‘The Wizard of Oz’ at Toby’s is Over the Rainbow

I would be hard pressed to find someone who had not seen the cherished and classic film The Wizard of Oz. Perhaps younger children hadn’t seen it yet, but they are likely aware of the famous characters and story derived from other sources. Characters like the Scarecrow, the Tin Man, the Cowardly Lion and, of course, Dorothy are as well-known as any in cinema and stage.  Movies and musicals, such as The Wiz and Wicked further bring the characters to audiences worldwide.

Personally, I can relate to these characters. I definitely don’t have courage. I clearly lack a brain. And as I learned from Damn Yankees that I gotta have heart, I do have miles and miles and miles of heart! And so does the show.

As the beloved film is filled with magic, emotion and fantasy, the stage adaptation at Toby’s, the Dinner Theatre of Columbia, manages to take everything familiar and heighten it with the vibrant energy of live theatre, especially using the intimate in-the-round environment.

"The show is perfect for all ages and a splendid introduction to theatre for the youngsters."

The Wizard of Oz is based on the 1939 film of the same name and in turn is based on L. Frank Baum’s novel The Wonderful Wizard of Oz. The show hews closely to the film and uses music and lyrics by Harold Arlen and E. Y. Harburg from the film with background music by Herbert Stothart.

Songs that have endured over these many decades highlight the production, such as the iconic “Over the Rainbow” (the only solo performance), “Yellow Brick Road,” “We’re Off to See the Wizard,” and “Ding Dong! The Witch is Dead” among others.

Under the meticulous direction and choreography of Helen Hayes award winner Mark Minnick, the show is a triumph, capturing the familiarity of the film and its score and performed by a highly enthusiastic, talented cast and group of musicians. The pace of the show is energetic with scene changes taking place seamlessly. Mr. Minnick gives the performers the latitude needed to be campy and playful without going over the top.

Imaginative and high-tempo choreography appears throughout the show. Each
number reflects a unique style and brings flourish and tons of energy to the production by the skilled performers. Mr. Minnick is well-known for his attention to detail, and that trait is reflected during these numbers. The choreography in “Jitterbug,” for example, is eye-popping to say the least.

Ross Scott Rawlings and his 6-piece orchestra as well as the magnificent vocals by the leads and Ensemble bring the score to life. The dazzling, fanciful costumes coordinated by Janine Sunday and Sarah King are simply breathtaking. How the Munchkins are portrayed is a sight to behold and one of the show’s highlights combining artistic, innovative costuming and choreography.

Set designer Shane Lowry uses screens around the theater for projected imagery, and Lynn Joslin’s lighting design add texture to the optics. Numerous set pieces are employed including a Wizard of Oz puppet that will appeal to the younger members of the audience. If you wonder how a tornado is portrayed in the cozy in-the-round stage at Toby’s, you should attend to find out. Hint: excellent costuming, choreography and lighting techniques make it work without too much damaging wind. Note that haze, fog and smoke appear at various times in the show.

During the aforementioned twister young Dorothy, with her dog Toto in hand, is hurled from the Kansas farm she lives on to a land far enough away so she couldn’t easily return. She travels to the Emerald City to ask the Wizard for help in getting back to Kansas, following the Yellow Brick Road to avoid the Wicked Witch of the West, who seeks vengeance for the accidental killing of her sister.

Along the way, she befriends the Scarecrow (seeking a brain), the Tin Man (seeking a heart), and the Cowardly Lion (seeking courage). The Wicked Witch attempts to steal the magical ruby slippers that had been worn by the witch’s sister and given to Dorothy by Glinda, the Good Witch, while the group overcomes obstacles like a field of poisonous poppies and other adventures.

After defeating the Wicked Witch by melting her with water, the group discovers the Wizard is a “humbug” (a fraud). However, he grants the friends’ wishes, and Glinda the Good Witch teaches Dorothy that she had the power to return home all along, ending with the famous lesson: “There’s no place like home”. 

Most of the large Company consist of audience favorites from previous Toby’s productions. And they do not disappoint.

Fresh off of her Helen Hayes Award nomination from her performance in The Sound of Music at Toby’s, Emily Signor stars as Dorothy. While her vocals are beautiful as evidenced by her rendition of “Over the Rainbow” as well as in several other numbers, her acting skills shine.

Seemingly in a perpetual state of anguish from her fervent desire to return home and her concern over the safety and, at times, whereabouts of Toto, the petite Ms. Signor comes up large. She embodies the perfect mixture of vulnerability and strength and adds spunk to the Judy Garland portrayal of Dorothy from the film.

