In recent years, and thanks largely to the popularity of its spin-off cousin Wicked, it feels like the whole world has contracted Oz-mania. So, I was very much looking forward to this trip to Northwich to revisit the original tale. I also have fond memories of playing the cowardly lion in my final year at high school approximately one hundred thousand years ago.
I can’t believe there is a person in the Western Hemisphere who needs the story setting out for them but briefly The Wizard of Oz tells how young Dorothy Gale (Sidney Causer) and her little dog Toto (Jess Hazel) is swept from her farm in Kansas to a magical faraway place – the land of Oz. Guided by Good Witch Glinda (Amy Rattenbury) and tormented by the Wicked Witch of the West (Laura Slater-Hatton) Dorothy follows the Yellow Brick Road with new friends—a Scarecrow (Michael Corteen), Tin Man (John Francis Viagus), and Cowardly Lion (Greg Billing)—seeking the Wizard (Joe Moore) in an attempt to return home.
There are a few versions of the story available to perform on stage and this one (the RSC one) is the closest to the original MGM film. The adaptation is almost line for line in places which makes it feel incredibly nostalgic. However, it is also by far the most technically difficult of the productions to attempt so experienced Director Louise Steggals certainly had her work cut out for her. The staging was incredibly ambitious using a combination of projections, solid scenery, special effects and flying – nothing was left in the tank. At times this ambition led to slow transitions which was through no fault of the very hardworking backstage team. Having seen a few shows now at this venue there are clearly some backstage limitations that creative and technical teams have to navigate around when compared to a traditional proscenium arch theatre venue.
Choreographer Jessica Martin’s routines were sympathetic to the needs of a mixed ability group and allowed for maximum inclusivity in the larger set pieces which was lovely to see. This approach was punctuated at times with more technically difficult additions of which the Tinman’s tap, The Merry Old Land of Oz and the Jitterbug were the best examples. Musical Director Marilyn Blank led a 6-piece band through a very cinematic score which is also true to the original film. Unfortunately, I’m not sure six players were ever going to be able to give the necessary oomph to do the score justice and it was left sounding a little thin in places. Also, some of the numbers seemed to drag a little which impacted the vitality of the piece and seemed to create a sense of occasional unease amongst principals and ensemble.
There were some accomplished offerings from the principal players. Causer’s vocals as Dorothy and the sense of innocence she portrayed made for a pleasing central performance. Individual characterisations from the three travelling companions played by Corteen, Viagus and Billing, were well defined and the way they played collectively as an ensemble led to some nice comic moments. Laura Slater-Hatton was suitably antipathetic as the spiky dog-botherer Miss Gulch and her Wicked Witch was a much more sophisticated representation than the cackling crone made famous by Margaret Hamilton. Amy Rattenbury was the archetypal Fairy Godmother as Glinda whilst Joe Moore gave an assured performance in the dual roles of Professor Marvel and the eponymous Wizard. Bill Shardlow was equally secure in his dual roles of Uncle Henry and the Emerald City Guard providing some excellent comedic flashes. The Munchkins (Team Dorothy) were played by Mid Cheshire’s Youth Theatre which gave us a glimpse of what a cross generational theatre community this is and how that community supports and nurtures young talent. A shout out also goes to Jess Hazel whose excellent puppetry skills brought Toto to life but with a lightness of touch that meant she wasn’t intruding on the action.
Special mentions go to the costumes for the four key players which were designed and made by the Tinman himself (Jonni Angel Designs). These were finished to an exceptional standard and would not have looked out of place in a professional production. The crystal ball prop, made by members of the company, was another stand out addition. The prop worked extremely well and was perfectly evocative of the iconic scene in the 1939 film. And finally, the makeup team who did a superb job of bringing all of the characters to life and rapidly changing them back. The flying monkeys especially were just sinister enough without being too scary for the younger audience members.
Overall, this was a lovely trip down memory lane and a very enjoyable night at the theatre. With a little more razzle-dazzle in the attack and greater pace in the delivery the show would have been elevated even further and left the audience with a truly over the rainbow experience.
The Wizard of Oz runs until Sun 22nd February 2026 at Northwich Memorial Court (7.30pm nightly with a matinee performances at 2.30pm on Saturday and Sunday), tickets are available at The Wizard of Oz – Brio Entertainment
Reviewer: Dan Grimes
Reviewed: 18th February 2026
North West End UK Rating: