their song Over the Rainbow tended to be lost against the over-loud pre-recorded music – perhaps a solo piano accompaniment would have been more subtle.

Other eye-catching performances on the first night were provided by Oriana Brexel’s cowardly crying lion, expressing good comedy timing, and Catia Estorninho’s fluid, floppy and brainless Scarecrow.  Another thoughtful performance was given by Rosie Campbell, with her very believable portrayal of the mysterious travelling fortune-teller Professor Marvel.  In fact, all the leads were confident, displaying much talent with strong singing voices and fluid dance movements.  The famous scene of the four companions – Dorothy, Scarecrow, Tinman and Lion – dancing their way upstage to the Yellow Brick Road was beautifully orchestrated. 

In the alternative casting, Dorothy was played by Jesika Gonzales Penny.  Again, this was a sensitive performance played with conviction in which she held the audience’s attention.  Also in the alternative cast, Dorothy’s three friends, Scarecrow, Tinman and Lion, were played with great gusto and full of excellent comedy timing.  William McCauley-Tinniswood’s Scarecrow was tremendous fun as he strove to make his straw body rigid and his song and dance routines were first class.   Ivor Duke’s rusty Tinman was also well observed as he slowly became un-rusted following his muttered request for an oil-can.  Olyver Brewer’s Lion roared with a great ferocity as he veered between bravery and cowardice.  All three boys sang convincingly and displayed a good sense of movement. 

Being an ensemble production, there was also much to admire in the many equally important but lesser roles.  For example, the three haughty crows (and apple trees) were full of animation and fun and indeed the various munchkins were excellent, in particular the amusing Ada Norris as the Munchkin Mayor, displaying loud clear diction and all without a mic.  Also noteworthy was Emily Hill-Kelly’s Miss Gulch, whose animated facial expressions aptly captured the self-righteousness of this human equivalent of the Wicked Witch of the West. 

Finally, all the production numbers were rousing and colourful – the Munchkin sequence (Come Out, Come Out and Ding Dong! The Witch is Dead), Yellow Brick Road, We’re Off to See the Wizard and Merry Old Land of Oz.  Also, the very athletic Jitterbug scene was great fun, as were the three “If I only” songs – the Scarecrow’s brain, the Tinman’s heart and the Lion’s nerve.

This was an ambitious production for Step on Stage which successfully showcased many talented young people in a mature production of the classic story which was well-received by the enthusiastic audience.

Michelle Hood, January 2024

Image by ClipGround ©