REVIEW
THE WIZARD OF OZ
THE PALACE THEATRE SUMMER YOUTH PROJECT 2025
THURSDAY 7TH AUGUST - SUNDAY 10 AUGUST 2025
PALACE THEATRE, WESTCLIFF
THE WIZARD OF OZ
THE PALACE THEATRE SUMMER YOUTH PROJECT 2025
THURSDAY 7TH AUGUST - SUNDAY 10 AUGUST 2025
PALACE THEATRE, WESTCLIFF
Over the years there have been many variations of Frank Baum’s iconic story of The Wizard of Oz, yet the film starring Judy Garland still seems to hold the most affection, regardless of which generation you happen to have been introduced to it in. Made in 1939 it was one of the first films to introduce technicolor to the world of cinema, making Dorothy’s transition from a black and white Kansas to the multicoloured and bright Munchkinland even more poignant.
You have to wonder why this story of a young girl, brought up on a farm by her aunt and uncle, who is suddenly finds herself in a far-away land when a tornado hits her Kansas home, has sustained such longevity and popularity; and this is where the Palace Theatre Summer Youth Project comes in, because this particular production of L Frank Baum’s novel, with music and lyrics by Harold Arlen and E Y Harburg (Background music by Herbert Stothart) and adapted by John Kane for the Royal Shakespeare Company is stripped back to the traditional values of the original story, which not only pulls at every emotion but also offers the audience a sentimental reminder of what is truly important in life.
You have to wonder why this story of a young girl, brought up on a farm by her aunt and uncle, who is suddenly finds herself in a far-away land when a tornado hits her Kansas home, has sustained such longevity and popularity; and this is where the Palace Theatre Summer Youth Project comes in, because this particular production of L Frank Baum’s novel, with music and lyrics by Harold Arlen and E Y Harburg (Background music by Herbert Stothart) and adapted by John Kane for the Royal Shakespeare Company is stripped back to the traditional values of the original story, which not only pulls at every emotion but also offers the audience a sentimental reminder of what is truly important in life.
Photo credit: Tim Browne
This show, produced by the Palace Theatre's Emma Wagstaff and directed by Marc Mollica, has been perfectly cast. As ever, with Summer Youth productions, it really is unbelievable to think that this production has been rehearsed and put together within 2 weeks, such is the professionalism of not only the performers but also the backstage and technical team who work so hard behind the scenes to provide such a spectacular production.
One of the first numbers in this show, of course, is the iconic Somewhere Over the Rainbow which often has a tendency to be dramatically over-sung; so it was with a huge sense of relief that from the moment the delightful Calypso Bailey opened her mouth to sing this famous song, she completely made it her own and truly swept the audience away with her beautiful yet understated vocals.
Another of my (excuse the pun) pet hates, is having animals on stage and to my joy, Toto (Dorothy’s dog) was brilliantly portrayed in puppet form, expertly puppet'eered by Iris-Lilly Oldham. In fact, the use of puppets throughout this show was a genius move and I loved the hens, flying monkeys and the blackbirds who were especially hilarious. Props to the props and puppet department of Megan Bishop, Claire Brooks and Nik Vaughn for their amazing designs and also kudos to the Costume Department, Molly White and Pheonix Wheatley for creating some brilliantly designed costumes. Also creating some great illusions was Josh Blows with his lighting designs and spots.
One of the first numbers in this show, of course, is the iconic Somewhere Over the Rainbow which often has a tendency to be dramatically over-sung; so it was with a huge sense of relief that from the moment the delightful Calypso Bailey opened her mouth to sing this famous song, she completely made it her own and truly swept the audience away with her beautiful yet understated vocals.
Another of my (excuse the pun) pet hates, is having animals on stage and to my joy, Toto (Dorothy’s dog) was brilliantly portrayed in puppet form, expertly puppet'eered by Iris-Lilly Oldham. In fact, the use of puppets throughout this show was a genius move and I loved the hens, flying monkeys and the blackbirds who were especially hilarious. Props to the props and puppet department of Megan Bishop, Claire Brooks and Nik Vaughn for their amazing designs and also kudos to the Costume Department, Molly White and Pheonix Wheatley for creating some brilliantly designed costumes. Also creating some great illusions was Josh Blows with his lighting designs and spots.
