Andrew Lloyd-Webber’s revamp of Frank Baum’s intergenerationally relatable tale, by adding a few twists to the cocktail that we all grew up drinking, reawakens the taste buds without souring the memories of the original recipe.
While updating an iconic musical can be riskier than running away from home during storm season, the public’s perceptions of the land of Oz were indelibly altered long before the London Palladium premiere of this new production in 2011. Stephen Schwartz’s 'Wicked' in 2003, with its drastic new characterisations of Glinda and the Wicked Witch of the West, paved the way for Andrew’s less radical tinkering with the source material. This new production is such a success, though, because none of the updates were superficial or gratuitous; each new Andrew Lloyd-Webber and Tim Rice composition served a narrative purpose, and all of them seamlessly weaved into the existing thread.
While the mistakenly accused witch from Kansas, Dorothy is given one new solo piece, ‘Nobody Understands Me’, it is the self-proclaimed wizards and witches of Oz that are the main recipients of the Lloyd-Webber/Rice magic. The Wizard was once simply a bumbling eccentric that bookended stage productions; it was almost a cameo. On the West End, Michael Crawford was the great and powerful Oz; Anthony Warlow is the Emerald City dictator in Adelaide; it is now a role of substance which requires vocal chops and dramatic range. Anthony, on the menacing ultimatum ‘Bring Me The Broomstick’, sounds a little like the Phantom of the Opera, a little like Mr Hyde. As Professor Marvel in Act One’s ‘The Wonders Of The World’, he is a charismatic showman. His mannerisms and commitment to character, when melded with his elite vocals, make this a performance of refinement. As Glinda and the Wicked Witch respectively, Lucy Durack and Jemma Rix nail their opportunities to shine on new songs ‘Already Home’ and ‘Red Shoes Blues’ respectively.
Image © Jeff Busby
With her hair moulded into a spike like Jim Carrey’s Grinch, Jemma delights in her wickedness. Aside from Batman’s Joker, there is perhaps not a more trademarked laugh in showbusiness, but she managed to make it her own. Lucy, as Glinda, times every punch line with precision. The four brick road walkers, Samantha Dodemaide, Eli Cooper, Alex Rathgeber and John Xintavelonis are more reminiscent of their original incarnations, but none of them dial in impersonations of previous versions. John’s Cowardly Lion, makes use of his riotously designed costume, even demonstrating moves learnt from the Karate Kid; Alex’s Tin-Man’s tap-dancing feet ring like his metallic body; Eli’s Scarecrow claims not to have a brain, but is adept at slipping in some subtle sexual innuendo. Samantha Dodemaide rises above the comparisons and expectations, delivering a star turn. She would undoubtedly be the show stealer, if not for the presence of her companion Toto, played by an immaculately trained pack of pooches of profound serenity, and the spectacular visual effects and staging. This is a show worth seeing for the lighting and sets alone; it is a production that is cinematic in scope, with spellbinding set pieces; Glinda descends, the Wizard ascends, the Twister twists. Even the little things in this show dazzle; by little things I mean Munchkins and Winkies, a tightly choreographed troupe of dancers and singers.
This April, there’s no place like the Festival Theatre, there’s no other show like this, there’s no entertainment money better spent.
★★★★★
'The Wizard Of Oz – The Musical' Dates
From 3 April 2018 – Festival Theatre (Adelaide)From 15 May 2018 – Regent Theatre (Melbourne)
