Skip to main content

Review of The Wizard of Oz at Milton Keynes Theatre

The Wizard of Oz, first brought to the world in L. Frank Baum's 1900 novel and more famously turned into a classic 1939 film, has become a staple family tale, known throughout all ages as a result. Therefore it was little surprise that back in 2011, musical maestros Andrew Lloyd Webber and Tim Rice created their own musical of the story, incorporating original film songs by Harold Arlen and E. Y. Harburg, and populating it more with those of their own. Since its first appearance in the West End, it has had a number of tours and revivals and this new one, reaching Milton Keynes Theatre this week, plans on once again bringing it to another new audience and back to those of old. The question is, does it do the world-famous story justice?

First of all, the lead definitely does the story justice, as taking on the iconic role of Dorothy is Aviva Tulley and she very much makes it her own from the very beginning with a stunning performance of the classic song Over the Rainbow and continues throughout to be a delightful character on stage. There is a brilliant confidence in her performance and boundless enthusiasm, coupled with her stunningly perfect singing voice makes her one of the strongest parts of the production

Company for Dorothy is of course the rather splendid Toto, and in this production, the tour takes the safe route of a rather delightful puppet dog, controlled brilliantly by Abigail Matthews. While some children (and adults) might miss the appearance of a real dog, it does allow Toto to be much more of a character within the show, be it from stealing sausages or a great little "What's that Skippy?" moment.

Across Dorothy's adventures in Oz, she of course meets her new friends, The Scarecrow, The Tin Man and The Cowardly Lion, and here, as always comes much of the entertainment within the story of The Wizard of Oz.

Playing The Scarecrow is Benjamin Yates and he brings an excellent physicality to the role alongside some deft playing of his constant dumbness. Femi Akinfolarin plays The Tin Man, more as a slightly broken robot rather than a tin man made of cans and his suit, one of many excellent costumes from Rachael Canning, is more of a science fiction creation of the future than that depicted in the film. Finally, of the characterful trio, Nic Greenshields plays The Cowardly Lion pitch perfectly and is easily the most entertaining of the three. It is well-judged casting-wise also, that Greenshields great height, plays beautifully with his being scared of his shadow and indeed, everything else. A great performance with some excellent in-jokes as well for the character.

The main name within the cast is of course the appearance of Craig Revel Horwood as The Wicked Witch of the West and he doesn't disappoint with his enthusiasm in the role, bringing both his natural larger-than-life character to the stage alongside quite an impressive singing voice. Finally from the cast, both Alex Bourne as The Wizard and Emily Bull as Glinda do as much as they possibly can from their slightly limited roles in the production.

The songs are brought to life with enthusiasm from the cast and even more enthusiasm from musical director Iestyn Griffiths alongside his orchestra. However, the very best of the numbers are still those of the original with no real classics coming in this show from the work of Lloyd Webber and Rice. There were unfortunately some issues with the volume at times as well, especially early on during the Kansas intro with music drowning out much of the sung dialogue.

Set design from Colin Richmond is minimal as this new production relies mostly upon projection, designed by Douglas O'Connell. These provide a vivid backdrop to the adventures of Dorothy and her new friends, but it does continue to become a sad path of modern theatre shows relying more on visuals such as this rather than solid, innovative physical set design. At times they can also be incongruous as well to the scene setting, with one key one during the classic Over the Rainbow number. This whole scene plays out with Dorothy, Toto and two hay bales, simply positioned dead centre across a country road visual backdrop. There is no denying the quality of these backdrops, but this is theatre and not cinema, and while its use can be an advantage in places, it shouldn't become 90% of the scene setting in shows as it easily feels it is here. 

The Wizard of Oz never fails to entertain and there are within it, many five-star moments including some great performances. However, as a whole, with the lack of production ambition (no stage flying for any characters for instance), and some sound issues, it fails to become a stage show deserving of such a classic name.

Entertaining throughout, but lacking the production values in key areas makes it overall a disappointment.
⭐⭐


Performance reviewed: Wednesday 17th July 2024 at the Milton Keynes Theatre.

The Wizard of Oz runs at Milton Keynes Theatre until Sunday 21st July 2024.

For further details about Milton Keynes see their website at http://www.atgtickets.com/venues/milton-keynes-theatre/

Production photos: Rich Lakos


Popular posts from this blog

Review of Bat Out Of Hell - The Musical at Milton Keynes Theatre

Bat Out of Hell - The Musical was first realised as a stage musical back in 2017, opening at the Manchester Opera House. Since then, it has achieved significant international success. Now, as part of a new UK tour, it has returned to Milton Keynes Theatre, which it previously visited in 2022 during its global tour. The storyline of Bat Out of Hell , written by Jim Steinman, draws on the story of Peter Pan as a basis and evolves it within a dystopian world, where a group of teenagers known as The Lost live forever at the age of 18. This plot is both flimsy and initially confusing; however, within the music of Meat Loaf and Jim Steinman, it finds a rough-around-the-edges polish that allows this weakness to shine through and succeed. At the centre of this group of teenagers is Strat, who, following an unexpected encounter, falls under the spell of Raven. Within this, a megalomaniac lurks, as all dystopian worlds require. This maniac is Falco, the father of Raven and Sloane's husband....

Review of Murder She Didn't Write at Royal & Derngate (Royal), Northampton

Murder She Didn't Write , stopping off for a four-day run at Royal & Derngate on a lengthy UK tour, treads the now well-worn path of an improvisational evening of theatre entertainment. Unsurprisingly, from the title, this show from Degrees of Error's takes a murder mystery as its inspiration, with the story influenced by ideas from the audience each evening. Due to this, Murder She Didn't Write and a review are very much an individual affair. What I saw in my evening at the theatre will differ significantly from what the audience will see the following evening; however, the fine performers will remain. The touring cast, in no particular order, is Lizzy Skrzypiec, Rachael Procter-Lane, Peter Baker, Caitlin Campbell, Stephen Clements, Douglas Walker, Harry Allmark, Rosalind Beeson, Sylvia Bishop, Emily Brady, Alice Lamb, Sara Garrard, Peta Maurice and Matthew Whittle. For my performance, Skrzypiec, Procter-Lane, Baker, Walker, Bishop, and Clements were on stage alongsid...

Review of The Blue Road by R&D Young Company at Royal & Derngate (Royal), Northampton

I have a 100% strike record with the wonderful Youth Theatre group at Royal & Derngate, they have never let me down with a show and sometimes with those of Sweeney Todd and Kontact , have provided me with some of the very optimum theatre points of each year. The Blue Road, their very latest production for me is slightly less successful. However, it thankfully and perhaps not surprisingly, is nothing to do with the constantly talented bunch of actors that gather in this group. My problem lies in two places, of play selection and the way it is told. The Blue Road chronicles the story of a group of young people on the backend of a not totally described crisis, and this, unfortunately, is where we were more or less just two years ago with the Young Company and their show Immune . I have always been interested in these post apocalyptic stories and often love them, however for the same group to do two so close together feels a shame. They challenge certainly, but I am sure there ar...