Upclose with The Wizard of Oz
He may not have a million-dollar Broadway budget but musical director Phil Whelan hopes to have his audience flying higher than Dorothy with his all-singing, all-dancing production of “The Wizard of Oz.” He talks to Courtney Bernstein.
HK: What’s the stage version of “The Wizard of Oz” like?
Phil Whelan: The beginning is like the film but when the characters arrive in Munchkinland it gets more technical. This is not your run-of-the-mill musical with nice scene changes. It’s a very quick-moving play with cinematic music which we hope will get the audience up and dancing. We do have a flying Dorothy!
HK: What have you brought to the production?
PW: Some directors want to do it all themselves but it’s human nature to work together. This play has been a great opportunity for me to try things out and work with the cast and crew creatively. I like to put a play together in layers, like making a record. I tell the cast: “You are here and you have to get there. Show me what you’ve got!”
HK: What would you like the audience to take away from this production?
PW: I want them to be exhausted afterwards but it’s up to the cast to bring on the noise. So far, they have done just that. This show features some of the best technical guys around—from lighting to choreography. The fast music, scene changes and effects will keep the audience on their toes until the very end. There’s never a dull moment.
HK: Who’s your favorite character in the play?
PW: I’m tempted to say I haven’t got one but if I must pick then I’d say the Scarecrow is most interesting. The other characters think they have something wrong with themselves. The Scarecrow is probably the most uplifting character in the play. He’s not scared and he’s not like a “Sex And The City” character with tons of hang-ups. He just goes and does it. His character sticks out to me but I’m not saying that I associate myself with the Scarecrow at all.
HK: What have been the biggest challenges with this play?
PW: Straight up, everything. The script, the writing, the casting and the technical effects—it is a very difficult play to put on. I’ve had to think about every angle. Have I bitten off more than I can chew? I sure hope not. But everyone needs to rise to the challenge and occasion once in a while. As the musical director, I have had to respect the opinions of those around me. I’ve got a great team who help me glue everything together, as well as a cast who bring everything they’ve got to each rehearsal, yet I still cross my fingers hoping we can pull it off.