{"id":17803,"date":"2026-07-19T16:24:53","date_gmt":"2026-07-19T23:24:53","guid":{"rendered":"https:\/\/cahighways.org\/wordpress\/?p=17803"},"modified":"2026-07-19T16:24:53","modified_gmt":"2026-07-19T23:24:53","slug":"and-were-off-again-the-wizard-of-oz-5-star-theatricals","status":"publish","type":"post","link":"https:\/\/cahighways.org\/wordpress\/?p=17803","title":{"rendered":"🎭 And We’re Off … Again | “The Wizard of Oz” @ 5-Star Theatricals"},"content":{"rendered":"

\"Wizard\"\"There are some shows where you can just safely turn off your brain and be like a Scarecrow, because you know them so well.\u00a0The Wizard of Oz<\/em> is one of those shows. Why? Because, because, because, because, because… because of the wonderful… oh, right.<\/p>\n

When I learned of the 5-Star season and the fact they would be doing\u00a0The Wizard of Oz<\/em> as their summer musical in the large theatre, my first thought was: Sigh, not again. My second thought was: Well, it will bring in the families.<\/p>\n

The good news is that the show was as entertaining as it always is. You know the stage version from the movies, and it doesn’t veer that far from that source. Not a single reference to Elphaba or GALinda or that upstart version from Stephen Schwartz. The bad news is: It didn’t draw them in. We were there for the second Saturday night, and the Orchestra section of the Kavli was barely 50% full. This is bad news for 5-Star, which has already downsized two of its shows to the smaller Scherr Forum. Back in the Cabrillo Theatre days, the Orchestra was full, the Mezzanine was mostly full, and the upper Balcony was about half-full. The quality of the shows hasn’t gone down, so all I can surmise is that the economy is hitting the discretionary pocketbook. This is bad news for 5-Star in a number of ways. First, they will stay with safer shows that will draw folks in instead of the lesser-known gems they used to occasionally do. Second, it will impact them in the pocketbook, hurting their ability to be in the community doing the things they love. Third, it might well impact their future survival. On the hopeful side, there was a note in the program about a “bold new educational initiative” that was about to take center state, and is “built to inspire, teach, and nuture our youth with programs that expand beyond the stage”. My guess is that this “academy” is a youth training program similar to the classes that the Pasadena Playhouse<\/a> has started, and the Rubicon<\/a> is doing in Ventura. I’m not aware of a major program like that in the Thousand Oaks\/Camarillo area (although there is the Hillcrest Center for the Arts\/YAE<\/a> and Camarillo Jr Theatre<\/a>, but 5-Star has a much stronger cache, and a much-stronger pipeline to industry. It could well save the company, much more so than donations.<\/p>\n

Back to the\u00a0Wizard of Oz<\/em>. When I heard that 5-Star was doing the show, I was wondering if they would license the most recent version of the show with the additional songs by Andrew Lloyd Weber<\/a>. I had heard those songs, but haven’t seen them in concert. Alas, that’s not the version they licensed. Instead, they went with the 1987 Royal Shakespeare Version<\/a>. Distinguishing characteristics of this version are: (a) they add the opening introductory verses to “Over the Rainbow”, “If I Only Had {A Brain, A Heart, The Nerve}” and “Merry Old Land of Oz”; (b) they double-role Aunt Em with Glinda, and Uncle Henry with the Guard; (c) they add back in the Jitterbug dance to Act II to tire our heroes out before they are taken to the Witch; and (d) they add some reprises of songs in the second act because the movie has a dearth of songs there. Of the versions available, this is probably the best, as the 1942 MUNY version is strange<\/a> (although far too many folks just make up their own versions, as this strange mashup of\u00a0Wizard of Oz<\/em>,\u00a0The Wiz,\u00a0<\/em>and much more<\/a> that Nobel MS did ages ago)<\/p>\n

As with any of these old musical chestnuts (cough,\u00a0The Sound of Music<\/em><\/a>, cough), the key distinguishing factor is the execution. This is 5-Star’s strength. They cast using primarily local talent (and often serve as a stepping stone to better places, be it Broadway or National Tours). They use very talented directors; in this case Richard Israel who is an expert at musicals. They used to do their own sets, but now they rent great ones (which saves both cost and waste). Their contracted orchestra is top-notch.<\/p>\n

This production was no exception. The on-stage talent was great, although the ensemble and the children’s ensemble was a bit female heavy (especially in the Munchkin sequence, it was obvious with the Mayor, officials, and Coronor being female). As Dorothy, the lead Hannah Sedlacek did a great job (although her look was atypical for one used to Judy Garland). She sang very strongly, was an equally strong dancer, and was able to handle Toto well. It was also a delight watching her face: There were some sequences where you could see the behavior of the Lion was just cracking her up.<\/p>\n

