Hey Everyone
Our Wizard of Oz performances have come to a close, and the champagne has been consumed. These past few weeks have been stressful, busy but rewarding. To the left is the official list of performers along with me in the pit, and with us was out music director Donna Garner leading on piano. If you missed the show log on the Live @ the Center Facebook page for comments about the shows and some pics.
So what happened? Over the course of our 2 week show times we saw the amazing creativity of ALL the VOLUNTEERS of the Holland College Music and performance program and the community. Yes, most were complete volunteers and only a few made it into the payroll because of the lack of funding striking the Confederation Center of Arts on PEI. None the less we all put together an amazing show on a low budget.
Hope to work with theses people again.
P.S. Sadly we have not official musical or action recordings -
Wizard of Oz rises to new heights
Published on December 8, 2012 - in the Guardian
Now a topic of a contentious and much-maligned
infrastructure program which seeks to expedite the shipping of goods through a
main corridor out of Munchkinland to the Emerald City, the Yellow Brick Road
once played an integral part in defining the landscape of Oz.
Wending leisurely through the countryside, it was the
irreplaceable backdrop to a heartening and brain-bending tale.
This holiday season, there’s no place like Homburg
Mainstage.
For a preciously short run, that fascinating bit of Oz lore
is reprised in the hallowed red theatre, ‘neath the wintry street level
twinkle.
The Confederation Centre of the Arts has partnered with the
Holland College School of Performing Arts for the second year in a row, and
extended a generous invitation to the amateur theatre community, to present a
well-known musical production as their Christmas offering.
The stage is populated with one of the largest casts I can
recall, professionals and inexperienced alike, big and small.
And my, is there much to work with in this rich, wildly
imaginative story. So many lines and concepts have been woven into popular
culture, yet the details still seem fresh and inspired.
On a relatively limited budget, the key to bringing the
brilliance and energy of the Technicolor film to a live audience is costuming
and dancing.
The dancers evoked the turbulent, disorienting storm, and
the peaceful poppy fields, later covered with snow. They gave large
effervescent welcomes, and brought dangerous fits of jittery dancing upon our
intrepid walkers. Choreographer Julia Sauvé and costume designer Karyn MacPhee
were essential to creating this magic.
The music, of course, is forever hummed, and lyrics
endlessly quoted.
Some songs, simple mood creating chants — “You’re out of the
woods, you’re out of the dark, you’re out of the night,” or, conversely, the
ominous “ooo-wee-ooo wee-ooo-ooo” of the marching Winkies.
Traits from the iconic performances of the original 1939
film cast were given respectful nods, including some of the signature line
delivery. For comedy’s sake, a slightly more relaxed, casual direction was
taken as well.
April Cook has returned this year to play the lead. Dorothy
is by times damsel in distress, and by turns no-nonsense tut-tutter. Cook’s
voice is suitably crystal clear.
Glenda Landry evoked pitch perfect of the Wicked Witch of
the West in some of her sinister moments, her energy commanding and
intimidating, while adding an occasional bumbling twist for a good laugh.
Seth Johnson as the Scarecrow and Ian Cheverie as Tinman,
were faithful to the portrayals we’re familiar with — earnest, sensitive, yet
salt-of- the-earth types. Stiff or stuffed, the actors embraced their distinct
physicality. With a mix of wit and goof, Bruce Rainnie gave the Cowardly Lion a
big personality, proud but fragile.
And much to the delight of the audience, the familiar face
behind the mane threw in a few timely, off-the-cuff lines.
Toto could do no wrong. If he was late on cue, people awed.
If he gave no reaction, we laughed.
His subdued poise offered a nice counterpoint to the bizarre
adventures that engulfed him.
Unquestionably, the cast was having a great time on stage,
indulging in some extra gags thrown into the script with a healthy serving of
ham.
In order to be properly decked for the season, you need that
ornament hanging on your otherwise pristine tree — the one made out of an egg
carton and pipe cleaner, with one googly eye missing. As it is, in many ways, a
community theatre production, there are endearing unpolished moments here as
well.
A peek at the wizard behind the curtain, if you will. If you
won’t, well I did. And there were some tiny opening night technical wrinkles.
But it is wonderfully ambitious, with people floating high
above the stage, and some surprise special effects.
What an endeavor it was to wrangle in all those people on
and off stage, working around busy schedules and such. The spectacle is
undeniable.
Dozens upon dozens of talented dancers and charming voices
lit and coloured the production with spirited ebullience. One can’t help but
leave with a warm glow.
