For most audiences, Oz is inseparable from the 1939 film starring Judy Garland alongside Ray Bolger, Jack Haley, Bert Lahr and Margaret Hamilton. It remains one of the most influential fantasy films ever made and sets a benchmark against which every stage production is inevitably measured.
Under the direction of Heidi Fletcher and choreography by Sally Hilliard, East Cheshire Musical Theatre Company’s production at Romiley Forum embraced that legacy with warmth and enthusiasm, delivering a musically strong and visually thoughtful evening of theatre.
Musically, the production was on very solid ground. Under the musical direction of Ed Nurse, the band was tightly conducted throughout, supporting the singers with clarity and precision, while the chorus delivered confident and well-rehearsed ensemble work. Nurse deserves considerable credit for achieving an effective balance between orchestra and stage, allowing the score to remain consistently engaging and ensuring that the musical elements of the production remained one of its strongest assets.
Contemporary projection technology was used effectively to establish locations and facilitate scene changes, helping maintain the flow of the performance. There were occasions, however, when the technology could perhaps have been employed more boldly. The tornado sequence, accompanied by narration from Miss Gulch and Dorothy, might have benefited from a more immersive visual approach to heighten the sense of chaos and transition.
The arrival in Oz itself did not quite achieve the theatrical impact the moment demands. Although the painted scenery was attractive, the reveal lacked the full sense of wonder expected at such a pivotal point in the story. The visibility of the Munchkins behind an unpainted flat slightly weakened the surprise, and a stronger lighting or visual effect would have helped create a more magical transformation.
An unusual addition to the production was Toto, played by dog actor Luna, who behaved impeccably throughout. There were a few moments when cast members appeared to be adjusting to sharing the stage with her, resulting in the occasional tiny yelp being heard, but these were minor distractions and quickly forgotten.
Dorothy, played by Isabella Fallon, proved to be one of the highlights of the evening. Her performance was natural, sincere and beautifully measured, with a clear, childlike purity to her voice that was a delight to hear. She brought warmth and authenticity to the role and carried the emotional heart of the production with confidence and charm.
Equally impressive was the genuine warmth between Dorothy and her travelling companions: the Scarecrow, Adrian Godding; the Tin Man, Chris O’Neill; and the Cowardly Lion, Adam Garnett. Their shared journey was marked by warmth, camaraderie and strong use of physical theatre, which gave their relationships a tangible sense of energy and playfulness. These elements combined to create an emotional core that carried the audience through the story, with the chemistry between the central characters evident throughout.
A particular highlight was If I Were King of the Forest, delivered with confidence and a fabulous vocal quality by the Cowardly Lion, played by Adam Garnett. The performer extracted every possible ounce of comedy from the number, producing one of the evening’s most entertaining sequences and drawing some of its biggest laughs.
Professor Marvel, who later reappears as the Wizard of Oz, played by Jon G, provided another standout performance. The actor brought a highly individual interpretation to both roles, full of camp knowingness and theatrical flair. There were echoes of numerous famous characterisations and, at times, shades of the self-aware charm associated with Jeff Goldblum’s interpretation in Wicked. Yet the performance never felt derivative, remaining entirely its own creation while displaying excellent comic timing and personality.
The Good Witch and the Bad Witch were also in safe hands, with Francesca Bowman as Glinda delivering a poised and assured performance, while Kate Longdon’s Wicked Witch of the West combined a seriously menacing presence with a contemporary nod towards interpretations of Elphaba through her costuming and approach to the role.
Less successful was the iconic moment in which Dorothy throws water over the Wicked Witch. From the audience’s perspective, the transition felt somewhat unclear: one moment the Witch was present and the next she appeared to have vanished, with only the broom returning to the stage. Whether intentional or the result of a staging issue, the effect lacked the dramatic clarity that such a famous scene normally carries.
There were also a few minor technical hitches and some scene changes that could be smoothed further. Such issues are hardly uncommon in live theatre and are likely to settle quickly as the run progresses.
The Wizard of Oz is being performed at Romiley Forum until Saturday 6th June.
Reviewers: Kathryn Gorton and Beryl Brennan
On: 2nd June 2026