The team-of-three was equally strong. Most notable was Tom Anawalt as the Lion\/Zeke, who brought loads of physical humor and playfulness to the role. Lucas Alifano brought strong dancing and characterization to Tin Man\/Hickory, and Eric Stanton Betts had the appropriate loose-limbness needed for a Scarecrow with no bonds. Watch their dancing during the Jitterbug number, or their playfulness during “King of the Forest”, and you would see what I mean.<\/p>\n

Cassandra Marie Murphy was strong as Em\/Glinda (and I love how they changed crullers<\/a> to cookies, which are probably easier to obtain in Thousand Oaks). Becky Lythgoe made a strong witch, although the shade of green on her face was a bit too bright.<\/p>\n

And then there was total, played by Winnie. A papillion\/terrier mix, it was quite a bit of fun to watch her reactions to what was going on around her on stage.<\/p>\n

The ensemble sang and danced well, especially Gibson Day and Nick Ley, who were easy to identify. But all of them were strong.<\/p>\n

Turning to the production side: In general, the production was strong. I appreciated that they attempted to reproduce the sepia-toned nature of the opening and the closing, and the execution of the tornado was a great way to achieve a lot with a little. I took issue with the colors of Munchkin-land and the colors of the Emerald City. The books defined a specific color scheme for the lands of Oz: blue for Munchkins in the East, yellow for Winkies in the West, red for Quadlings in the North, green for the Emerald City in the Center, and (in works after the first) purple for the Gillikins in the South, which region was also not named in the first book. However, in the 5-Star stage version, the dominant color in the Munchkin scenes was red. That threw me off: they should have emphasized the blue. Similarly, in the Emerald City (which, traditionally, is green because everyone is required to wear green glasses, but only\u00a0The Wiz<\/em> and\u00a0Wicked<\/em> got that right), they had a number of the female dancers with bare or yellow stockinged legs. Green stockings or green pants should have been used.<\/p>\n

Other technical aspects worked well (module some problems with one segment of the Yellow Brick Road). They had a nice walkway over the orchestra, costumes were generally quite good (especially for the Jitterbugs), and the flying effects were well used.<\/p>\n

The Orchestra, as always, was quite strong. I’ve never heard a bad 5-Star orchestra.<\/p>\n

Alas, as I am typing this the final performance is occurring. “Watch this space”, as 5-Star will be doing\u00a0Les Miz\u00a0<\/em>in the smaller Scherr Forum space in October. That should be interesting to see.<\/p>\n

Credits<\/strong><\/h4>\n

The Wizard of Oz<\/em>. By\u00a0L. Frank Baum<\/strong>. With music and lyrics by\u00a0Harold Arlen<\/strong> and\u00a0E. Y. Harburg<\/strong>. Background music by\u00a0Herbert Stothart<\/strong>. Adapted by\u00a0John Kane<\/strong> for the\u00a0Royal Shakespeare Company<\/strong>. Based on the classic MGM<\/strong> motion picture owned by Turner Entertainment Co.<\/strong> and distributed in all media by\u00a0Warner Brothers<\/strong>.<\/p>\n

Cast<\/span> (\u00e6<\/sup> indicates Actors Equity): Hannah Sedlacek\u00a0Dorothy Gale<\/em><\/span>; Winnie\u00a0Toto<\/em><\/span>; Cassandra Marie Murphy\u00e6<\/sup> Aunt Em \/ Glinda<\/em><\/span>; Mike Baker\u00a0Uncle Henry \/ Emerald City Guard<\/em><\/span>; Noah Kaplan\u00a0Professor Marvel \/ Wizard of Oz<\/em><\/span>; Becky Lythgoe\u00e6<\/sup> Miss Gulch \/ Wicked Witch of the West<\/em><\/span>; Eric Stanton Betts\u00e6<\/sup> Scarecrow \/ Hunk<\/em><\/span>; Lucas Alifano\u00e6<\/sup> Tin Man \/ Hickory<\/em><\/span>; Tom Anawalt\u00a0Cowardly Lion \/ Zeke<\/em><\/span>. Ensemble: Aaron Michael-Rees Camitses, Ali Marquez-Qadiri, Amanda Kang, Angelica Roque, Bar Daniel, Barbara Ann Reed, Bayley Tanenbaum, Calista Zajac, Jacob Ray, Josh Igarashi, Lauren Lorati, Nicholas Ley, Samantha Bell, Sam Davidson, Spencer Reese Sharp, Xavier F. Reynoso. Youth Ensemble: Ameline Lynch, Anna Marie Holland Melendrez, CC Adeva, Gibson Day, Kaylie Cho, Malia Johnson, Ryan Bohmholdt.<\/p>\n

