The Wizard of Oz is a show that needs no introduction, so let’s dive right into some of the elements that make the current Children’s Theatre Company production the endearing gem that it is. First, this show (which opened on Friday) is visually fun to look at. The Kansas is appropriately flat and minimalist, and lit somewhat drably; Oz looks and feels like a different world entirely, with the candy-colored Munchkinland, the fantastically styled Oz, and the haunted house of the Wicked Witch’s castle. Scott Bradley’s set pops, and helps to convey a strong sense of journey in the show’s different episodes; this is strongly supported by Paul Hackenmueller’s excellent lighting. Helen Huang’s costumes are interesting and evoke the expected tropes while having a nice variation of their own. If first impressions count, this production gets off on a strong first foot with this trifecta.

The cast is fun to watch. Traci Allen Shannon makes an endearing and fresh-faced Dorothy, although the number of breaths in “Somewhere Over the Rainbow” is a reminder of the common tradeoffs in casting younger actresses in this role. At present, her voice is pleasant; with a few years of additional training, it could be quite lovely. The rest of the group has a bit more oomph in the vocal department, notably including the performance by Dean Holt (The Scarecrow/Hunk). Mary Fox as Miss Almira Gultch/The Wicked Witch is simply delicious.

CTC’s The Wizard of Oz features a live dog as Toto, much to the audience’s delight. That’s the operative word for this production.

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Basil Considine

Basil Considine is the Editor of the Twin Cities Arts Reader. He served as Performing Arts Editor and Senior Classical Music and Drama Critic for the Arts Reader's first five years before succeeding Hanne Appelbaum. He was previously the Resident Classical Music and Drama Critic at the Twin Cities Daily Planet and remains an occasional contributing writer for The Boston Musical Intelligencer and The Chattanoogan. He holds a PhD in Music and Drama from Boston University, an MTS in Sacred Music from the BU School of Theology, and a BA in Music and Theatre from the University of San Diego.

Basil was named one of Musical America's 30 Professionals of the Year in 2017. He was previously the Regional Governor for the National Opera Association's North Central Region and the 2021-2022 U.S. Fulbright Faculty Scholar to Madagascar.

Latest posts by Basil Considine (see all)

• REVIEW: The Veil of the Immortal Beethoven (Minnesota Orchestra) - July 31, 2022
• REVIEW: Visceral Sweat Keeps Hitting (Guthrie Theater) - July 31, 2022
• REVIEW: Splendid Wickedness in Wicked (Orpheum/Hennepin Theatre Trust) - July 30, 2022