The Scarecrow, played by Helen Hayes Award winner David James; the Tin Man, played by Helen Hayes Award winner Jeffrey Shankle; and the Lion, played by Jordan B. Stocksdale are frequent scene stealers with their physical comedy and endearing performances. All are campy—the proper attribute for this trio—and all do it with flair.

The reliably funny David James as the brainless Scarecrow is more than amusing during the number “If I Only Had a Brain” along with Dorothy and Crows-- Brandon Bedore, Patrick Gover and Shawn Kettering. Oh, those costumes!

Jeffrey Shankle playing the heart-missing Tin Man is also comedic in his role. In “If I Only Had a Heart” he displays his vocal prowess as he is joined in the number by Scarecrow, Dorothy and Apple Trees-- Amanda Kaplan Landstrom, Carolina Tomasi and Tori Weaver.

Jordan B. Stocksdale, playing the Cowardly Lion, does so with aplomb. He performs “If I Only Had the Nerve” with Dorothy and his cohorts, and his performance in “If I Were King of the Forest” reveals his superb baritone vocals.

Tina Marie DeSimone as the Wicked Witch shines. She’s loud, menacing and campy all at the same time. And very entertaining indeed. Children should be fascinated by her character. Ms. DeSimone brings it.

The lovely MaryKate Brouillet is perfectly cast as Glinda the Good Witch. She is the embodiment of “good,” and her vocal talents shine during the “Munchkin Land Sequence (Ding Dong! The Witch is Dead).

Then there is veteran actor Robert Biedermann as the title character. Bringing his 46 years of acting experience to the role, Mr. Biedermann elicits jubilation then disappointment and ultimately joy to the four travelers. He does it smoothly and proficiently with nuance.

Also, contributing is the Lullaby Guild consisting of JC Bost, Patricia “Pep” Targete, and Carolina Tomasi. And there is the Lollypop Guild featuring Helen Hayes Award winner Joey Ellinghaus, the mustachioed Patrick Gover and Walker Vlahos.

The entire cast and Ensemble demonstrate their talents throughout this wonderful production. A full listing of the performers, musicians and technical crew is shown at the conclusion of the review.

If you are looking for a magical, nostalgic trip down the Yellow Brick Road, this high-quality live production of The Wizard of Oz is an enjoyable experience that captures the heart of the original saga. The show is perfect for all ages and a splendid introduction to theatre for the youngsters. The Wizard of Oz is an “over the rainbow” experience and a must-see show. And, as always, Toby’s famous buffet is outstanding.

Running time. Two hours and 40 minutes with an intermission.

The Wizard of Oz plays through June 7 at Toby’s the Dinner Theatre, 4900 Symphony Woods Rd., Columbia, MD 21044.  Tickets may be purchased by calling the box office at 410-730-8311or visiting here. The best options to attend the show are Tuesdays and Wednesdays.

Photos: Jeri Tidwell Photography

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Specialty Drink: The Flying Monkey

Next up: Mean Girls June 12 – August 23.

Trump's Leadership Takes You Back to the Land of Oz

Trump's leadership during the Coronavirus pandemic lacks intellect,
courage and heart.

As we watch the President Trump’s daily monotone, lie-filled campaign rally disguised as a Coronavirus press briefing, it is remarkable how his reaction to and the handling of the virus parallels the characters in the classic film The Wizard of Oz. While that story was a fictionalized fantasy, the current situation is serious and deadly with no end in sight. Yet, it is hard to escape the comparisons.

There was the Scarecrow who lacked a brain. Trump has a brain to be sure, but he has not utilized it the way the leader of the free world should. He pretends he is capable of offering medical advice and touting drugs and other therapeutics that have no scientific basis for success. In fact, they are considered dangerous. 

And his brain failed him again when he pushed to “re-open the country” to further death and hardship against the best medical advice by experts and the better judgment of most of the country’s governors.  Most recently he offered the astoundingly stupid suggestion of injesting disinfectants to fight off the virus.#hocopolitics

There was the Lion who lacked courage. This deficiency is manifested by Trump’s declination of responsibility while blaming others, such as Democratic governors who are “complainers” as opposed to Republican governors who are “doing a great job,” the World Health Organization, President Obama, and the media among others.

The lack of courage also shows up while Trump demonstrates an unwillingness or incapability of telling the truth.  His first misstep was to deny the existence of the pandemic and in his true divisive style called it “another Democratic hoax,” even after he was warned about it by his own administration including intel organizations.

Then in an attempt to quiet the nervous stock market, he downplayed the severity of the outbreak. 

 “We have it totally under control. It’s one person coming in from China, and we have it under control. It’s going to be just fine.” 

