With ‘Wicked’, ‘The Wiz’ and many more adaptations of the well-known story of ‘The Wizard of Oz’, it’s a wonder how in need we are for yet another. However, I find myself at one of the West End’s most famous theatres, the beautiful London Palladium, to witness a new version, transferring after original success at the Leicester Curve.

The story obviously needs no introduction and most of the songs we all love and recognise from the 1939 blockbuster movie have been retained – maybe with a new, updated twist here and there. Some extra songs from the famous pair of Andrew Lloyd Webber and Jeremy Sams, of course with additional lyrics by the legendary Tim Rice, have been added and the original tale modernised slightly. 

Producer Michael Harrison, probably best known for putting on the Palladium pantomimes every Christmas, has recast most of the roles from the Curve and given them to ‘celebrities’ – something he is more than used to doing with his pantos. He works again with Louis Gaunt and Gary Wilmot, both regular features in the pantomimes here. Lucky however that star of the show Georgina Onuorah keeps her central role of Dorothy. 

It’s not just Dorothy’s red slippers that shine – Onuorah’s vocals are perfection and her powerhouse rendition of Over The Rainbow almost gets a standing ovation alone. Usually reprises of songs can get stale and repetitive but hearing this tune throughout is exactly what the audience want and need. She nails it every time. 

Star casting doesn’t always work out the way wealthy producers hope but Harrison and the team have struck gold here. Comedian Jason Manford isn’t just funny as the Cowardly Lion but brings exquisite vocals and strong characterisation too. He rinses every comical moment for exactly what it’s worth with impeccable comic timing and delivery, just as you’d expect from a talent like himself. Ashley Banjo (of dance group ‘Diversity’ fame) as the Tin Man excels with the robotic dance moves that you’d hope for and Louis Gaunt is the ideal, silly yet charismatic, Scarecrow. Gaunt has such an energetic stage presence that you can’t help but be drawn to watch his every move. 

The ever reliable Gary Wilmot gives us a beautiful, charming Wizard. Unfortunately it’s almost a cameo though and his stage time is rather limited.

The whole cast and ensemble are practically faultless and a special mention needs to go to the extraordinary puppeteering talents of Ben Thompson as Toto the Dog. He barely leaves the stage and breathes so much life into a simple yet gloriously effective puppet, wonderfully designed by Rachael Canning. A joy to watch. 

Nikolai Foster’s direction is clear and crisp. He brings together magnificent video design from Douglas O’Connell, which not only provides the backdrop for a lot of the piece but lights up the whole stage and proscenium arch to escort the audience to another dimension. Ben Cracknell’s superb lighting design aids the production and Shay Barclay’s lively, dynamic choreography works well.

The show whistles along, Act 2 a little too quickly at points, for an evening of celebrated nostalgia, all with a slight re-imagination. Some special moments are a little lost or jaded, especially the Wicked Witch’s melting ‘illusion’, but it’s a beautiful retelling which is truly hard to criticise. 

⭐️⭐️⭐️⭐️⭐