Review: The Wizard of Oz - Newcastle Glees

Society name: Newcastle Glees  Musical Society

Show name: The Wizard of Oz

Adjudicator date of attendance: 15/11/2025

Newcastle Glees Musical Society’s production of The Wizard of Oz offered audiences a colourful, energetic, and warmly delivered interpretation of one of musical theatre’s most enduring classics. This is a show that arrives with enormous expectations, both from audiences who know it intimately and from the sheer scale of its visual, musical, and emotional demands. Its familiarity can be both a blessing and a challenge, requiring a careful balance between nostalgia and fresh storytelling, alongside a score and structure that demand clarity, ensemble unity, and confident characterisation. Newcastle Glees approached this challenge with evident enthusiasm, strong musical foundations, and a genuine affection for the material, resulting in an enjoyable and engaging evening of theatre.

From the outset, the production established a strong sense of forward momentum and theatrical energy. The pacing was generally well judged, allowing the episodic nature of the story to unfold clearly while maintaining audience engagement throughout Dorothy’s journey. There was a consistent sense of movement, both physically and emotionally, that helped the narrative feel purposeful rather than meandering. Importantly, the heart of The Wizard of Oz, its emphasis on courage, compassion, friendship, and self-belief, came through clearly. While there were moments that would benefit from deeper refinement and more detailed shaping, the overriding impression was of a company sincerely committed to telling this story with warmth and charm.

Laura Kerr’s direction demonstrated a solid understanding of the narrative demands of the piece, with a clear sense of pace, energy, and overall structure. The production flowed well from scene to scene and rarely felt static, maintaining a pleasing sense of continuity as Dorothy moved from Kansas into Oz and along the Yellow Brick Road. One particularly effective directorial choice was the use of the auditorium aisle as an extension of the Yellow Brick Road itself. This simple but imaginative decision reinforced the sense of constant travel, strengthening engagement and storytelling.

The overall energy of the production was commendable, with scenes generally landing cleanly and transitions moving at a good pace. There was a clear effort to keep the action alive and engaging, and this served the piece well. However, the direction was not entirely consistent throughout. While some characters were clearly well developed, others would have benefited from clearer objectives, more focused guidance, and deeper character work to ensure a more even standard across the cast.

Blocking emerged as a recurring area for improvement. There was a noticeable tendency for performers to drift upstage, often resulting in fellow cast members being forced to speak upstage towards them. This led to moments of unintentional upstaging and reduced clarity of communication with the audience. 

The tornado sequence was another moment that would benefit from greater coordination between direction and choreography. Unfortunately, the storytelling here lacked clarity and energy, resulting in a transition that felt underdeveloped. With a clearer shared vision, stronger physical storytelling, and tighter collaboration between creative departments, this sequence has the potential to become a standout moment. Despite these issues, the production maintained good flow, and the director’s ability to sustain momentum across a large ensemble cast was evident.

Musically, the production was on very strong footing under the direction of Mark Tilley. Vocal work across the cast was of a high standard, reflecting careful preparation, clear musical leadership, and a strong understanding of ensemble singing. Harmonies were particularly impressive: clean, well balanced, and confidently delivered, adding richness and texture to the overall sound. There was a consistent sense of musical security that allowed performers to focus on character and storytelling.

The chorus was a major strength of the production, with the crows and the trees providing some of the strongest harmonic moments of the evening. These sections were sung with clarity, precision, and a pleasing blend, demonstrating both musical discipline and expressive engagement. Diction across the company was clear, ensuring that lyrics landed effectively and that storytelling through song remained accessible to the audience.

The orchestra provided a lovely, full sound that complemented the vocals without overpowering them. Achieving this balance is no small feat, particularly with a brass- and wind-heavy score. Overall, the musical direction provided a strong backbone for the production and was one of its most consistent strengths.

Amy Blackshaw’s choreography revealed a production of contrasts. At its best, the movement was imaginative, engaging, and well matched to both the performers and the style of the show. Munchkinland was a particular highlight, with choreography that was clearly designed with care, well-rehearsed, and executed with confidence and clarity. The use of space was clever and visually interesting, creating dynamic stage pictures. These routines were lively, characterful, and full of detail, contributing significantly to the sense of magic and celebration in this section of the show.

The snowflakes in the poppy field were also handled thoughtfully, with movement that created a sense of atmosphere and flow. However, this only served to highlight the relative lack of development in the poppy choreography itself, which felt underwhelming by comparison. The tornado sequence again stood out as an area lacking energy and theatricality. As a crucial storytelling moment, it required greater imagination, stronger physical storytelling, and a heightened sense of spectacle. Greater consistency in choreographic ambition and refinement would significantly strengthen the overall impact.

As Dorothy, Anna Moore delivered a strong vocal performance with a beautiful, legit tone well suited to the score. Her presence was confident and commanding, and she moved comfortably and naturally. Vocally, she sang with assurance and clarity. A pronounced Judy Garland–style accent proved distracting and somewhat artificial, creating a barrier to emotional connection. Allowing her own voice and interpretation to emerge more fully would help Dorothy feel more authentic and relatable.

Allen Gordon gave an excellent performance as the Scarecrow, marked by outstanding physicality and strong comic timing. His floppy, loose-limbed movement was sustained consistently, even through dance sequences, demonstrating impressive physical control and commitment. Lively facial expressions added depth to his characterisation, and his vocal performance was confident and secure, making this a thoroughly enjoyable portrayal.