"Looks like by April, you know, in theory, when it gets a little warmer, it miraculously goes away.” 

“It’s going to disappear. One day, it’s like a miracle, it will disappear.”   

He has consistently lied about the readiness of the country for dealing with the pandemic and the availability of testing and personal protective equipment for the front line medical workers who are toiling to save American lives as they risk their own. Trump has overstated the work his administration has accomplished and congratulates himself almost on a daily basis by falsely claiming the great job he has done. The lies and misinformation spewed from these briefings are breathtaking. 

Finally, there was the Tin Man who lacked a heart. Whenever there has been a tragic moment in Trump’s presidency (Charlottesville, Parkland shooting, wildfires and natural weather disasters especially his disgusting response to Hurricane Maria in Puerto Rico as examples), Trump has shown an incredible lack of empathy towards the victims.

Saying repeatedly that we are doing better than other countries is small consolation to all those families and friends of those who perished from COVID-19.

I cannot recall a single time during the Coronavirus briefings when Trump convincingly and sincerely expressed his compassion for not only the victims of this pandemic but also for the courageous work of the healthcare professionals.

Trump holding notes during his empathy-deficient listening session
following the Parkland mass shooting.

He doesn’t seem to grasp the magnitude of the loss and believes so many more lives would be lost if he did nothing. 

Then what about the over 50,000 lives lost since COVID-19 first surfaced in the U.S. when he was made aware? Think about that. If the average baseball stadium was filled to capacity and included standing room only, every single person in that packed ballpark represents an American death due to COVID-19. That is a lot of people for the president to be patting himself on the back.

As mentioned earlier, he treats these briefings as campaign rallies brimming with self-congratulatory hyperbole, touting his TV ratings, comparing the crowd size at the Mall in D.C. last 4^th of July with the Martin Luther King “I have a dream” speech from 1963, ripping Democrats every chance he can, doing absolutely nothing to unite the country as all other presidents have done in previous crises, and more.

“He has failed abysmally in that and he has also failed just in the notion of what he’s telling people. Saying liberate - free Michigan, Virginia. Encouraging people to come out and trying to turn this health crisis into a political rally for himself,” said Sen. Elizabeth Warren on MSNBC.

“That is absolutely the wrong kind of leadership. It is the kind of leadership that puts lives at risk, and it is the kind of leadership that undermines the very strength of this country.”

This lack of intellect, courage and empathy has proven to be dangerous. This is, of course, far more serious than the imagined dream in The Wizard of Oz. Trump reminds me of those characters, though, but based on his leadership or lack thereof, he’s certainly not a wizard.

'Wicked' at the Hippodrome Will Leave You Spellbound

Talia Suskauer and Allison Bailey

Hello, you munchkins out there. Do I have news for you! One of the most endearing and enduring Broadway musicals of all time, the touring production of Wicked, is making its fourth stop at Baltimore’s Hippodrome Theatre. And just like the previous iterations, this production is as enchanting as ever. #hocoarts

Scored by Stephen Schwartz and a book by Winnie Holzman, Wicked is based on the 1995 Gregory Maguire novel Wicked: The Life and Times of the Wicked Witch of the West, itself a retelling of the classic 1900 novel, The Wonderful Wizard of Oz by L. Frank Baum and the iconic 1939 film The Wizard of Oz. Who hasn’t seen at least once The Wizard of Oz?

Wicked, which opened on Broadway in 2003, captured three Tony Awards and a host of other accolades.  The prevailing color throughout is green. You see it in the lighting, the costumes, the skin color of a main character, the color of a potion that created the skin color, the Emerald City, even envy.

And speaking of green, Wicked is the second highest grossing Broadway musical of all time trailing only The Lion King. Why? Because both musicals offer high quality entertainment and appeal to children as well as adults thus broadening the audience.

Talia Suskauer in "Defying Gravity"

Multiple Tony Award winner Joe Mantello helms a sterling spectacle at the Hippodrome presenting optimal stage magic and effects that when combined with a talented cast and great music, it results in a captivating, one could say a jaw-dropping, theatrical experience.

Under the musical direction of Conductor Evan Roider, the orchestration is wonderful and well-balanced. The wizardry on the stage is highlighted by the signature production number “Defying Gravity” that brings down the curtain (and the house) at the end of the first act. It is worth the price of admission just to see that performed.

The story of Wicked takes place prior to Baum’s novel and before the fictional Dorothy was even alive. In an unusually plot-heavy musical, there are so many twists and turns one might get whiplash. Nonetheless, the story is easy to follow despite the rapid pace of the action particularly in the second act.

