There is no shortage of productions of The Wizard of Oz, yet Legacy Theatre proves that a familiar production can still surprise audiences. The production is the official adaptation first performed by the Royal Shakespeare Company in 1987, and preserves the heart of the beloved classic while embracing inventive staging and thoughtful reinterpretation.
Directed by Hannah Ryan, the cast includes a number of familiar faces from around the region and some newcomers as well. Annika Jonker stars as Dorothy and does a fantastic rendition of “Somewhere over the Rainbow.” This version also includes the reprise later in the show when Dorothy is locked in the Wicked Witch of the West’s tower. This reprise was cut from the film, and is performed with a much darker mood than most audiences might anticipate when they think about this melody. Jonker performs that contrast beautifully and with intention. She is accompanied on stage by a darling and very well behaved Toto (Gus) during the opening and ending scenes in Kansas.
Charles Romano (Scarecrow), Garrett Van Allen (Tin Man), and Jimmy Donohue (Lion) have great chemistry as a trio and bring superb physicality to each of their characters. With limited stage space to work with, they successfully work together to create scenes that are visually appealing, and fun to watch.
Olivia Febton (Wicked Witch/Miss Gulch) and Sarah Anne Hughes (Glinda/Aunt Em) also have standout performances vocally. They both have a strong presence on stage with a contrasting dynamic that reminds audiences about the forces of good and evil that are in conflict throughout the story.
The entire ensemble (Sophia Coppola, Lucas Dylan, Nick Futis, Fletcher Hooten, Sophia Nadine, Madeline Olexy, Jenna Ptachcinski, and Rob St. John III) works together to help tell the story through becoming various characters and even scenery throughout the show. The ensemble is first introduced with Rod Brogan (Wizard/Prof. Marvel) who plays the “humbug” of a wizard with gentle compassion and nuance. Finally, “hats off” to Rick Fountain (Emerald City Guard/Uncle Henry) who was also the MVP of the ensemble singing and dancing on stage throughout most of the show. Debuting at Legacy for the first time, Fountain was the featured soloist for “The Merry Old Land of Oz” and led the cast with the poise and agility those familiar with his work at Playhouse on Park, Warner Theatre, and Seven Angels Theatre have come to expect when he is on stage.
Although the ensemble works cohesively to tell Dorothy's story, the true stars of this production are the creative team. Their collaborative vision transforms a well-known tale into an immersive theatrical experience, demonstrating how imaginative design can elevate even the most familiar material.
Director Hannah Ryan makes exceptional use of the performance space. A multi-level set (Ryan Howell) creates visual depth and allows action to unfold simultaneously on different planes, keeping the audience engaged throughout. Rather than hiding the orchestra, the production places the musicians atop the scenic structure, making them an integral part of the storytelling and adding yet another layer of visual interest. Led by David Marottollo (Music Director) the four piece ensemble (piano, drums, flute, violin) are almost characters in the show themselves. The musicians sit atop the set, above the action of the stage, yet still part of it through sound. Sound design (Michael Skinner) was well balanced throughout the performance, offering the audience an almost omniscient or ethereal quality to the music at times. Ryan’s interesting staging evokes the wonder and unpredictability of a child's dream, where each scene flows naturally into the next. Additionally, minimal but thoughtfully selected props further enrich the storytelling, allowing character and imagination to take center stage without unnecessary distraction.
The production's use of puppetry adds yet another dimension to adaptation and is seamlessly integrated into the storytelling, expanding the imaginative world of Oz while creating moments of visual delight. Paired with fluid, expressive choreography, these sequences enrich the stage pictures and give the production a sense of constant movement and discovery. Together, the movement and puppetry reinforce the dreamlike atmosphere of Dorothy’s journey. It is not listed in the program who designed the choreography or if a puppeteer was on staff for this production. Knowing the history of the theatre once known as the “Puppet House Theatre,” where life-size, magnificent marionette puppets hung on the walls, I could not help but smile seeing puppets make their way back onto the stage.
The costume design (Jimmy Johansmeyer) also embraces simplicity without sacrificing beauty. One particularly interesting choice places Dorothy, Aunt Em, and the women of the ensemble in pants rather than more traditional attire. While Dorothy's missing blue gingham dress (replaced by a blue gingham shirt) may initially surprise audiences accustomed to the iconic image, the consistent design choice establishes its own visual language and reinforces this production's desire to reinterpret rather than replicate. I was somewhat disappointed by Glinda’s costume. While there were very imaginative elements, I felt like the neutrals of Auntie Em’s shirt and pants detracted from the whimsy of Glinda. However, the attention to detail in the coat worn by Prof Marvel was stunning. The color choices and tailored construction was flawless.
The evening's most remarkable achievement, however, belongs to the lighting and projections designed by Douglas Macur. More than simply illuminating the stage, the lighting shapes mood, guides transitions, and enhances the production's magical atmosphere. One particularly inspired moment comes with the crystal ball sequence. Clever projections create the illusion of peering inside the mystical object itself, producing an effect that is both visually striking and dramatically effective. In addition, I thought the use of small lights on Tin Man’s hands when putting out the fire on Scarecrow’s leg was very clever. However, I thought almost all the lighting choices were clever and well thought out.
Legacy Theatre's, The Wizard of Oz succeeds because it trusts its audience to see the familiar through fresh eyes. Rather than relying on nostalgia alone, the production embraces creative problem-solving, imaginative staging, and exceptional technical artistry to create a magical world that feels intimate, timeless, and new. It is a charming and visually inventive journey that I thoroughly enjoyed from beginning to end.
The Wizard of Oz runs through August 9th. Tickets can be purchased online at https://www.legacytheatrect.org/2026-mainstage-season