Photo credit: Tim Browne
Every single principal in this production was perfectly cast, with Tony Lambert expertly playing the flippy-floppy Scarecrow, Edward Flynn-Haddon providing some excellent dance moves as Tin Man and Charlie Hunt endearing as the cowardly Lion with all of them nailing every comedic line as well as bringing a nice amount of pathos into their roles too.
Mia Cater certainly has the power in her gorgeous vocals to impress and she epitomised the role of Glinda, sounding remarkably like the original film version of the good witch and looking absolutely stunning in her wonderfully glittery pink, larger than life, costume. Also, well done to Sophie Morrison, playing the villain of the piece, the Wicked Witch of the West, which she clearly fully embraced in all her green-ness and evil cackles. I loved the energetic choreography and movement leading up to her eventual demise which was cleverly imagined and worked really well. It was also a joy to watch Oliver Bearman embrace his role as the Mayor of Munchkinland (true story - the real Mayor of Southend who was in the audience was a little envious of the Munchkinland Mayor’s costume, although I did note that he was holding on quite tightly to his own mayoral chain during the interval).
The joy of these productions is that every child gets a chance to develop and grow as a performer and it’s wonderful to see year after year many of these children finding themselves being given bigger roles as they learn and aspire to be like their peers. I wish I could name check every single person involved in this production because I know just how hard every one of them has worked to produce a show of such a high calibre. From Ding Dong the Witch is Dead, to Follow the Yellow Brick Road and We're Off to See the Wizard every member of the ensemble as well as the principals displayed true commitment.
Mia Cater certainly has the power in her gorgeous vocals to impress and she epitomised the role of Glinda, sounding remarkably like the original film version of the good witch and looking absolutely stunning in her wonderfully glittery pink, larger than life, costume. Also, well done to Sophie Morrison, playing the villain of the piece, the Wicked Witch of the West, which she clearly fully embraced in all her green-ness and evil cackles. I loved the energetic choreography and movement leading up to her eventual demise which was cleverly imagined and worked really well. It was also a joy to watch Oliver Bearman embrace his role as the Mayor of Munchkinland (true story - the real Mayor of Southend who was in the audience was a little envious of the Munchkinland Mayor’s costume, although I did note that he was holding on quite tightly to his own mayoral chain during the interval).
The joy of these productions is that every child gets a chance to develop and grow as a performer and it’s wonderful to see year after year many of these children finding themselves being given bigger roles as they learn and aspire to be like their peers. I wish I could name check every single person involved in this production because I know just how hard every one of them has worked to produce a show of such a high calibre. From Ding Dong the Witch is Dead, to Follow the Yellow Brick Road and We're Off to See the Wizard every member of the ensemble as well as the principals displayed true commitment.
Photo credit: Tim Browne
Singing and choreography were consistently good throughout, and the three girls who were trees in one number (sorry I don't have their names) stood out with some fantastic harmonies throughout the show. In fact, the whole cast consistently sounded SO good and MD, Paul Day has done a wonderful job to produce this level of singing in such a short space of time, alongside assistant, Alex Wood. The Jitterbug number, which wasn’t included in the film, was a particular highlight as a dance number and Douglas Yolland has certainly got the best from this talented cast right from the older teens all the way down to the younger children in the cast; every single one of them gets a chance to shine on the Palace Theatre stage - no mean feat when there are so many of them. The poppy scene looked as good as it sounded too with lots of cast on stage at once.
There is definitely something about this particular production of The Wizard of Oz that feels really rather special, it’s almost like you’re seeing the story unfold before your eyes for the very first time again and the magic and wonderment of Dorothy’s journey of self discovery, friendship, plus the importance of the fact that 'there’s no place like home' will make this journey somewhere over the rainbow prick at the emotions more than ever before. A truly enchanting and magical evening.
Review: Kim Tobin
There is definitely something about this particular production of The Wizard of Oz that feels really rather special, it’s almost like you’re seeing the story unfold before your eyes for the very first time again and the magic and wonderment of Dorothy’s journey of self discovery, friendship, plus the importance of the fact that 'there’s no place like home' will make this journey somewhere over the rainbow prick at the emotions more than ever before. A truly enchanting and magical evening.
Review: Kim Tobin
Photo credits: Tim Browne