THE WIZARD OF OZ, 2018
Birmingham Repertory Theatre Company
The Wizard of Oz (2018) produced by the Birmingham Repertory Theatre Company and directed by Liam Steel is the latest rendition of the classic tale in the “Merry Old Land of Oz”. After going on the Rep backstage tour and seeing some of the behind-the-scenes working progress of the production (props in making, costumes sketches and parts of the set model box), I’ve decided to go and see this production on the 7th of December 2018.
The 1939 film under the same title was my first introduction to musical theatre and films, and ever since then, it holds a special place in my heart. Going in to see this production, I was very curious about what direction it will take and whether it will stay true to the source material without imitating the film. And after seeing the production, I’m glad to say that it has all the elements that fans would recognise but with some slight changes that give it its own identity.
Tinman and the Apple Trees
As a design student, I can’t help but examine the sets and costumes design whenever I go to see a production, and in this case, I was especially impressed by the art direction the production took. The set designed by Angela Davies and the costumes & puppets designed by Samuel Wyer throws a modern twist to the world of Oz with the fun aura of the 1940s-60s. Dorothy no longer wears a dainty blue dress with pigtails but a rugged denim overall and hair tied back instead, and her Ruby Slipper is now Ruby Boots. The “king of the forest” is now a lioness and the Great Wizard is in fact, Ms. Oz. Glinda the Good Witch now dressed in a glamorous robe with a retro microphone on her hand replacing a wand. And the Wicked Witch of the West is played by a man who wore black patent high heel boots and drags makeup. Furthermore, paired with a cast of lively ensembles that played as a caricature of celebrities’ stereotype in the mid-20th century (the bad boy “Elvis” Crows and the glamorous “Divas” Apple Trees), it is hard not to be delighted and smiling throughout the show.
Costume design for Dorothy
Josh Vantyler starring as Wicked Witch of the West
Rainbow, which is an important motif in the film and novel, is the main inspiration for the design. Neon light frames were used to form a modern rainbow and the yellow brick road is now made up of a series of glowing yellow staircase. And as each scene and location changes, a different colour from the rainbow occupied the stage, for example, blue predominated the Munchkin land scene, yellow in Scarecrow, purple in Tinman, orange in Lion, and of course Green in the Emerald City so on and so forth. The same principle applies to characters too as a strike of red will interrupts the stage whenever the Wicked Witch appears. This clever use of colours effortlessly communicated different locations, characters, and atmospheres through simple visuals that even young children, who are the main targeted audience, can understand. Additionally, it also serves as a great narrative device and gives a visually satisfying aesthetic. I was inspired by this concept and was extremely impressed by its multiple functions in a live performance.
Puppets Munchkins and Glinda
A social commentary?
The new changes blew a breath of fresh air into the production but most importantly, it also a subtle social commentary on contemporary society. Although the show did not focus on the gender switch of Lion and OZ, and they’ve only played the reversed expectation of Oz as a light humorous moment, this decision is not just for a punchline of a joke. The same goes for the casting choices and costumes designs for Dorothy and the Wicked Witch as well- they are not just mere gimmick or aesthetic choices.
Chisara Agor as Dorthy
In fact, the changes are a sophisticated call to raise the awareness of the issues of race, sexuality and gender roles by indirectly comparing itself (now day) with the 1939 film (the past) by showing the audience what has changed. By doing this, it reflects the increasing acceptance of race and LGBTQ community in contemporary society, and it shows how the gender roles assigned by society could be wrong and inappropriate. Who said the kind-hearted girl have to wear a dress and heels and why must the powerful and respected Oz be a man? What’s wrong with seeing Dorothy played by an actress of colour and why can’t a man in drag act as the Wicked Witch onstage? I’ve asked myself these question after the shows and I cannot come up with an answer. This is because there is nothing wrong with them and the only reason that these thoughts even came up is because of the assigned roles and social norms that society has inflicted on us.
“Theatre is a mirror of society”, and it is very true in this case. I really appreciate how the directors and designers introduced these social issues to the audience in a non-aggressive manner while staying true and respectful to the original source materials. It gave me a very enjoyable night as well as meaningful afterthoughts that question myself as a member of the society and as a designer.