It tells of two young girls from the Land of Oz in which one was born with green skin named Elphaba who is played exceptionally by Talia Suskauer. The other, Galinda, who changes her name later to Glinda, played by Allison Bailey, simply radiates beauty. They cross paths in school but to say their relationship was complicated is an understatement.

Possessing disparate appearances, outlooks and personalities, the two begin as rivals then end up as close friends. Their evolution includes a rivalry over their common love-interest, Fiyero, played effectively by Curt Hansen as well as their reactions to the corruption of the Wizard’s government.

Allison Bailey and Talia Suskauer 

The contrasts between Elphaba and Glinda couldn’t be starker. Elphaba was smart, intense, an advocate for animals and possessed the skills of magic though limited in that capacity.  Glinda was bubbly, pretentious, gorgeous, self-centered and manipulative. Where Elphaba’s green skin that was caused by a potion given to her mother by the mother’s lover caused her to be basically rejected by her non-biological father and ostracized at school, Glinda was extremely popular, and she had no trouble reminding people of that.    

Friendship and trust are the underlying themes as well as prejudice and tolerance. Government corruption also plays a role in the story. And what may appear wicked or good to some may actually be the reverse. As the saying goes, never judge a book by its cover. The story makes you think as well as being entertained. If you haven’t seen Wicked before, you’re in for a treat. If you have, the magic will continue.

Talia Suskauer as Elphaba is simply outstanding. Who among us haven’t felt they were the underdog at some point? We can certainly relate to Elphaba to a degree, and Ms. Suskauer’s  acting skills draw empathy from the audience.

But her Mezzo-Soprano vocals are undoubtedly Broadway caliber.  She shines in every song she participates in, notably “The Wizard and I,” a duet with Sharon Sachs playing the role of Madame Morrible; “I’m Not That Girl;” “As Long As You’re Mine,” a sensational duet with Curt Hansen; and a bona fide showstopper, “No Good Deed,” a brilliant solo that evoked a thunderous ovation from the appreciative audience the evening this performance was reviewed.

Stunningly beautiful Allison Bailey effectively conveys the complex personality of Galinda/Glinda. Ditzy when she wants to be, smart when she needs to be, Ms. Bailey portrays the character with relish.  Her beautiful Soprano voice is on display in “Popular,” the reprise of “I’m Not That Girl” and in the emotionally charged duet with Ms. Suskauer “For Good.”

My only quibble has to do with the sound design. It wasn’t clear if Ms. Bailey’s mic wasn’t turned up sufficiently or if she needed to project more especially during dialogues in the first act.  Whatever the cause, hopefully some sound adjustment will take place in subsequent performances.

Curt Hansen as Fiyero

Having appeared in the Broadway production of Wicked, Curt Hansen is quite familiar with the part of Fiyero, another complex character. He plays the role of the handsome common love-interest of Elphaba and Glinda with verve and enthusiasm. Mr. Hansen showcases his potent tenor voice in the duet with Ms. Suskauer “As Long As You’re Mine.”

Other fine performances are turned in by Cleavant Derricks as The Wonderful Wizard of Oz; Amanda Fallon Smith as Nessarose; Elphaba’s younger sister born paralyzed from the waist down and who was her father’s clear favorite; the aforementioned Sharon Sachs as Madame Morrible, Tom Flynn as Doctor Dillamond, the fatherly professor-goat who could speak but was silenced by the powers that be; and DJ Plunkett as the munchkin Boq who as of this writing, is still looking for love.

The leads are supported by an energetic ensemble that performs proficiently to the choreography of James Lynn Abbott.

Kenneth Posner’s lighting design is beyond superb in its creativity and execution. Susan Hilferty’s costume design is so imaginative and eclectic it is indescribable.

The set designed by Eugene Lee while aesthetically appealing, could be confusing. The prevailing background theme is a Time Dragon Clock from the book. If you didn’t read the novel (I didn’t), you would not understand its significance. However, other scenery has more clarity and the one depicting the crashed house form the tornado with the cornfield in the background (pictured) is gorgeous.

Wicked is an entertainment bonanza with interesting characters, eye-pleasing staging, a lush score and sterling performers. Parents should be eager to bring their children if for nothing else, there is good messaging within the plot with lessons to be learned. It is highly recommended.

Running time. Two hours and 45 minutes with an intermission.

Wicked runs through March 8 at the Hippodrome Theatre at the France-Merrick Performing Arts Center, 12 N. Eutaw St, Baltimore, MD 21201.  For tickets, visit here or here , call 800-982-ARTS, or visit the Hippodrome Box Office located at 12 N Eutaw St, Baltimore, MD 21201.

Photos: Joan Marcus