Josh Clarke offered a warm and relatable Tinman, with well-observed physical movement and a sincere, grounded characterisation. There was an opportunity to push the comedy further, particularly in the crying and rusting moments. Leaning more fully into these physical jokes would heighten their impact and add extra sparkle to an already solid performance.

Francis McKinney was a standout as the Cowardly Lion, delivering a confident, funny, and deeply likeable performance. His comic instincts were excellent, his character arc was clear, and his relationships with Dorothy and the other companions felt genuine and well established. Every comedic moment landed effectively, resulting in a highly accomplished and engaging portrayal.

Emma-Jane McKnight brought a strong vocal instrument to the role of Glinda, delivering with a rich, warm tone. However, the characterisation felt oddly cold and disconnected. Visible tension in facial expression worked against Glinda’s inherent warmth, and greater relaxation and emotional openness would help align the performance more closely with the character’s intention.

Emma Nugent delivered a commanding and highly effective performance as both Miss Gulch and the Wicked Witch. The connection between the two characters was clear while still allowing each to remain distinct. Her stage presence was powerful, and she held focus effortlessly in every scene. Overall, this was a real highlight of the production.

Sean Trainor gave an enjoyable and well-judged performance as both Professor Marvel and the Wizard. His physical comedy as the Wizard was particularly effective, with a charming sense of bumbling humour. Both characters were clearly defined, and his comic timing and stage presence served the production well.

Among the supporting roles, Aunt Em and Uncle Henry would benefit from more detailed character development and stronger emotional grounding. Lines often felt recited rather than lived, accents were inconsistent, and the relationship between the two characters lacked warmth and clarity. Elsewhere, smaller roles were handled with confidence and clarity. Katy Keaveney’s Munchkin Mayor and Chris Mooney’s Coroner added humour and character to the Munchkinland scene, while Finbar Finnegan as Emerald City Guard delivered a particularly funny and engaging performance with strong audience connection.

The ensemble demonstrated strong energy, enthusiasm, and commitment throughout the production. Vocally, the chorus was excellent, with clear diction and well-blended harmonies. Munchkinland again stood out as a showcase of the ensemble at its best. Movement was generally strong, though slower, more fluid sections would benefit from greater extension, focus, and precision. Simpler choreography demands even greater clarity, and refining this would elevate the ensemble work further.

Behind the scenes, the stage management and set design supported the storytelling well and helped maintain the production’s pace. The set was functional and serviceable, making effective use of multipurpose elements and turning flats that allowed scenes to shift without becoming laborious. The opening backdrop was particularly well painted and created a strong first impression, immediately establishing a sense of place and theatrical intention. Some design elements, such as wrinkled fabric pieces and tree designs that felt less refined, slightly detracted from the overall polish.

Stage Manager Clair Williams played an important role in keeping the evening moving. Scene changes were well managed and rarely intrusive, and the transitions generally maintained momentum rather than interrupting it. This sense of flow is vital in a show with many locations and quick shifts in tone, and the work here contributed significantly to the overall smoothness of the performance.

Technically, the production was well supported by reliable lighting and sound. Sound was particularly well balanced, especially given the size of the space and the nature of the band. Vocal and instrumental balance remained strong throughout, allowing singers to be heard clearly while still preserving the richness of the orchestration. The overall effect was controlled and supportive, enhancing the musical storytelling without becoming overpowering.

Lighting design was straightforward, dependable, and competently executed. While it did not lean heavily into especially stylised stage pictures, it was well focused and accurately cued, providing consistent visibility and mood support without drawing attention away from the performance. The fundamentals were strong and, importantly, never caused issues or distractions.

Visually, the production was genuinely eye-catching and played a major role in establishing the magical world of Oz. Costumes were vibrant and imaginative, particularly in Munchkinland, creating a joyful explosion of colour on stage and helping the audience immediately understand the heightened world of the story. While the Tinman costume showed signs of wear and would benefit from maintenance to restore its original polish, the concept remained effective. The poppy costumes, though creatively conceived, felt slightly at odds with the wider design language of the production; adjusting these to align more closely with the overall palette and style would strengthen visual continuity. 

Make-up was an absolute standout and one of the strongest elements of the evening. The artistry, detail, and execution were exceptional, with clear character definition and confident design choices that elevated the production’s overall aesthetic. The Tinman’s make-up was particularly striking, showcasing impressive precision and craftsmanship, while the Munchkins benefitted from intricate details that gave individuality and depth to the ensemble. The speed and efficiency of the transformations, from Oz characters back to farmhands, was genuinely impressive and speaks to the professionalism and organisation of the team backstage. Hair styling was equally well executed, polished, and well suited to each character, adding another layer of finish and cohesion to the visual storytelling.

The audience experience was supported from the moment of arrival by a calm and well-organised Front of House operation. Patrons were welcomed in a friendly and efficient manner, with clear systems in place to manage seating and audience flow. The atmosphere before the performance was relaxed and inviting, setting a supportive tone for the evening.

Overall, Newcastle Glees Musical Society delivered a production with strong musical foundations, high visual standards, and several excellent individual performances. This company has every reason to feel proud of what they achieved and is well placed to continue growing artistically, producing increasingly polished and cohesive work.

Photographer Toby Watson