Wizard of Oz on Compass, Dec 6, 2012

Follow the yellow brick road...

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

                                                          Lennie MacPherson  

    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.