A trip to the Emerald City is the perfect end for Pittsburgh Ballet Theatre’s season, and they’re doing it in style.
The Pittsburgh premiere of Septime Webre’s “The Wizard of Oz” is an epic, surprisingly cinematic showcase of beautiful dance, jaw-dropping costumes and cleverly conceived sets. The story may be familiar, but you’ve never seen Dorothy and Co. quite like this.
“The Wizard of Oz” takes its inspiration from the 1939 film of the same name, and both are based on the 1900 novel ‘The Wonderful World of Oz” by L. Frank Baum. This ballet was choreographed by Webre, Hong Kong Ballet’s choreographer and artistic director, with music by Matthew Pierce that’s played by the PBT Orchestra in this production. The show will run from May 9-18 at the Benedum Center in Downtown Pittsburgh, and I got an early peek at Thursday night’s dress rehearsal.
At the ballet’s start, we meet young Dorothy in Kansas, where she must protect her dog, Toto — a puppet energetically puppeteered by Kurtis Sprowls — from the evil Miss Gulch. Then a tornado sweeps through the plains, lifting Dorothy and her house straight out of this world and into a wholly different, more colorful one: Oz. She has to venture down the Yellow Brick Road to find her way home, making a ragtag group of friends along the way and battling the Wicked Witch of the West in her quest.
PBT’s Dorothy, Tommie Lin Kesten (Grace Rookstool at some performances) not only handles the challenging array of dances in this ballet, she also gives a stellar acting performance as the girlish Dorothy, portraying shock, awe and fright through her graceful movements.
The Wicked Witch of the West here is no Elphaba from “Wicked;” she’s a mean, green queen, ruling over the stage every time she descends from the air. Madeline Gradle (Madison Russo at some performances) has an oil-slick fluidity that perfectly matches the character. On the other hand, Magnoly Batista’s Glinda is sweet as can be, practically glowing with each twirl in her sparkling costume and dancing with a wispy, delicate smoothness like spun sugar.
Then there’s Dorothy’s merry band of misfits. Starting off is the Scarecrow, Corey Bourbonniere (Emry Amoky at some performances) who gets to have some of the most fun, stumbling and windmilling through whimsical dance scenes. The Tin Man, Colin McCaslin (Josiah Kauffman in some performances), gets the show’s most uproarious moments of physical comedy and plays them off perfectly. Your Cowardly Lion is played by Matthew Griffin (Rylan Doty at some performances), who’s rough-and-tumble but has the powerful grace of a big cat.
Pierce’s score, played by the PBT Orchestra, is a marvel all on its own. The musical themes and melodies that wend their way through the whole show are earworms that perfectly fit their scenes, infusing traditional style with folk, jazz, blues and even a little bit of a disco feel at times.
The dance is eclectic in parts, as well — for example, when our characters finally make their way to the Emerald City, they find a mossy-colored stage lit with a flock of mirrorballs hanging from the ceiling and a parade of verdantly dressed townsfolk all doing disco moves. It’s so unexpected but also makes perfect sense.
Speaking of the sets, they’re a cinematic sight to behold, thanks to scenic designer Michael Raiford, lighting designer Trad A. Burns and projection designer Aaron Rhyne. They created true magic on the stage, from the terrifying twister that takes Dorothy away to the Day-Glo hues of Munchkinland. Even the softly-lit but alluringly insidious poppy fields are a visual feast.
And the costumes. This production called for more than 600 of them, and all were used to amazing effect. While Dorothy’s blue dress is obviously iconic, this version is even more special, with a water-like swish that exaggerates all of the main character’s turns and leaps. One could really spend the entire length of the show just drinking in the artistry of every single ensemble, each scene offering new shades and shapes that fit like a glove into the style of each scene.
This fresh new take on a classic is perfect for any age, from kids who are experiencing the mystery and wonder of Oz for the first time to adults who have watched the film for decades. From high-flying stunts to immersive projections to a toe-tapping score, it’s a winner from start to finish. This is a trip down the Yellow Brick Road that you won’t want to end.
Pittsburgh Ballet Theatre’s “The Wizard of Oz” will run from May 9-18 at the Benedum Center in Downtown Pittsburgh. For tickets, visit pbt.org.