REVIEW: The Wizard of Oz – Redcliffe Musical Theatre

Presented by: Redcliffe Musical Theatre at Redcliffe Entertainment Centre

Director & Producer: Madeleine Johns

Music Direction: Rhonda Davidson-Irwin

Choreography: Jill Rowlands

Set Design: Jonathan Johns

Costumes: Betty Rowsell, Erickson Ilustre and Madeleine Johns

Sound Design: Connor Chadwick

Lighting Design: Chris Walke

Visual Effects: Angus Pitman and Madeleine Johns

Photo Credit: Bruce Redman and Alan Burchill

There’s no place like the theatre, and Redcliffe Musical Theatre’s The Wizard of Oz was a sparkling reminder of just that. The place was packed with families, including tiny humans in ruby-red slippers. This production took the cherished 1939 film and gave it a stage makeover through the Royal Shakespeare Company’s adaptation by John Kane, keeping all the beloved songs and magic intact.

For anyone who’s somehow missed this timeless tale, The Wizard of Oz follows young Dorothy Gale, swept away from her Kansas farmhouse by a twister and dropped into the vibrant land of Oz. Along the yellow brick road, she meets a Scarecrow, a Tin Man and a Cowardly Lion, each searching for something they already have within themselves (spoiler alert lol).

Zoe Hitchcock made for a sweet and sunny Dorothy, radiating sincerity that carried her from Kansas to the Emerald City. Her rendition of 'Over the Rainbow' was tender and true, and her rapport with Aunt Em (Nikol Trenberth) felt wonderfully natural. The two of them nailed the frantic energy of the opening scenes, though I did wish for a touch more urgency from other surrounding characters to match their intensity like more anger towards Mrs Gulch or fear of the tornado.

Glinda, played by Rachel Albrecht in a glittering gown, floated on with grace and a voice as warm as her smile. Her kindness provided the perfect contrast to Dee Heath’s Wicked Witch, who boasted a strong voice and confident command of the stage. I almost wanted her to go even bigger, using bolder gestures to really revel in her gleeful wickedness rather than holding back by clinging to her costume.

The journey down the yellow brick road was a joy thanks to three delightful traveling companions. Alex Holmes was born to play the Scarecrow: floppy-limbs, beautiful vocals, and full of endearing cluelessness. His physical slapstick and expressive face delighted the young audience in 'If I Only Had a Brain'. The crows teasing him were a riot too! Alex clearly has a natural gift for children’s theatre; he knows exactly how to milk every funny line for maximum giggles without losing the heart of the character.

Erickson Ilustre’s Tin Man had the audience letting out a synchronised “aww.” With his smooth voice and gentle manner, his 'If I Only Had a Heart' was as sweet as a lullaby. He played the role with a heartwarming tenderness, while tossing in some effortless humour to make him infinitely likeable.

Lucas van Stam pounced onto the stage as Cowardly Lion, with strong physicality and an impressive vocal range. He delivered his lines with gusto and to be fair, he does get some of the best ones! His 'King of the Forest' may have stretched a little long, likely to buy time for a set change, but Lucas kept the audience entertained with his larger-than-life personality.

The Emerald City Guard (Lucas Hanlon) had a short but unforgettable moment, milking it for all it was worth! Meanwhile, Terry Skinner’s Wizard boomed impressively from afar, enhanced by smoke and lighting effects that added a sense of grandeur to his reveal. And Toto might have been the smallest cast member, but he had the biggest fan club.

Nearly every lead role in this large cast was double-cast, a good way to give more local performers a chance to shine but less rehearsal time for all. Instead of a live orchestra, they went with recorded backing tracks. This choice occasionally led to some musical cues showing up fashionably late, but the sound balance was clear and well-managed throughout. The tech was ambitious, featuring moving set pieces, a kaleidoscope of backdrops, rainbow lighting design, and even AI-style effects in the tornado sequence. Those tornado visuals could have definitely been improved for a smoother transition into Munchkinland, but once we arrived in Oz, the stage burst to life. And the glowing yellow-brick path was a great lighting surprise!

Jill Rowlands’ choreography suited the large ensemble perfectly, keeping movement simple enough for confident singing and bright smiles instead of 'concentration faces'. 'The Merry Old Land of Oz' sparkled with glitz and energy in lovely costumes, while 'The Jitterbug' was a speedy-paced standout with neon zoot suits, quick footwork, and impressive stamina from the whole company.

Vocally, the ensemble sang mostly in unison, which kept the sound cohesive, though I was hoping for a sprinkle of harmony here and there to spice things up. Some dialogue pacing was challenging with the amount of underscoring, but the cast navigated those moments with focus and patience. The poppy-field scene was a little awkwardly staged, though it was clear the creative team worked within the limits of the space.

The kiddos around me were utterly enchanted, the grown-ups smiled knowingly through the nostalgia, and those familiar songs rang out like old friends. This Wizard of Oz captured the very soul of community theatre — a place of imagination, courage, and heart. It may not have been the most polished Emerald City, but certainly one that sparkled where it mattered most.