When in 1987, the Royal Shakespeare Company presented John Kane’s adaptation of “The Wizard of Oz,” based on the classic film, they followed the movie version pretty closely, albeit the Wicked With of the West was performed by an actor in drag. This bit of a queer touch was nothing compared to what A.C.T. has done, wonderfully, with the same adaptation. A.C.T.’s version is unabashedly queer, full of gender bending, glitter, fabulousness, wild casting choices, and overall insanity.
This is not to say that due respect isn’t paid to the movie classic. For one thing, the memorable score and lyrics of Arlen and Harburg are all here: “Over The Rainbow,” and the wonderful melody of the Scarecrow’s “If I Only Had A Brain,” repeated with variation in lyrics, by the Tin Woodman and the Cowardly Lion. Indeed, in this production, the verses of these songs, which were not included in the movie, are introduced and they are wonderful. There are also many of the original sound effects, instrumental music, and orchestrations that created the musical texture of the film.
So this is not an all new Wizard of Oz – it will be recognized by fans of the movie. Much of the original magic remains.
But this “Wizard” and this “Dorothy” have embarked upon an alternative yellow brick road, as it might have been imagined by The Cockettes, generations of San Francisco drag queens, Tyler Mac, Charles Pierce, Bette Midler, Quentin Crisp, Robert Patrick, Dan Curzon, Craig Russell, Theatre Rhinoceros and hundreds of other Queer theatre artists of the past several decades. Almost since its inception, the film of “The Wizard of Oz” (and, its star, Judy Garland) have been adapted as their own by Queer communities. And with this version, a proudly Queer company takes it and, respectfully, makes it entirely its own.
Don’t get me wrong: “Queer” in this context has nothing to do with smirking jokes about sex, gay or otherwise: This OZ is as clean as a whistle and 100% guaranteed family friendly. You have nothing to fear on that front.
The Queerness here is all about glitter, and dazzle, and great clothes, and style, and snapping, and prancing, and dancing in a celebration of diversity that is like a magic San Francisco kaleidoscope. It is, in its way, perfection.
As Dorothy, Chanel Tilghman (like Judy Garland before) captures the innocence and adolescent passion of the Kansas runaway. Her acting is fresh and her singing superb. She is well served by the inclusion of the verse to “Over The Rainbow.” By the time she gets to the famous chorus, she has won over the audience with an original interpretation that allows for no disappointment, making “Over The Rainbow” her own. She’s a modern adolescent with modern attitude, in a Batman tee shirt, and you won’t miss Dorothy’s traditional gingham dress one bit.
And so it goes, through all the characters. El Beh, one of our most versatile actors, is as great as ever as Uncle Henry, bristling with attitude and playing the cello to boot. Later they will pull at our heartstrings as the gatekeeper of the Emerald City. As Auntie Em, Katrina Lauren McGraw is straightforward. But her later transformation into the magnificent Glinda, Witch of the North, is beyond fabulous. Theirs is an award-worthy performance.
I could go on and on about every company member, but of course I must say something about Dorothy’s three travelling companions. Danny Scheie delivers an astonishing best-of-career performance as the Scarecrow. Childlike, gender bending, wise and innocent, bouncy and graceful, he delights with every turn. And he does a marvelous job of capturing Scarecrow’s gradually awakening wisdom. Darryl V. Jones’ Tin Woodsman is nothing short of delicious in its bouyant muscularity, a booming outdoorsman with, of course, a heart of gold. Let us move on to the Cowardly Lion, funny-as-ever in Cathleen Riddley’s tail clutching interpretation. Riddley does not attempt to imitate Bert Lahr (who could do him justice, anyway?) but makes the character her own. She’s completely lovable.
And then there’s the Wicked Witch, played with over-the-top scenery chewing evil by Courtney Walsh. Is she scary? Yes. Is she funny? Yes. Is she effective? Oh yes. And her melting sequence is a marvel of stage wizardry.
But, if-ever-oh-ever a wiz there was, Ada Westfall takes the crystal ball. What more can I say?
Look, you have to go see this. And let me put some emphasis on SEE. The design team has created a world that is unlike anything ever seen before, full of magic and jokes, glittering and trashy. It is as absurd as anything ever created by the Cockettes, but don’t be fooled by the “just flung together” feel. Every detail of every costume and every prop and every set piece right down to the yellow brick road is exactly what it needs to be. And speaking of the yellow brick road: in a brilliant design idea, it is created by the audience for a visual effect that is as stunning as it is original and unforgettable.
This is one of the longest reviews you’ll ever see in TheatreStorm but it’s necessary: a short review cannot contain the size of the heart of this “Wizard of Oz.”
Above all, don’t take my word for it: see it for yourself. You’ll laugh, you’ll cry, you’ll remember, and you’ll rejoice. And bring the kids. This will be the stuff for a lifetime of happy memories.
“The Wizard of Oz plays at A.C.T. through June 25. For further information, click here.
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Rating: ***** (For an explanation of Theatrestorm’s rating scale, click here.)
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“The Wizard of Oz,” by L. Frank Baum, music and lyrics by Harold Arlen and E. Y. Harburg. Background music by Herbert Stothart. Original orchestration by Larry Wilcox. Adapted by John Kane for the Royal Shakespeare Company. Based upon the Classic Motion Picture owned by Turner Entertainment CO and distributed in all media by Warner Brothers. Additional orchestrations by Ada Westfall. Director/Choreographer: Sam Pinkleton. Scenic and Costume Designer: David Zinn. Lighting Designer: Stacey Deosier. Sound Designer & Music Consultant: Ursula Kwong-Brown. Sound Designer: Danny Erdberg. Amanda Villalobos: Toto Puppet Designer. Ada Westfall: Music Supervision & Assistant Music Director. David Moschler: Music Director.
Cast:
Uncle Henry/Oz GuardCoroner/Cello: El Beh. Tin Man/Hickory: Darryl V. Jones. Glenda/Aunt Em: Katrina Lauren McGraw. Enesmble/Violin: Ezra Reaves. Lion/Zeke: Cathleen Riddley. Ensemble/Barrister/Nikko: Travis Santell Rowland. Scarecrew/Hunk: Danny Scheie. Dorothy Gale: Chanel Tilghman. Wicked Witch of the West/Miss Gulch: Courtney Walsh. Professor Marvel/Musical Saw/Theremin: Ada Wetfall. Ensemble/Mayor of Munchkinland/Winkie General/Accordion/Baritone Ukelele: Beth Wilmurt.
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