By James V. Ruocco
First published in 1900 as a children's book titled "The Wonderful Wizard of Oz," L. Frank Baum's classic, much-loved story has given rise to many sequels, spin offs, prequels, adaptations, stage shows, musicals and the iconic Technicolor 1939 MGM film that starred Judy Garland, Margaret Hamilton, Ray Bolger and Billie Burke.
A delightful piece of wonder, told in a fairybook style of the brightest of colors, the "Oz" story is so well-intentioned, it's no wonder Pantochino Productions opted to do their own version of the oft-told story using the amused gleam of Baum's most enchanting creations, mixed with a fresh-sounding, original music score and plenty of zany humbuggery that unfolds in every color of the rainbow.
Playful.
Animated.
Witty.
Devilish.
Intriguing.
"The Wicked Witch of the West: Kansas or Bust" is a dazzling entertainment for all ages wrapped up in sugar-coated packaging designed to turn adults into little kids again and transport children back to that magical kingdom of Oz surrounded by some of their favorite characters including Dorothy Gale, The Scarecrow, the Tin Man, the Cowardly Lion, Glinda, the Good Witch and the mighty Wizard.
In this version, the Wicked West of the West travels to Kansas to get back her magical powers (for story purposes, she's lost them), by stealing her broomstick and precious ruby-red slippers back from Dorothy Gale so that she can become "wicked" again. It's a feat, the green-faced witch hopes to accomplish effortlessly, using the slippery malice and sneaky intuition that first spun madly out of control in the popular MGM movie.
But can she do it?
Will Dorothy be able to outsmart her with the help of her trusty, rainbow trio?
Will Glinda, the Good Witch, be called upon for back up?
Or will the Wicked Witch suffer the same fate she did in "The Wizard of Oz" and melt again via yet another thrown pail of water?
Sorry, no spoilers, here.
Staging and directing "The Wicked Witch of the West: Kansas or Bust," Bert Bernardi brings the "Oz" story thrillingly to life using just the right amount of confidence, imagination, crystal ball magic, chutzpah, amusement and good, old-fashioned, rainbow-tinged charm. There's a homespun naturalism and whimsy to the piece, which when shaken and stirred, reveals apt doses of humor, surprise and poignancy of every possible shade. He has fun. We have fun. He smiles. We smile. He goes for the punchline. We get it and wait for another. He toys with our senses. We willingly go along for the ride. He changes direction. We sit back attentively wondering what's going to happen next.
Working from a play text that he wrote with oomph, style, passion and cheery references to the actual "Wizard of Oz" 1939 film, cleverly mixed with new information about what happened when Dorothy finally found herself back in Kansas, Bernardi brings a ripened exactness and harmonious resonance to the work that allows it to sparkle, dazzle, breathe, settle and take shape. Nothing is taken for granted. Nothing is thrown in for extra measure. Nothing is staged as an afterthought. Nothing occurs out of the ordinary. This is a labor of love that respects the big Judy Garland MGM movie musical, its much-loved characters, their back story, the chaos and merriment of their journey down the Yellow Brick Road, their dicey entanglement with the Wicked Witch of the West and their grand encounter with Emerald City's masterful Wizard.
At the same time, Bernardi is not one to rest on his laurels. The aftermath of Dorothy's journey and her re-encounter with the "Over the Rainbow" sect - The Wicked Witch of the West, the Scarecrow, the Tin Man, the Cowardly Lion, Glinda- is rich in promises, rainbows, adventure, fantasy, personality, spirit, happiness and a dash or two of madness. It sings and soars. It is imaginatively crafted and paced. It is warm and fussy. It has a marvelous sense of sequel enlightenment to it that Bernardi shapes and molds with such cleverness and excitement, it's impossible not to be swept up in the magic of it all. As storyteller, he also knows and understands how language is to be used. There's vitality and depth here along with some choice one liners, character turns, attributions and surprises that enrich this adaptation and its overall effectiveness.
