York Stage have done it again – their latest production of The Wizard of Oz was a dazzling reminder of why local theatre matters.

By Katie Stewart

From the moment the curtain rose, the audience was swept into a world that felt both familiar and freshly imagined.

A standout performance from the night came from Finn East who played the cowardly lion with effortless flair. East was a driving force for the comedy of the show overall; he truly immersed himself into the iconic character, nailing the dramatic, near-operatic voice and bringing a delightfully buoyant energy to the equally colourful stage.

A similarly fully embodied and impressive performance came from Flo Poskitt as the Scarecrow. Her slapstick physical comedy was beautifully executed – loose-limbed and expressive, with an exaggerated elegance, reminiscent of the great Doris Day in Calamity Jane. Her performance played a leading role in bringing the surreal land of Oz to life; it was vibrant, captivating and cartoon-like. Poskitt’s vocal performance added another layer of brilliance, masterfully used to elevate the comedy and give each line its own distinct flavour.

The production and costume design were exceptional, as has come to be expected with York Stage productions. The set was layered and immersive, bursting with colour and texture that transported the audience straight to Oz. The production’s director Nik Briggs deserves special mention for his inventive costume design touches, particularly the intricate details such as all the Munchkins’ high-top trainers with mismatch-coloured laces – a simple but effective contemporary twist.

Musically, the show was lifted by a superb orchestra whose performance added depth and warmth to every scene. The music was a vital part of the show’s immersive quality, nodding lovingly to the film’s original score. It was particularly joyous to see conductor Jess Viner’s infectious enthusiasm during the final song at curtain call. She was clearly having a blast, and it reflected in the vibrant performances of the musicians in the pit.

One of the more understated performances came from Chris Wilson as Uncle Henry/Oz Guard. There was something quietly compelling about his presence – grounded, sincere, and emotionally resonant. His singing voice, especially in the final harmony, was the cherry on top of an all-round exceptional performance.

Finally, a brilliant detail that shouldn’t go unmentioned was the use of practical pyro effects. In each of the Wicked Witch of the West’s magic scenes, the use of traditional stage effects created a sense of nostalgia for the practical effects and set design techniques used in classic Hollywood cinema. It felt like an exciting homage to the ground-breaking visuals and techniques used in the legendary 1939 film.

Altogether, this Wizard of Oz was a rich, joyful production with knockout performances. It was clear that everyone involved in the production was talented, ambitious, and passionate about creating quality theatre. The show is playing at the Grand Opera House in York from 13-20 September; you can purchase tickets here.