Guest Blog: The Journey of The Wizard of Oz

Today's Guest Blogger: Glynis Leyshon, Director of The Wizard of Oz, The Musical

As a blog virgin, I am not exactly sure of the rules of engagement in this exercise. But I have spent most of my adult life as an ardent diarist...so that is the mode that I feel most comfortable pursuing for this Wizard of Oz blog.

As I write this posting, we are in the final stages of developing our production for its Friday opening. We have just navigated the always tricky and exhausting tech week – where all the elements of production (lights, costumes, sound, physical set, video) are introduced to the production and we are now performing nightly for sold out (and so far very enthusiastic) preview audiences. It is a crazy time, as the work we have created with the acting ensemble during our three weeks of rehearsal in the hall suddenly needs to support giant scenic and costume elements. You feel like a some sort of crazy Cirque du Soleil juggler... trying to balance everything  in a way that best tells the amazing story of Dorothy’s adventures in Oz.

It seems like a million years ago – in a galaxy far far away –when Designer John Pennoyer and I first sat down to talk through what the physical design of this Wizard of Oz was going to look like. Actually, we have been working on this production since last spring... wrestling with the challenges of bringing an iconic film to the relatively intimate ATP stage. We all know and love the classic MGM musical... but it was a massive production, even by Hollywood standards. The Martha Cohen is NOT a huge sound stage – and theatre is a very different beast from film. So our first, and ultimately most important decision was to honour the film while at the same time never trying to replicate its physical look. Instead our Kansas would be a stylized prairie horizon instead of a farmyard complete with chickens! Oz would be suggested by animated projections painted by John and brought to ‘life’ by the super talented young Designer Corwin Ferguson rather than massive sets and spectacle. I have never mixed projections with conventional theatre elements (very high meets low tech) in quite this way before. And that has been one of the most difficult and at the same time most rewarding parts of this process.

In bringing The Wizard of Oz to the stage, ultimately our goal was to tell the story of Dorothy and her friends with integrity and heart. And I believe that no amount of technical ingenuity is more important in making a show fly than bringing together a talented company of actors. In this, we have been singularly blessed.... this Calgary ensemble of actors is truly amazing. Even when exhausted, they give selflessly to the show and to their audiences.

Last night, almost at the end of the story, we watched the scene where Dorothy has to say good bye to her friends -  the Scarecrow, the Tin Man and the Lion. Ksenia, our Dorothy, plays this scene with such quiet heart that it never fails to move me. And last night was no exception except that she mistakenly referred to the Lion as the Tin Man. Normally, this kind of simple line error would be passed over but such is the level of trust that the company shares that the Lion quietly (and plaintively) corrected Dorothy, saying “But I am Lion”. And Dorothy responded with a lovely smile saying “Of course you are... forgive me but it’s been a long journey”. Audiences loved this small improvised moment.... the laughter was generous and absolutely in the spirit of this retelling of The Wizard of Oz. The journey has indeed been long... but the rewards have been great.

The Wizard of Oz, The Musical runs at Alberta Theatre Projects until December 31st. For tickets and information, visit ATPlive.com or call 403-294-7402