The musical score for "The Wicked Witch of the West: Kansas or Bust" has been written by Bert Bernardi (lyrics) and Justin Rugg (music) whose collaborative efforts at Pantochino Productions include "Glitz! The Little Miss Christmas Musical" " and "The Waffle House Five." It contains 11 musical numbers. They are "Kansas," "Dorothy's Lament," "The Wicked Witch of the West," "Who Needs a Yellow Brick Road?" "Slippers, A Broom and A Girl," "This Better Be Really Good!" "Who Needs a Yellow Brick Road? (Reprise)," "The Wicked Witch of the West (Reprise)," "On the Road to Wichita," " Fabulous Magical Shoes" and "I'd Click My Heels."
A musical sherbet of sorts that challenges and soothes the ear, the songs themselves - melodic, cherry-ripe, catchy - unfold with fine touches of originality, deftness, humor, sentiment, pathos, camp, cuteness, slapstick and music hall variety show. They are fun, exciting, pleasurable, character driven and so very right for this hilarious new take on the popular "Wizard of Oz" story. Every one of them fits seamlessly into the show's two act scenario, thus, taking us on a full-filled musical journey that delivers the goods most engagingly. The placement, the orchestrations and the lyrics are slap-bang-wallop original. Each musical number not only carries the action forward, but says so much about the characters who sing them from loveable, misunderstood Dorothy to the green-faced, Wicked Witch of the West. There's also a pop-rock/classic show music fusion about them, which heightens their musicality, flair, characteristics and lyrical incitements.
Under Justin Rugg's effective musical direction, the rush of sound and virtuoso that greets each musical number is balanced, playful and rhythmically booming. It's show-catchy work, performed with amazing clarity and abandon that commands attention, pushes boundaries, complements the pending/ongoing action and adds color, nuance and sparkle, when necessary. In turn, nothing gets lost in the translation. Everyone in the cast is in perfect pitch, reveling in the musical's charms and abundant wit, pathos and sentimentality. All of the musical numbers, from solos to ensemble turns, are sung brilliantly. And when it comes time to harmonize, the performers themselves deliver a clean, crisp harmonious sound, rife with excitement, luster and brio that serves the material and the story very well.
It's a role Shelley Marsh-Poggio was born to play and play it she does as the show's larger-than-life title character, the Wicked Witch of the West. An actress with great personality, brilliant comic timing and lots of fire and spark, she takes hold of the title role and makes it her own, injecting the right fizzy and slippery demeanor into the character which keeps things fast and furious in all directions. In the part of Dorothy Gale, Mary Mannix channels her character's warmth, expressiveness, curiosity and sweetness so beautifully and naturally, her incredible nuanced performance brings a tender humanity and shimmer to the proceedings. Both she and Poggio are at the top of their game throughout the two-act musical, working wonderfully together side-by-side and with the rest of the "Wicked Witch" cast. Vocally, both actresses have the vocal chops to pour out their hearts out in song, which they do with a feel-good glow and blazing intuition that is apparent in all of their musical numbers.
The Scarecrow, the Tin Man and the Cowardly Lion, played respectively by Jimmy Johansmeyer, Justin Rugg and Cadence Castro, dance to their own drum roll, offering fresh, inspired, snappy portrayals of the popular trio that are unique, well played and imagined while retaining the spirit and high energy envisioned in Baum's original story. There's no oversized floating bubble to signal Rachelle Ianiello's on-stage arrival as Glinda, the Good Witch. Regardless, the actress crafts a charming, sparkling performance that pays homage to the "Oz" scenario and respects the character's effervescent, do-gooder persona. The irrepressible George Spelvin gets to try on three different hats, all of which he does with the appropriate dazzle and chutzpah he is famous for. As Auntie Em, he delights and cajoles with a nod or two to BBC One's "Mrs.Brown's Boys." He also has great fun as the Wizard of Oz and the Ox Door Gate Keeper, two roles which he conveys with warmth, intuitiveness and comic zing and snap.
"The Wicked Witch of the West: Kansas or Bust" is a sharp, snappy, belly-laugh musical comedy with hilarious, gleeful performances, brilliant directorial timing and pacing and a breezy story line that is clearly inspired fun. It's a wonderful group effort in a class of its own, fueled by a twinkly, effervescent musical score, big jokes that harken fond memories of "The Wizard of Oz," great production values and a very happy ending that proves once again - "there's no place like home."
"The Wicked Witch of the West: Kansas or Bust" is being staged at Pantochino Productions (40 Railroad Ave., Milford, CT), now through October 27.
For tickets or more information, call (203) 843-0959.
website: pantochino.com
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