America's passion for the movies being what it is, producers of live theater have had a difficult time trying to turn the most beloved movies into theatrical productions. A couple of early Broadway attempts at "Gone With The Wind" - including one musical - failed dismally. More recent stabs at staging "Singin' In The Rain" - including Pioneer Theatre Company's version last season - were welcomed less than enthusiastically. Even "The Sound of Music," which was a stage hit long before Julie Andrews ever set toe to Alp as Maria, now seems to struggle theatrically when compared to Robert Wise's magnificent movie.
In that context, the national touring production of "The Wizard of Oz" currently playing at the Salt Palace arena must be seen as something of a breakthrough. While it will hardly make viewers forget the classic MGM film that is celebrating its 50th anniversary this year, it has enough smooth professionalism and technological wizardry to at least serve as an appropriately loving tribute to what may be the most-watched movie of all time.The first thing one should know about "The Wizard of Oz Live!" is that it isn't. Live, that is. At least not completely. Because of the difficulty of creating live sound in huge arenas around the country, the entire audio track - including actors' lines, sound effects and musical accompaniment - has been pre-recorded. This makes it so you can clearly hear every word and note, but it does take away the spontaneous edge hat makes live theater such an exciting experience - especially if you are fairly close to the stage.
The arena staging approach - set in a three-quarter round style - also requires a broader, more exaggerated acting style. There are times when you feel as if you're watching an ice show without the ice, or even a pageant without the pageantry. Once again, the style probably works well for those who are seated in the arena's upper rows. But for those who pay for higher-priced seats, it can be tough to watch - especially if your view of the action is obscured by set pieces and characters. This is one time when the best seat in the house is probably about 40 rows up.
Those complaints aside, however, this "Wizard" is a whiz technologically, which makes it a lot of fun to watch. Stephen Ehlers' setting is absolutely state-of-the-art, with remote control set pieces and movable backdrops that make the transitions from Kansas to Munchkinland to Oz ("To Oz? To Oz!") seem almost effortless. And Bill Campbell's costumes are delightful beginning to end.
But the thing most people will remember about the production is the way props and people go flying about. When Dorothy's house is lifted by the tornado, it really goes up about 50 feet in the air and soars around the stage. Glinda the Good Witch flies in on a star, and the Wicked Witch of the West swoops around on her broomstick. There is so much flying around throughout the show that when the Wizard merely chases his flying balloon offstage near the end of the show, it's something of a disappointment.
The performances are generally strong, especially Grace Greig's Dorothy, Joe Giuffre's Tinman, Polly Seale's Wicked Witch, Bart Williams' Wizard and Linda Johnson's Glinda. And Toto, too, even though the part is actually played by five different terriers trained by Cheryl Harris.
One wanted a little more Ray Bolger from Joe McDonough's Scarecrow and a touch of Bert Lahr from Guy Allen's Cowardly Lion. I know, I know - these actors should be allowed to interpret the characters their own way. But you can't help but make comparisons, and besides - that's the risk you take when you start staging America's favorite movies.