Humour plays a significant part in PLOS’s production of The Wizard of Oz. Led melodically by the beautiful voice of Lana Hutchinson as Dorothy Gale (boy, can she hold a note), the comedic elements come from the scarecrow, tinman and lion.
The ageless story is that of young Dorothy, who lives on a Kansas farm with her Aunt Em and Uncle Henry. They have a mean neighbour, Miss Gulch, who wants Dorothy’s beloved dog Toto impounded and put down. When Toto escapes Miss Gluch’s clutches and returns home, Dorothy feels she has no choice other than to run away with the pooch.
But even when she is convinced to turn around, events conspire against her, as a wild storm hits and she and Toto find themselves in a land filled with little people. It is there that she meets the good witch Glinda and gets to wear a magical pair of ruby slippers, which the Wicked Witch of the West is after to add to her powers.
A grand adventure follows that will see Dorothy and Toto travel along a yellow brick road, pursued by the wicked witch, in search of the Wizard of Oz. Why? Because he is allegedly the one that can see her safely back home. Along the way, she picks up a scarecrow with no brain, a tin man with no heart and a lion with no courage. And when push comes to shove, the wizard is not all he’s cracked up to be.
As referenced earlier, Hutchinson brings vocal excellence as well as feistiness to her role, while Owen James introduces slapstick to the timid king of the jungle. In fact, vocally there is no doubt that he, Dean Robinson as the scarecrow and Ethan Hooper as the heartless tinman more than hold their own. Also impressive is Elise Stevens as the no nonsense Glinda. Courtney Smyth makes each appearance as the wicked witch one to relish, as the latter revels in pushing Dorothy’s buttons. It is a fun, laid back representation.
Mark Curran throws his weight around before breaking down as the guard who keeps allcomers away from the wizard. Cameron Sweatman transitions well from being exposed as the charlatan that is the Wizard of Oz to presenting the scarecrow, tinman and lion with medals. Peter Jenkins keeps himself busy, running around, holding Toto at arm’s length and pulling faces to add spark.
Musically, the highlights remain the enduring numbers Over the Rainbow, Ding Dong! The Witch is Dead and We’re Off to See the Wizard. Musical director and conductor Malcom Huddle and the orchestra and ensemble do a fine job breathing life into these and the other familiar tunes. Michael Mitchell’s choreography of the well-orchestrated dance numbers stands out, while as director he keeps the action moving. Some wacky costuming from Mitchell and Brett Wingfield adds to the fun.
I could have done without the hazy look that was particularly evident at the start of the production. I thought the video design could readily have been strengthened, with a greater variety of shots. For instance, I got sick and tired of seeing the same cow in the field as Dorothy was engaging with her aunt and uncle and the farm hands. On the other hand, the bands of light that framed the stage and provided some backdrops was enticing.
The musical stage adaptation of The Wizard of Oz, created by L. Frank Baum, dates back to the Chicago Grand Opera House in June 1902. With music and lyrics by Harold Arlen and E. Y. Harburg, PLOS keeps the good times coming in the family favourite. It is on at Frankston Arts Centre until 10th January, 2026.
For bookings, go to https://plos.asn.au
Alex First
Other reviews you might enjoy:
- We Will Rock You (Frankston Arts Centre) – musical theatre review
- School of Rock The Musical – musical theatre review
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.
