BWW Reviews: Tricky New WIZARD OF OZ Storms Into the OC

The last time Southern California audiences got a full sampling of the "all new" stage adaptation of THE WIZARD OF OZ---spearheaded by Andrew Lloyd Webber and director Jeremy Sams---it was during its North American tour stop at the Pantages Theater in Hollywood last autumn. During my first taste of the show (which I reviewed here), I was certainly wowed by its technical wizardry and its talented cast, but was sadly underwhelmed by how much of the original film's stirring, emotional magic and innocent fantasy had been stripped away in favor of easy, high-camp laughs, dazzling onstage visual effects, and head-scratching staging choices.

While I appreciate the amount of bravery and creativity required to mount such an undertaking---that not only tries to honor its source material but also tries to reinvent it for a new generation---the whole enterprise itself is, unfortunately, that much more susceptible to scrutiny. Unfair or not, it's difficult not to compare anything that carries the OZ title against the beloved 1939 MGM Classic that entertained gazillions for decades. Even the show's program blatantly states that this show is both an adaptation of L. Frank Baum's book and based on the Turner Entertainment/Warner Brothers-owned movie.

Arguably, the songs, images, and nuances of that superb film are so deeply imbedded in our collective brains that any kind of deviation attempted by a new revival or production better be a damn, effing good one. That's truly a lot to live up to---and, regrettably, this new OZ doesn't quite reach over the rainbow.

I think perhaps a small part of me had hoped that a few alterations have been enacted into the tour now that it has arrived an hour south in Costa Mesa months since that L.A. premiere. Alas, no.... the very same show (except for a cast change or two) is now playing at Orange County's Segerstrom Center for the Arts through February 23.

Just to be clear, this new OZ is hardly a dud. For all its exposed flaws, narrative speedbumps, and curiously added or altered sequences, this production certainly holds your attention for its entire running time.

Much of it is genuinely entertaining---particularly for the youngest ones in the audience---and many of the new, self-aware dialogue is amusing to a point (though I still feel that the newly over-effeminate Cowardly Lion, who all but comes out of the closet, pretty much still straddles a fine line between clichéd haha and offensive stereotype; the single punchline joke really overstays its welcome). This new millennial OZ, you'll notice quickly, wants to be more snarky and meta than your parents' OZ, that's for sure.

So to ensure its entertainment value, there's also plenty of dizzying eye-candy to stimulate the senses---very much what you would expect from a Webber production. The computer-animated sequences and projections alone are mesmerizing, especially for displaying what seems impossible to showcase on a musical theater stage. It's a technique the show relies on quite a lot.

And perhaps because this new production exists in a post-WICKED world, one can't help but see that Broadway blockbuster's influence on this adaptation, too (perhaps in an attempt to piggy-back on that hit show's formula). Farm gal Dorothy (the beautifully-voiced Danielle Wade) is seen as less a whiny adolescent but more of a smart, misunderstood dreamer with slight "activist" tendencies. Glinda the Good (Robin Evan Willis) is much sassier and perkier than previous portrayals (aside from the Glinda in WICKED, that is).

Meanwhile the Wicked Witch (the delightfully over-the-top Jacquelyn Piro Donovan) is more sarcastic and sex-ified, and with a touch more Mean Girl in her. Her textured black dress even screams Act Two Elphaba! But perhaps the most telling of all: the audience's first glance at this show's version of Emerald City. As soon as you see it, only one thing will enter your head: the song "One Short Day." This OZ's idea of Emerald City is so similar to WICKED's that the only thing missing from "The Merry Old Land of Oz" is a trip for the gang to Wiz-O-Mania, for goodness sakes!

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Michael L. Quintos Michael Lawrence Quintos is a quiet, mild-mannered Art Director by day. But as night falls, he regularly performs on various stages everywhere as a Counter-Tenor soloist, actor, and dancer for The Men Alive Chorus since 2002. He's sung everything from Broadway, Jazz, R&B, Classical, Gospel and Pop. His musical theater roots started early, performing in various school musical productions and a couple of nationally-televised programs. The performing bug eventually brought him a brief championship run in the Philippines' version of "Star Search" before moving to Las Vegas at age 11. College brought him out to Orange County, California, where he earned a BFA in Graphic Design and a BA in Film Screenwriting. He has spent several years as a designer and art director for various entertainment company clients, while spending his free time watching or performing in shows.

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