The Wizard of Oz

From the previous run at the London Palladium Theatre. Some actors have now left the cast.
(seen at the afternoon performance on 13th July 2023)

The show started almost 15 minutes late without any obvious explanation and certainly no panic among the front of house team. It was warm in the theatre too, and the seat was one of the wider ones, so particularly comfortable. 

Thus the monkey cannot be blamed for dozing off and finding itself in a dazzling technicolour world where animals can speak and so can scarecrows and tin men. There was a yellow brick road leading to a dazzling emerald city, and the monkey’s second favourite thing of all (after bananas, of course) – a billion quick-fire visual and verbal jokes to love and laugh loud at.

Forget the 2011 run on this same stage. Times have moved on – this Oz is a cross between the 1930s Great Depression era and current times. Technical theatre can do so much more, allowing set designer Colin Richmond and video designer Douglas O’Connell to produce an “early TV screen” stage surround at the front, giant video screen containing the most amazing and witty animation possible at the back; and some goofy scenery in the space between.

The “Yellow Brick Road” itself is absolute genius. The monkey won’t spoil it by explaining how it is done, but suffice to say it does not rely on the stage floor. Regarding projections, tribute is paid gloriously to the original movie cast for those quick enough to recognise them, and there is some brilliant word-play in the commercial signage of the place over the rainbow.

A large cast and ensemble match their surroundings. Fresh from “Oklahoma!”, Georgina Onuorah is an older and more rebellious Dorothy able to eschew the usual rather thin naivety of childhood and explore Oz with half-formed adulthood. Her “Over The Rainbow” explodes within the auditorium not just with vocal power, but realisation and longing as she unlocks new inner emotions and desires.

Her first encounter with “Professor Marvel” is a promise of things to come. Her tutoring about the wider world is delivered in trade mark Gary Wilmot style. Loveable (and Wonka eccentric in his later Wizard guise), he gets the best of the new Lloyd-Webber / Rice songs “Wonders of the World”, one embarrassing slide and a meeting with Toto (Ben Thompson’s expressive manipulation of Rachel Canning’s ingenious puppet) to fuel up for the journey.

Shortly thereafter, Ben Cracknell’s lighting works overtime, in conjunction with a little stage smoke and well-shot video, to take us to new lands where the farm folk we met earlier become new and very different people. 

The arrival in Munchkinland is a creative high point for choreographer Shay Barclay, director Nikolai Foster and costume designer Rachael Canning – with one visual joke rolling laugher as more of the audience spot it.

Thereafter, act one is about Dorothy collecting new friends, each actor imbuing a memorable personality.

Proving that good things come to good people, Christina Biano as the Good Witch of the North gets a lovely vocal solo and two of the best props in the show. No doubt she’ll be trying to hang on to the Barbie Pink scooter and fabulous wand forever if she can (though her antithesis's bazooka / stiletto hybrid is nearly as cool if not half as attractive). Known in London more for cabaret and vocal impressions, this lady can do so much more – and no doubt will grace many other West End musicals in future.

First travelling companion of Dorothy, Louis Gaunt has learned from his recent panto season on the same stage and times his Scarecrow’s forgetfulness to elicit maximum sympathy. A charming compassion runs through him, smoothing the path of our second meeting, a tin man at an “Ozzo” Station (yes, the puns keep coming).

Ashley Banjo is completely new to musical theatre, making an assured debut. His unique dance gifts are given free rein and are compelling as oil does its lubrication job. His singing and acting more than holds up and are clearly developing over the run as his personal confidence grows. Rather inspired casting in a costume that suggests “Starlight Express” the early years.

Stage veteran Jason Manford as Cowardly Lion has no such inhibitions. Our boxer (ring fans will love the “Lionsmane” label looking like “Lonsdale” on his shorts) is nothing but a big scaredy cat – though supportive friend of Dorothy (half the audience got that one). 

Manford more than anyone binds the trio, and they are clearly enjoying the camaraderie around our heroine, but also sharing bonding moments - and a decent song - later in the show without her.

This helps, as the musical does remain somewhat front-loaded. Most of the famous songs and the biggest dance routines happen before the interval. 

There is also a slight plot hole in the second act as the audience are left wondering where the outfits came from allowing our hapless trio to beat the scanning into Wicked Witch W Industries HQ – almost. Fun moment, though, and the following sequence contains outstanding magic (Scott Penrose) with the sincerity of her acolytes winning their freedom a strikingly joyous occasion. 

If additions “Red Shoe Blues” and “Already Home” are not quite a match for the Arlen and Harburg standards, their message in the second half and the sincerity of performance are more than enough to carry the show to a movingly philosophical conclusion.

The booing for our Wicked Witch of the West (Dianne Pilkington – delightfully green evil with a “Wicked” voice of course) as she took her curtain call – and her grinning appreciation, the small children rushing down the aisle to be close to their heroes in the final moments (and the heroes being special enough to wave back) are proof of how well this production connects with all ages.

Producer Michael Harrison... has one factory producing yellow bricks which turn out to be gold.