The Wizard of Oz – Grand Theatre, Wolverhampton

Writer: L Frank Baum

Music: Harold Arlen with additional music by Andrew Lloyd Webber

Lyrics: E. Y. Harburg with additional lyrics by Tim Rice

Adaptors: Andrew Lloyd Webber and Jeremy Sams

Director: Nikolai Foster

The Wizard of Oz is arguably the pinnacle of iconic musical theatre. Its name, storyline and classic songs are instantly recognisable to young and old. Despite its popularity and exceptional success, some will be forgiven for groaning at the thought of another tour of an ageing story. Fear not; this new adaptation – directed by Nikolai Foster – is both brave and bold, adding uniqueness in its approach to modernising a classic that can be appreciated more widely.

Much of the story replicates what we already know from previous productions and the original 1939 film of the same name. All of the most recognisable musical numbers are there, and there is an early taste of this when Aviva Tulley first demonstrates her excellent vocal skills with Somewhere over the Rainbow. Tulley is exceptional in the role, portraying the innocent naivety of a young Dorothy, searching for acceptance and recognition in her mundane life in Kansas.

Dorothy’s journey from Kansas to Oz through the depths of a tornado is one of the first glimpses we see of some creative digital work by the design team. Full-size projections are used throughout the production, bringing a cinematic feel to the musical. This can feel overused, especially when mimicking a Times Square full of Oz references, but at other times it is used more imaginatively. The tornado transition especially is vivid and enjoyable to watch. Some may argue that adding an element of cinema to a musical like this is a step too far, but with the importance of freshening up a musical like this, the intentions can be applauded and for the most part it is executed well.

Digital projections aren’t the only changes to modernise this production. New songs are carefully woven into the story to complement the original classics. As much as these won’t be appreciated in the same way as those the audience already knows, the blend of old and new is seamless. Other bright and bold changes include eccentric costumes and accessories. Iconic drag superstar The Vivienne combines evil and glamour in the role of Wicked Witch of the West and clutches on to a remarkable-looking broom that looks tailor-made from a luxury shopping centre.

The pace of the story works well and this is helped by the introduction of iconic characters that Dorothy stumbles upon in the magical world of Oz. Benjamin Yates does a fine job as a comedic and camp Scarecrow, while Nic Greenshields brings humour to the ever-willing Lion as he battles his cowardice. Femi Akinfolarin’s role as The Tin Man is imaginative and the sequence of him being oiled up is an enjoyable watch as we see him on the verge of breaking out into street dance in an attempt to loosen up and move freely. A key component of the cast is Abigail Matthews’ expert puppetry as Toto which is done so meticulously that after a short while you almost forget it isn’t a real dog that is energetically bouncing around the yellow brick road.

The stage itself is minimalistic with the design team focusing on the digital projections putting in the hard work to create a visually attractive production. What results is a stage that isn’t too cluttered and opportunities for them to be practical in their decision-making. An example of this is the moving yellow brick road arrows which add to the modernised feel of the show, even if they do look like something born out of a video game.

Some may say this revival ofThe Wizard of Oz takes away from the core roots of its success. In an era of new, inspiring musicals that implement weird and wonderful ideas, this production feels fresh and revitalised, while still maintaining its original story and key musical numbers.

Runs until 4 August 2024 and on tour