The Danger Ensemble are taking us down the yellow brick road again, this time with an unlikely heroine at the helm. Her name’s Judy – Judy G. You know the rest. She waits in a caravan as the storm gathers around her. She talks of being lifted up, of becoming a ‘star’ again. But as the winds roll past and she steps outside, Judy finds an Oz not quite like the one she remembers.
Latched to a liquor bottle like an attention-deprived child star, Margi Brown Ash claims centre stage. She tweaks and toys with the Judy we’ve come to love, tearing her up, throwing bits out until what we’re left with is something sadly amusing: a lonesome starlet left decrepit and helpless in the spotlight. But despite her dire appearances, Judy G remains resolute, and with her trusty storybook in hand, she becomes the perfect guide for us in this very strange story.
As a classic tale of redemption, The Wizard of Oz is difficult show to entertain. The primary threat to any production has to be the iconic 1939 film adaptation, whose star-making turn by its lead actress has become one of the staple stories of Hollywood legend. You could almost say it haunts us. But this particular retelling brings an unexpected life to the tale, largely due to the quirky set and costume design by Simone Romaniuk. It’s a sort of spellbound backyard, where the story’s familiar faces suddenly morph into these technicolour-pop-culture hybrids, turning your wholesome family fare into a provocative Gaga-esque amusement park. And the electricity of the cast, especially that of our lead actress, certainly helps the show from collapsing under so much cultural weight.
As wonderful as this Wizard is though, the magic wears off rather quickly. By the time we reach the climax, the show seems to lose its way; instead of hurtling into uncharted territory, the narrative remains content with what we know, grows tired and eventually falls asleep on itself. It’s such a shame considering the vivid design, cast and clever direction by Steven Mitchell Wright. With so much of the show’s dialogue being concerned with the infinite possibilities of dreams, the production itself ends up feeling somewhat limited.
The show, we’re told early on, is Judy’s fantasy, and for this reason it operates within a set, confined narrative. This justification appears a little threadbare though: any mind trapped in illusion warrants more than just a superficial sketch. But while the script feels thinly drawn, The Wizard of Oz still manages to dazzle us, providing enough tricks, colour and laughs to keep the ghost of another adaptation waiting in the wings.
Rating: 3 stars out of 5
The Wizard of Oz
A La Boite, The Danger Ensemble and Brisbane Festival co-production
Developed in association with NORPA
By Maxine Mellor & The Company
Director: Steven Mitchell Wright
Set and Costume Designer: Simone Romaniuk
Lighting Designer: Ben Hughes
Composer & Sound: Designer Dane Alexander
Assistant Director: Stephen Quinn
With Chris Beckey, Margi Brown Ash, Caroline Dunphy, Thomas Hutchins, Lucy-Ann Langkilde, Thomas Larkin, Polly Sara
Brisbane Festival 2013
7 – 28 September
Image by Morgan Roberts
