The Wizard of Oz
TJ Productions
TICKETS: End of Season
TJ Productions was founded by Tilly-Jo Smith: a filmmaker, director and dancer, who is dedicated to uniting teams of like-minded individuals to produce extraordinary productions.
Having recently been closely involved in founding a theatre
company, I understand the many behind-the-scenes demands involved in bringing a
production and a production company together. I therefore commend Smith for the
effort invested in her debut production, The Wizard of Oz.
Choosing a classic tale as a first theatrical work largely
guarantees audience familiarity and can encourage ticket sales. However, when
the version presented differs from expectations, audiences may be uncertain
about what to anticipate. In this case, Claude Townley’s one-act adaptation of
L. Frank Baum’s The Wizard of Oz proves underwhelming.
Townley’s adaptation reduces the number of characters,
allowing Smith to manage each character’s journey while also providing
opportunities for double casting. This is an increasingly common practice in
theatre, both to create more opportunities for performers and to help
productions remain viable when illness occurs.
Saturday 12 September, 4pm — Ruby Cast
Lisa Bachmayer brings a clear presence to the role of the
Historian, establishing the production’s storytelling framework with confidence
and warmth. She gives the narration a welcoming quality while also assisting
with props and sound effects. In the Emerald Cast, her portrayal of the Wizard
demonstrates her versatility.
Ash Penny offers a sincere and appealing performance as
Dorothy, capturing the character’s sense of wonder with confidence and
maintaining a natural connection with her castmates. There are moments when
Penny’s dialogue is difficult to hear, but she gives Dorothy an accessible
emotional centre as she encounters the unfamiliar world of Oz.
Olivia Pajkovski gives the Scarecrow a youthful and
energetic interpretation, using expressive movement and an appealing enthusiasm
for the stage. Her performance conveys the Scarecrow’s desire for a brain while
allowing his loyalty and good-hearted nature to emerge.
Zachary Baseby portrays the Tin Man in both casts, bringing
a gentle and earnest quality to the role. He handles the character’s physical
mannerisms with care and gives the Tin Man an appealing vulnerability,
particularly in his desire to possess a heart.
Like Baseby, Kristopher Sudaj portrays the Lion in both
casts. He presents an approachable and entertaining character, balancing his
vigorous roar and outward nervousness with moments of courage and
determination. His performance contributes to the warmth of the central group
and helps maintain the production’s youthful, family-friendly tone.
Mari Nield gives the Wicked Witch an imposing presence,
embracing the character’s threatening moments with a booming voice that exceeds
the performance venue’s scale. Nield provides a clear sense of opposition for
Dorothy and her companions while remaining appropriate to the production’s
accessible style.
Aysha Gharib Jihad offers a composed and personable
interpretation of the Wizard, giving the character an appropriate mixture of
authority and mystery. Her participation as the North and South Witches in the
Emerald Cast highlights her flexibility within the double-cast production well.
Skylar Linke brings energy and presence to the role of the
Winged Monkeys Ruler. She establishes leadership within the Winged Monkeys while
contributing to the appeal of the production’s more fantastical moments.
As well as director and producer, Tilly Smith appears on
stage, giving a clear and supportive performance as the North and South Witch,
despite a minor costume malfunction and lack of shoes. Smith brings a pleasant
sense of theatricality to all her roles, helping shape the world of Oz.
Liam Cameron’s minor role as Uncle Henry provides a warm and
grounded performance. In the Emerald Cast, Cameron appears as the Scarecrow,
allowing more of his acting range and physicality to be showcased. His
commitment to physical comedy is commendable.
Teresa Iuliano brings a caring and approachable quality to
Aunt Em. Although the role is minor, her performance helps establish the
affection within Dorothy’s family and gives the opening scene a gentle
emotional foundation. Iuliano also serves as Smith’s assistant director.
Several technical mishaps occur throughout this performance,
prompting the creative team to create an impromptu ten-minute interval while
discreetly addressing the problems. Several sound cues were also either missing
or inaudible during this performance. These issues were amended by the Emerald
Cast performance I attended.
Sunday 13 September, 1pm — Emerald Cast
Natalie Davies provides a confident and engaging
interpretation of the Historian, guiding the audience through the story with
clarity. She contributes to the production’s overall momentum and ensures the
narration remains easy to follow.
Sophia Genery gives Dorothy a personable and earnest
performance, portraying the character’s curiosity and growing confidence with
youthful sincerity. She establishes convincing relationships with the other
central characters and helps carry the emotional journey at the heart of the
story.
Leighara Lawson brings an expressive performance to the role
of the Wicked Witch, conveying the character’s menace through clear vocal
projection while maintaining the appropriate tone for this adaptation.
When not portraying the principal characters mentioned
above, the cast joins Violet Sampson in the ensemble, portraying various
figures throughout Dorothy’s journey to pleasing effect.
Creating a self-funded production company brings
considerable potential as well as financial risk. When resources and funds are
limited, the opportunity to encourage audiences to use their imagination
becomes especially important. There
have been many conversations within the community theatre scene about a
productions’ budget and its reflection upon the talent, and this production becomes
an exceptional case study to argue this point.
This production is the epitome of a shoestring-budget
presentation, using minimal set pieces, props and lighting equipment. Sound
cues and music are delivered through the community centre’s PA system, while
the programme consists of a double-sided flyer. The costumes are familiar and
suitably matched to the production and their wearers, while Jordyn Ellis’
makeup artistry provides effective flourishes for the Scarecrow, Tin Man and
Lion.
Although this is Tilly Smith’s first stage production under
TJ Productions, her mission’s work is well underway. With mentorship from
within Adelaide’s community theatre scene, TJ Productions could develop
considerably and move closer to achieving the extraordinary standard this 20-year-old
is striving towards.
- Andrew Broadbent
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