Music Department<\/span>: Anthony Lucca\u00a0Music Director \/ Conductor<\/em><\/span>; Peter Howard\u00a0Dance and Vocal Arrangements<\/em><\/span>; Larry Wilcox\u00a0Orchestrations<\/em><\/span>; Rhondda Dayton\u00a0Flute, Piccolo, Recorder<\/em><\/span>; Ian Dahlberg\u00a0Oboe, English Horn<\/em><\/span>; Darryl Tanikawa\u00a0Clarinet, Bass Clarinet, Alto Sax, Orchestra Contractor<\/em><\/span>; Gary Rautenberg\u00a0Tenor Sax, Flute, Clarinet<\/em><\/span>; Matt Germaine\u00a0Baritone Sax, Flute, Clarinet<\/em><\/span>; Melissa Hendrickson\u00a0Horn I<\/em><\/span>; Jennifer Bliman\u00a0Horn II<\/em><\/span>; Bill Barrett\u00a0Trumpet I<\/em><\/span>; Chris Maurer\u00a0Trumpet II<\/em><\/span>; Nathan Stearns\u00a0Trombone, Bass Trombone<\/em><\/span>; Sharon Cooper\u00a0Violin I, Concertmaster<\/em><\/span>; Cyndi Hall\u00a0Violin II<\/em><\/span>; Bang-Eunn Lee\u00a0Cello<\/em><\/span>; Andrew Lederman\u00a0String Synthesizer<\/em><\/span>; Elaine Lister\u00a0Harp<\/em><\/span>; Chris Kimbler\u00a0Piano, Celeste<\/em><\/span>; Shane Harry\u00a0Double String Bass<\/em><\/span>; Alan Peck\u00a0Set Drums<\/em><\/span>; Tyler Smith\u00a0Percussion<\/em><\/span>; Tanikawa Artists Management LLC\u00a0Orchestra Producer<\/em><\/span>.<\/p>\n

Production and Creative<\/span>: Richard Israel\u00a0Director<\/em><\/span>; Clarice Ordaz\u00a0Choreographer<\/em><\/span>; Brittany Lorin\u00a0Assoc. Choreographer<\/em><\/span>; Olivia Riddle\u00a0Production Stage Manager<\/em><\/span>; Ava Ferreira\u00a0Asst Stage Manager<\/em><\/span>; Jonathan A. Burke\u00a0Sound Design<\/em><\/span>; Julia Pinhey\u00a0Asst Sound Design<\/em><\/span>; Isa Underdahl\u00a0Sound Engineer<\/em><\/span>; Brandon Baruch\u00a0Lighting Design<\/em><\/span>; Alex Choate\u00a0Prop Design<\/em><\/span>; Luis Martinez\u00a0Wig \/ Hair \/ Makeup Design<\/em><\/span>; Christine Steele \/ Gail Garon Wardrobe Coordinators<\/em><\/span>; Tuacahn Costume Rentals Costumes<\/em><\/span>; The Music and Theatre Company\u00a0Scenic Elements<\/em><\/span>; EK Dagenfield\u00a0Production Manager<\/em><\/span>; Jack Allaway Technical Director<\/em><\/span>; Jacob Holcombe Deck Captain<\/em><\/span>; Michael Donovan CSA and Richie Ferris CSA\u00a0Casting<\/em><\/span>; Fresh Interactive\u00a0Marketing<\/em><\/span>; David Elzer \/ Demand PR\u00a0Publicity<\/em><\/span>.<\/p>\n

Key Producers<\/span>: Cindy Murray\u00a0Executive Director 5-Star\/Producer<\/em><\/span>.<\/p>\n

Administrivia<\/strong><\/h4>\n

I am not a professional critic. I\u2019m a retired cybersecurity professional, a roadgeek who does\u00a0a highway site<\/a>\u00a0and\u00a0a podcast<\/a>\u00a0about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at:\u00a0Center Theatre Group<\/a>\/Ahmanson Theatre<\/a>;\u00a0Broadway in Hollywood\/Pantages Theatre<\/a>;\u00a0Pasadena Playhouse<\/a>;\u00a0The Soraya<\/a>,\u00a0Chromolume Theatre<\/a>, and\u00a05-Star Theatricals<\/a>.<\/p>\n

Want to find a show:\u00a0Check out the Theatre Commons LA show list<\/a>. Other good lists are the\u00a0Theatre in LA<\/a>\u00a0listings; the\u00a0TodayTix<\/a>\u00a0listings;\u00a0OnStage 411<\/a>\u00a0(use the \u201cshows\u201d drop down); and\u00a0Theatermania<\/a>. If you are looking for discount tickets, TodayTix (unlike their predecessor Goldstar Events) doesn\u2019t handle the small theatres in LA. Luckily, Theatre Source LA has a new initiative:\u00a0StageRushLA<\/a>\u00a0for discount tickets.<\/p>\n

Upcoming<\/h4>\n

Key:\u00a0🎭\u00a0Theatre \/\u00a0🎼\u00a0Music \/\u00a0\"🎙\"\u00a0Other Live Performance \u2013 Next 90ish<\/em>\u00a0Days (🎫\u00a0indicates ticketing is pending).<\/p>\n