17 November – 31 December

Updating classics, not to mention, ‘much loved classics’, takes a bit of nerve, not to say a thick skin, since the knives will be sharpening as the curtain goes up, so to speak. Of course some classics fare better than others under the adaptor’s pen, so let’s say right off that Marietta Kirkbride’s retelling of L. Frank Baum’s piece of teleporting whimsy is a welcome addition to the story’s progress through the culture. It’s likely the case that most people’s knowledge of the story is from the 1939 MGM Technicolor extravaganza starring Judy Garland. Given that the film was hailed as, ‘The most watched film in history’, by the U.S. Library of Congress, it would be hardly surprising. Ms Kirkbride’s retelling recognises that fact as the basis of her stage adaption, which revolves around a thoroughly modern Dorothy who fantasises about space travel in her bedroom.

There is no sentimentality about Annabel Marlow’s Dorothy, a girl with attitude; the only sugariness in her performance is the sweetness of her voice. Her opening song will strike a chord with many a teenager, being about a feeling of irritation with her lot. ‘Why do I have to live here?’ she sings, ‘Why do I have to be me?’ The answer is of course found during her journey along, ‘The Yellow Route’, which becomes the theme song of the show.

Having been dumped by the tornado, unceremoniously in Munchkinland in the land of Oz, she picks up her motley crew of milky malcontents as they make their way on a journey of self-discovery, ostensibly to find the runaway Toto and get advice from the Wizard about Dorothy’s return home.

Georgie Straight makes the most of the updated road-trip story giving what is an episodic narrative some semblance of a plot whilst keeping the spirit of the film with a group of likeable characters. Lionel, Tinman and Scarrow all glow amusingly with their respective needs whilst the witches are reassuringly, good or bad. And making the Wizard herself (Angela Caesar) a person with needs is a deft stroke.

Nick Barstowe’s songs are both catchy and fitting, underlining or moving on the plot whilst allowing the actors to shine. The settings by Sophia Pardon allow the intimate space of the Watermill Theatre to breathe and expand into the fantasy world of Oz, transporting the audience with deft touches, including Dan Southwell’s puppets.

The whole show is wrapped in a rosy glow, which emanates from the multi-talented cast who sing and play music as well as they act.

★★★★☆    Graham Wyles   21 November 2023

photographers credit Mark Senior