Displaying items by tag: The Wizard of Oz

Metropolis Performing Arts Centre, located in the heart of downtown Arlington Heights, 111 W. Campbell St., is proud to announce the cast and creative team for The Wizard of Oz, July 8 - August 9. The Wizard of Oz by L. Frank Baum with music and lyrics by Harold Arlen and E.Y. Harburg. Background music by Herbert Stothart. Dance and vocal arrangements by Peter Howard. Orchestration by Larry Wilcox. Adapted by John Kane for the Royal Shakespeare Company. Based upon the classic motion picture owned by Turner Entertainment Co. and distributed in all media by Warner Bros. Directed and choreographed by Tor Campbell and music directed by Sharon Mason. Previews are Wednesday, July 8 through Friday, July 10 at 7:30 p.m. and Saturday, July 11 at 2 p.m. The regular performance schedule is Thursdays and Fridays at 7:30 p.m., Saturdays at 2 and 7:30 p.m. and Sundays at 2 p.m., with added matinee performances on Thursday, July 16 and Thursday, July 30 at 2 p.m. The performance on Saturday, July 18 at 2 p.m. will be closed captioned and the performance on Thursday, July 23 at 7:30 p.m. will be ASL interpreted. There will also be a sensory-friendly performance on Saturday, August 8 at 2 p.m. Tickets are now on sale from $25 to $49 at MetropolisArts.com or by calling the box office at 847.577.2121.

Audiences are invited to join The Cowardly Lion, Scarecrow, Tin Man, Dorothy... and Toto, too, as they follow the yellow brick road in search of their heart's desires. For the first time on Metropolis' Main Stage, L. Frank Baum's tale comes to life in this extraordinary story of heart, friendship, courage and belonging. This adaptation contains all of the Oscar-winning songs from the movie, including "Somewhere Over the Rainbow" and "We're Off To See The Wizard," all while reminding audiences that there is no place like home.

In addition to the company of professional artists, summer class students from the Metropolis School of the Performing Arts, will be a part of the Munchinkin troupe. Metropolis School of Performing Arts was awarded the Illinois Theatre Association's 2025 Award of Excellence in Creative Drama/Theatre for Young Audiences. The school was also the recipient of the 2025 Nonprofit of the Year Award from the Arlington Heights Chamber of Commerce.

The cast of The Wizard of Oz includes Nora Wragg (Dorothy Gale); David Omari (Tin Man/Hickory); Nolan Robinson (Scarecrow/Hunk); Jake Elkins (Lion/Zeke); Genevieve Thiers (Gulch/Wicked Witch); Gabe Fries (Wizard/Prof Marvel); Danielle Spence (Glinda/Aunt Em); Joe Giovannetti (Uncle Henry/Guard); Rachel Arianna (ensemble, U/S Gulch/Wicked Witch); Andrew John Baker (ensemble, U/S Lion/Zeke); Corey Barlow (ensemble, U/S Scarecrow/Hunk); Kiana Beverly (ensemble); Ben Harmon (ensemble, U/S Wizard/Prof Marvel); Beck Hokanson (ensemble, U/S Uncle Henry/Guard); Emmett Knee (ensemble, U/S Tin Man/Hickory); Rebecca Mactaggart (ensemble, dance captain, U/S Glinda/Aunt Em); Lily Ramras (ensemble, U/S Dorothy); Gracie Scullion (ensemble); Angelena Browne (swing); Edward Nadenichek (swing) and Cali Spence (Toto).

The Wizard of Oz's creative team is Tor Campbell (director and choreographer); Sharon Mason (music director); Lena Romano (assistant director); Zak Jacobs (assistant choreographer); Matt Carney (casting director); Abby Truett (stage manager); Mack Finklea (assistant stage manager); Alyssa Mohn (scenic designer); Sierra Walker (lighting designer); Forrest Gregor (sound designer); David Moreland (technical director); Theresa Ham (costume designer); TBD (wig, hair and makeup designer); Kaitlyn Hettinger (props designer) and Tony Churchill (projections designer).

ABOUT TOR CAMBELL, DIRECTOR and CHOREOGRAPHER

Tor Cambell is an award-winning director, choreographer, educator and creative producer whose work centers storytelling, humanity and transformational theatrical experiences. A native of Milwaukee, Wisconsin, Cambell has spent nearly two decades directing, choreographing and teaching across the country and internationally, developing a reputation for emotionally rich, visually dynamic work that bridges spectacle with heart.

Cambell recently joined Interlochen Center for the Arts as the new program director of Musical Theatre while continuing his work as a freelance director and choreographer throughout the country. Recent directing and choreography credits include Covenant and A Christmas Carol at Goodman Theatre, Cabaret at Clarence Brown Theatre, The Full Monty, Hairspray, Seussical, The Prom and Sweat. He previously served as the Northwestern Directing Fellow at Goodman Theatre in Chicago and has worked professionally with organizations including Paramount Theatre, Northlight Theatre, Northwestern University. Lake Forest College, University of California Irvine and Juilliard.

