Review: THE WIZARD OF OZ at Dutch Apple Dinner Theatre

You can’t go wrong with dinner and a show, and Lancaster’s Dutch Apple Dinner Theatre—now celebrating its 39th season—delivers a lively, family-friendly take on The Wizard of Oz, the beloved classic that continues to enchant audiences of all ages. While it’s nearly impossible to separate this story from the iconic 1939 MGM film, this stage adaptation invites audiences to set aside comparisons and enjoy a nostalgic journey filled with heart, humor, and imagination.

L. Frank Baum’s 1900 novel, The Wonderful Wizard of Oz, has inspired countless adaptations over the past century. At its core, the tale of Dorothy’s fantastical journey through Oz remains a story of friendship, courage, and self-discovery. Dutch Apple’s production leans into this spirit with a cheerful energy, a few fresh visual twists, and a cast that shines brightest when leaning into character-driven moments.

At the heart of the production is Cassie Meck as Dorothy, who brings a clear, expressive voice and strong chemistry with her three magical companions. Max Ashford’s Scarecrow is a true standout, offering a nimble, physically comedic performance that lights up the stage. Jacob Clanton’s Tinman taps his way into the audience’s hearts with one of the evening’s most crowd-pleasing dance numbers, backed by gorgeous harmonies from the apple trees. Victor Legarreta’s Cowardly Lion walks the fine line between humor and heart, leaving a memorable mark.

Ruthie Sangster brings warmth and sparkle to Glinda, while Remi Veronica delivers a deliciously wicked performance as the Wicked Witch of the West. Craig Smith is both quirky and dependable in his dual roles as Professor Marvel and the Wizard, and Zachary Ryan’s Mayor adds delightful comic timing in Munchkinland. 

Still, the production isn’t without its stumbles. Some choreography feels overly simplistic, and design choices—like umbrella apple trees and crows with orange beaks—seem more puzzling than playful. The use of digital screens, often a divisive element in live theater, is a mixed success. The tornado sequence is impressively executed and praised even by screen-skeptic co-reviewer Julia Davis, but other effects, such as the floating Ruby Slippers and a clunky digital Wizard projection, miss the mark and pull the audience out of the moment.

Perhaps the most telling moment of the night came in post-show debate over who delivered the most memorable performance: was it Ashford’s rubber-limbed Scarecrow, Legarreta’s roaringly funny Lion, Smith’s giggling Gatekeeper, Meck’s endearing connections, or Veronica’s powerfully menacing Witch? That there are so many worthy contenders speaks volumes.

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