Oz has magical moments, but not enough sparkle to shine to the end

Carousel Theatre for Young People (CTYP)’s production of Oz, written by Patrick Shanahan, is a play that offers a backstory in how L. Frank Baum completed the writing of his book, The Wonderful Wizard of Oz. It features wonderful theatrical magic, innovation, and intrigue, along with fine performances and production values; however, the cast and artistic team can only do so much with a script that runs too long for a children’s one-act play, lags in places (especially in the last quarter), and doesn’t quite land as well as anticipated.

In Oz, We’re taken into Baum’s Victorian-style study in 1899 Chicago, where a young girl named Dot has snuck in. Recognizing the similarities of Dot to the heroine of the novel he’s writing, Baum enlists her help in playing out his story so he can flesh things out and fill in gaps. Items around the room are recruited to become part of the story: a footstool becomes Toto; scarves hanging from the ceiling fan serve as the cyclone; Baum transforms himself into the Scarecrow, Tinman, and Cowardly Lion with the help of items such as a birdcage and overcoat, tin bucket, and shaggy bearskin rug. Eventually the maid Bridgey gets swept up into the action as well.

Director Jennica Grienke, along with fellow artistic team members such as set designer Ryan Cormack, lighting designer Rebekah Johnson, costume designer Donnie Tejani, and props designer Monica Emme, have really brought their A-game. They’ve put together a piece that oozes with creativity and is infused with mystique and quirkiness. There are many bits that made me gasp in wonder or chuckle in delight at the cleverness of it all. For example, the transforming of a giant portrait hanging over the mantle into the Wizard’s visage; and Bridgey storming into the study carrying a broomstick. Background music has also been used exceptionally well in this production to set the tone throughout, whether it’s turn-of-the-century American jazz, or peculiar snips of music or whimsical instrumentals when characters are having thoughts.

The performances here are quite outstanding as well. Stephen Thakkar is wonderfully dashing as Baum and is brilliant in transitioning from one Oz character to the next. He has a confident stage presence and seemingly natural grace – take for example, his playful heel clicks in the air and his gentlemanly tip of his hat. Megan Zong is also excellent, and is well suited for the child character of Dot. Though tall, she still reads as a child, both in her physical appearance and onstage persona. She has the childlike wonderment and curiosity to help co-drive the story with Thakkar. And Melanie Yeats offers nice comic relief and charisma to the character of Bridgey.

The show is very polished and reminded me of some of the slick shows I’ve seen from Arts Club, such as Matilda and Misery, which also made great use of imaginative theatrical ideas. But a downfall of this show is that it’s entirely too long for a one-act children’s play. I know that as a general rule, children’s shows are one-act. But Oz runs about 75 minutes and that’s a long time for little kids to stay attentive. There’s also a lot of information in this show to process, as we’re taken through not only the situation of Baum trying to complete his book, but we also see the entire The Wonderful Wizard of Oz story play out, and then a denouement of Baum’s situation. I myself could have really used an intermission.

I’m surprised that playwright Shanahan had let the length of his play get this long, because I feel there’s an easy fix. There are a few sections of the play that seem obscure, because only people who have read The Wonderful Wizard of Oz book will recognize them, since these parts weren’t included in the film, nor have they been incorporated into other iterations such as Wicked. For example, there’s this whole business with Dorothy wearing a golden cap, as well as the process of finding the Scarecrow, Tinman, and Cowardly Lion after the Wicked Witch of the West melts. All of this could easily have been cut. While doing so may take away from the genuineness of staying true to the original book, I personally don’t think audiences would mind. A lot of these moments slow down the pace of the story and I could hear and sense the restlessness of children around me.

Another issue is that the plot doesn’t seem to know how to land. The concept of the play is interesting and creative, and thus there’s a lot build-up to the end. But once we get to the last quarter or so, the script doesn’t wrap things up in an overly interesting way. I’m sorry to say that I found the ending quite basic and lacked the imagination and whimsical vibe I was expecting based on where the show was heading throughout. One could argue that the biggest draw we have towards The Wonderful Wizard of Oz and all its iterations are the messages of friendship, love, and finding your true home. The play does anchor itself in these values, but in a simple way…and I feel you need a touch of magic in an Oz story. At least a pinch of mystique to leave audiences with as they exit the theatre.

Also, I don’t think Oz really offers anything new to the Oz iterations. Obviously, we’re getting an “inside look” into how Baum wrote his book. But I didn’t leave the theatre thinking about The Wonderful Wizard of Oz in a different way, nor did I feel Shanahan made it clear what his overarching message for the show is. I enjoyed Oz and there’s much to admire about it, but I feel the sparkle somewhat faded by the end.

Carousel Theatre for Young People (CTYP) and Kaleidoscope Theatre for Young People’s co-production of Oz runs until March26, 2023 at the Waterfront Theatre. Visit CTYP’s site for ticket information.