There’s no place like the Grand Opera House York this week – as York Stage whisk audiences over the rainbow in a dazzling retelling of The Wizard of Oz.
In the wake of Wicked’s phenomenal success, it feels timely for York Stage to revisit L. Frank Baum’s original story, with their own creative touch. The audience gathers in anticipation as we join Dorothy on an enchanting journey, as she meets lions and scarecrows and tin men, oh my!
The Wizard of Oz is at the Grand Opera House York from Friday 12 to Saturday 20 September.
As the production commences, it’s a slow burner, however this is part of its charm. Grounding us within the simplicity of Kansas makes the colourful arrival in Munchkinland all the more impactful. This welcome explosion of life was possible thanks to Charades’ fabulous costume design and a makeup and hair team led by Phoebe Kilvington, who supplied the most extravagant of wigs and makeup. This attention to detail brought each marvellous character to vivid, imaginative life.
It takes a brave Dorothy to hold her own against so many large personalities, but Erin Childs did just that with warmth and grit. If this were a ship, there was no doubt she was captain. It was a Dorothy with real gumption and her unwavering sincerity made it easy to invest in her journey back home.
And upon this journey, Dorothy finds herself three strays, perfectly cast in their respective roles. Flo Poskitt’s Scarecrow was a goofy delight, using her incredible vocal abilities and facial expressions to maximise comic effect. Stu Hutchinson, armed with his English charm, added sweetness and heart to the role of Tin Man, whilst Finn East’s Cowardly Lion won over audiences from his very first appearance and he mixed nerves with bravado effortlessly. Together, the foursome created an undeniably entertaining presence throughout each twist and turn.
But let’s not forget Toto! The fabulous Freddie was our four-legged star, who captured audiences’ hearts instantly – love at first sight springs to mind. As we took our trip over the rainbow the marvellous Sarah Jackson stepped in seamlessly as the puppeteer; she showed great stamina and agility as she dashed about the stage with ease.
As usual director Nik Briggs’ staging brought a fresh feel to the production, enabling its innovative approach to shine. The infamous twister scene, which is oh-so-difficult to portray, was cleverly executed through the use of projection and a little theatre magic; this set the show off to a flying start!
In fact projections were used throughout, and whilst they helped elevate the story at times, a couple of moments did fall slightly short due to their sticky nature. The Wizard’s scene specifically lacked some power and spectacle, and the Wicked Witch’s demise could have done with a little more dramatic oomph. Or maybe this is picking at specifics because of their high bar they set.
However, these are minor quibbles, in an otherwise highly creative and immersive design. The staging enabled us to transition beautifully between the dusty plains of Kansas to the vibrant, fantastical worlds of Munchkinland and Oz. Paired with an abundance of special effects and imaginative lighting by Adam Moore, it gave audiences the opportunity to step into Dorothy’s shoes and experience this alongside her.
York Stage also made a playful nod to Wicked in their wonderful witchy designs. Miss Gulch/Wicked Witch, played by the talented Emily Alderson, made it clear she was anything but green in her portrayal. She commanded the stage with pure vengeance in a faultless casting choice. Whilst Glinda, Carly Morton, floated above the action in her iconic bubble, delivering vocals of pure angelic clarity. Although they rarely shared stage time, the witches’ contrasting approaches gave the show a satisfying balance of light and dark.
Musically, this was a feast. Under the well-trusted baton of musical director Jess Viner, the 14-piece orchestra handled the challenging score with style and precision, never missing a beat. A particular highlight was act two’s The Jitterbug, where orchestra and choreography collided in perfect synchronicity.
Damien Poole’s choreography shone throughout, from the hypnotic marching of the Winkies to the grand ensemble numbers like The Merry Old Land of Oz, his work gave the production vitality and pace, allowing the large cast to shine brightest when together.
This Wizard of Oz is, at its heart, a family-friendly affair. The sound of laughter from children, the appreciative applause from adults, and the visible joy shared across the auditorium proved that York Stage had achieved the ultimate goal: to not just show us this magical tale but envelop us within it.
But be warned: tickets are vanishing faster than the Wicked Witch of the East. If you want to follow the Yellow Brick Road alongside Dorothy and friends, don’t delay – click your heels and secure your tickets here.
The Wizard of Oz is at the Grand Opera House York until Saturday 20 September. Tickets start from £15.40.