ABOUT SHARON MASON, MUSIC DIRECTOR

Sharon Mason is a Chicago-based music director, educator, administrator and arts leader with more than 45 musical productions to her credit across community, educational, and professional theatre settings. Known for her collaborative leadership style and commitment to artistic excellence, Mason has served as music director for productions including Gypsy, The Addams Family, Godspell 2012, Guys and Dolls, Legally Blonde, Matilda, Footloose, The Producers, Something Rotten, Sister Act, Little Women and Seussical. Her work spans organizations including the Beverly Theatre Guild, Palos Village Players, Lake Forest Academy and other regional theatre companies. She has been described as a vital part of teams producing high-quality local musical theater. 

ABOUT METROPOLIS PERFORMING ARTS CENTRE
Metropolis Performing Arts Centre is a vibrant cultural hub that enriches the community through inspiring live performances, creative arts education and impactful partnerships. It fosters artistic excellence, cultivates multi-generational connections and offers inclusive experiences that engage and uplift all community members. Located in the heart of downtown Arlington Heights, Metropolis is not just a theatre, it is the cultural pulse of the area, surrounded by premier shopping, dining and nightlife. Metropolis offers a dynamic year-round season of professional theatre, comedy, concerts and cabaret performances along with engaging arts education for ages 3 to 85 years old. Serving more than 65,000 patrons annually from across Chicagoland and beyond, Metropolis plays a pivotal role in the community. It provides arts education programs that support thousands of aspiring young artists, as well as community engagement initiatives like the Third Act Players (musical theatre for thespians over 50), Crescendo Chorus (for singers over 55), Flourish in the Footlights (for young artists with disabilities) and Clearbrook on Cue (for artists with disabilities). Metropolis is proud to partner with local organizations such as Endeavor Health, Arlington Heights Senior Center and Clearbrook. Scholarships are available for students at the School of the Performing Arts to ensure access to the arts for all.

Metropolis Performing Arts Centre, located in the heart of downtown Arlington Heights, 111 W. Campbell St., is proud to announce the cast and creative team for The Wizard of Oz, July 8 - August 9. The Wizard of Oz is adapted by John Kane, music by Harold Arlen, lyrics by E.Y. Harburg and directed and choreographed by Tor Campbell and music directed by Sharon Mason Previews are Wednesday, July 8 through Friday, July 10 at 7:30 p.m. and Saturday, July 11 at 2 p.m. The regular performance schedule is Thursdays and Fridays at 7:30 p.m., Saturdays at 2 and 7:30 p.m. and Sundays at 2 p.m., with added matinee performances on Thursday, July 16 and Thursday, July 30 at 2 p.m. The performance on Saturday, July 18 at 2 p.m. will be closed captioned and the performance on Thursday, July 23 at 7:30 p.m. will be ASL interpreted. There will also be a sensory-friendly performance on Saturday, August 8 at 2 p.m. Tickets are now on sale from $25 to $49 at MetropolisArts.com or by calling the box office at 847.577.2121.

You’ve got to give Marriott Theatre credit for always swinging for the fences. Just this past year, I’ve seen them put on The Sound of Music and West Side Story, two shows that any audience will know as well as the cast. But that’s because these beloved shows are beloved by audiences, because they are that good. And the Marriott Theatre can always pull it off—putting on great productions of said shows and leaving audiences thrilled in the process—because of the consistency and quality of their casts and their crew.

Marriott’s current production of The Wizard of Oz—an abridged but always charming version “for all ages”—is the theater’s latest big swing. And they do not miss. The audience, truly of all ages, was enthralled for the hour-long runtime, enchanted by the standards that were sung and the famous lines that were delivered, by the immersive Land of Oz allowed by the theater’s in-the-round setup and by the magical characters who live there.

But first, we Dorothy. Earlier this year, Campbell Krausen was a standout in Marriott’s Sound of Music, playing the angsty Austrian near-seventeen-year-old Liesl von Trapp. Now, Krausen finds herself not in the Alps, but in Kansas, and gives a smiling and wide-eyed performance as Dorothy Gale. Once in Oz, Krausen’s drab rural surroundings give way to a colorful world made more so by the cast.

Harriet Nzinga Plumpp has all the haughty cheer that Glinda the Good Witch must possess. Jacquelyne Jones strikes fear into any of us who, as children, watched Margaret Hamilton through closed eyes on the TV screen. Allison Sill’s Scarecrow flops and cavorts like a regular Ray Bolger (Sill also hosted a sweet Q&A session with the audience afterwards). Michael Turrentine’s Tin Man is all heart. And Lorenzo Rush Jr.’s Cowardly Lion is a hoot. Once Kevin McKillip’s Oz steps out from behind the curtain, he too is stellar.

But it’s the ensemble who make this show really special. I have seen Laura Savage in a few shows now—everything from A Chorus Line to Newsies—and each time I’ve seen her, whether she’s headlining or working hard on the chorus line, she’s been the MVP. Here, she does her thing, joining Mandy Modic (who’s also the human and handler of the handsome gentleman playing Toto, Sir Reginald) and Matthew Bettencourt (who’s all Munchkin energy and Emerald City wonder) to become the terrifying twister, the grateful folk of Munchkinland, the Wicked Witch’s enslaved henchmen, and more.

And these people are the reason that Marriott Theatre is able to consistently put on worthy productions of the standards—these talented actors all bring their gifts to the Marriott stage, where they show that they love the Land of Oz and all of its wizardry and wonder every bit as much as the audiences lucky enough to see them perform, here in The Wizard of Oz, through August 7.

The Wizard of Oz is fun for all ages — this is as true today as it was in 1939. While there is a special kind of magic exclusive to the film due to the phenomenal cast as well as the strong nostalgia surrounding it, there is another kind of magic exclusive to seeing the musical live onstage.

A cherished family musical, this is the perfect show to bring kids to; with the upbeat musical numbers, colorful cast and sets, and lovable characters, they’re sure to be entertained. The classic songs by Harold Arlen and E.Y. Harburg include "Somewhere Over the Rainbow," "If I Only Had a Brain," "Ding Dong the Witch is Dead," and more, almost all featuring peppy dance numbers with lively choreography by Amy McCleary.

With direction by Dean Sabon, who previously created the national tours of Fiddler on the Roof and Seven Brides for Seven Brothers, this version of The Wizard of Oz brings new elements to a beloved classic.

One of the coolest things about this production is the use of a giant screen to serve as the various backgrounds, as opposed to elaborate set pieces for backdrop. This was utilized impressively during the twister scene when Dorothy and Toto seek shelter in Aunt Em and Uncle Henry’s house, among other scenes, having a 3-D effect that was exciting to watch. Throughout, the production uses a fun combination of traditional theatre sets and tech-y special effects.

The Wizard of Oz is playing at the Chicago Theatre through May 20th. Tickets on Ticketmaster.

Pinterest fails are an internet sensation, with recognizable side by side pictures illustrating the difference between expectations and reality for the everyday crafter, baker, photographer, etc. It seems that no matter how many of these memes we see, it is still commonplace to set high expectations which risk being let down.

“WOZ: A Rock Cabaret” was unfortunately a case of missed expectations. The concept is a cabaret show which tells the familiar story of The Wizard of Oz through the iconic music of the 80’s and 90’s, including hits from Whitesnake, Blondie, Foreigner, Queen and Michael Jackson. Sounds awesome, right!? While the show had its moments and some strong singers, the reality was a production that felt flat, with big moments that lost their steam and performances that lacked the luster and pizzazz expected from a cabaret.

One of the main issues with the show was the venue. Performed on stage at Victory Gardens Theater, this cabaret style show felt out of place. The performers attempted to interact with the audience but it required them to come down off the stage where they easily got lost in this stadium style seating. Had this been set in a truer cabaret setting, where the audience could sit at tables enjoying their cocktails, it could have allowed the performance to work the space both on the stage and on the floor and perhaps made the show more engaging.

The creativity behind the song selection was awesome and very often the start of a new song brought smiles, laughs and a palpable energy to the audience. As the performers sang the full songs however, it often felt like things started to drag and there was not enough happening to hold attention through to the end of the song.

The performers themselves were mostly strong overall. The standouts of the show were the journeying buddies of the Scarecrow (Kevin Webb), the Tinman (James Nedrud) and the Cowardly Lion (Edward Fraim). All three brought different unique but powerful voices to their songs and added some great humor to the show. Heather Currie was a powerhouse and had an odd but quite funny style in how she played the Wicked Witch. The performances of Clara D’Onofrio and Kimberly Lawson, as Glinda and Dorothy respectively, left something to be desired. Both have strong voices but tend more toward the musical theater style which did not always vibe with the other performers. Andre De Shields was the special guest star of the show, bringing star power to the role of the Wizard and he certainly stole the show with his numbers.

While there are some high moments and tons of creativity that clearly went into this show, the performance lacks the excitement that could have turned this somewhat lackluster show into an all-out engaging and exciting cabaret performance.

With only 5 performances, the run of this show is already nearing completion but this was its second run in Chicago, so if you really wish you could have seen it, try clicking your heels three times and say to yourself “there’s no place like WOZ” – maybe it will be back someday, bigger and better.