Pay Some Attention to the Men (and Women) Behind The Curtain
by: Matthew Hundley
Before we don our ruby slippers and head behind the scenes at Oz, here is a little trivia about the stage production.
It appears that L. Frank Baum adapted The Wizard of Oz for the stage himself with the original script telling the story of Dorothy and her pet cow Imogene (yes, I said "cow"). The girl and her cow are kidnapped by a twister and set down somewhere in the land of munchkins, witches and wizards. She and the cow meet the Scarecrow, Tin Woodman, and Cowardly Lion then set off to find the Wizard of Oz in the Emerald City.
The Wizard of Oz opened June of 1902 at the Grand Opera House in Chicago starring Fred Stone as the Scarecrow and Dave Montgomery as the Tin Woodman. Baum was called to the stage repeatedly by a cheering audience that sat and applauded until after midnight. He makes a gracious speech, crediting the success of the production to its many talented contributors.
Within weeks Montgomery and Stone are the best-known comic team in America. The roles of Dorothy (Anna Laughlin) and the Cowardly Lion (Arthur Hill) are secondary to those of the vaudeville pair.
In January of 1903 The Wizard of Oz musical opened in New York City's Majestic Theater on Columbus Street and became the greatest Broadway success of its time. Reviews were mixed, but it was an instant favorite with audiences. At 293 performances, it became the longest lasting show of the decade. Seven traveling road companies keep The Wizard of Oz on the road for years.
It wasn’t until 36 years later that the classic 1939 screen version featured Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, and Jack Haley, as well as a new score by Harold Arlen and E.Y. Harburg became popular.
Enough history. The winds are stirring now. We best get on our way.
The twister - a blustery wind in downtown Cedar Falls - drops me at the doors of the regent around 6:30 pm on the night of the second-to-last rehearsal.
“Is anyone here?” I call out. No one answers in the lobby. I follow the “yellow brick road” back through the double doors and peer into the theatre.
I’d like to say I was greeted by singing munchkins, but rather it is a stage is full of stagehands discussing changes in their blocking.
Shortly after my arrival in Oz, John Luzaich, the wizard behind CFCT productions, emerges from backstage. He plays the scarecrow in this production and has shaved his beard for the occasion. John leads me behind the scenes of the Oz production.
First we wander down the side hall where many familiar set pieces adorn tables. They are labeled, “ax and oil can,” then there’s the “heart, diploma and badge of courage,” then around the corner there’s the bicycle of Miss Gulch – later seen as the witch – and the famous ruby slippers.
We step into the make-up room where John Bloomberg, the Tin Man, is applying his make up for his role as “Hickory” the farm hand. He won’t make his magical transformation into the Tin Man until scene 5 of the first act.
Back to our tour, I am led backstage where Luzaich points out the large set pieces which have three sides and three corresponding scenes painted on them. There are also pieces of the farm, the Emerald City and the witch's castle that we see on our way to the basement stairs, which lead us to the land of Regent theatre props and costumes.
This part of the tour is complete with flying monkey heads, guard costumes, the lion outfit – impressive even without the lion in it – and many other items from this and past productions. While in the basement we run into some key players like Gene Anderson, who plays the Wizard and Professor Marvel; and Thomas Carlisle who plays Zeke and the Cowardly Lion.
”Vocal warm-ups everyone.” A voice calls out and actors move to the stage. I’m left on my own and venture out into the seats. There are munchkins on stage giggling and joking waiting for their warm-ups to begin.
I run into director Liane Nichols in the aisles. They have been at rehearsals for six weeks now and their hard work is about to pay off.
On stage its arm stretches, “oil cans” and vocal warm-ups. “Did I dangle a participle?” Someone exclaims.
I slip backstage again. Dorothy is in make-up now. Dorothy is played by Bailey Carlisle. She is the daughter of Thomas Carlisle, the Cowardly Lion. She loves to sing. She loves to act. She really loves The Wizard of Oz, “When I was in preschool I used to watch the movie every day when I got home.” Bailey, now in 7th grade, has also been in Cinderella, Les Miserables and A Christmas Carol.
As she leaves her dad comes in and takes his seat. I get a few minutes in with Tom. Long enough to find out he acted professionally at one point. He’s directed a handful of productions at CFCT. (You may have seen his performance as Willy Loman in CFCT's production of "Death of a Salesman".) Before we can get too deep in our conversation the director steps in to review some last minute things with Mr. Carlisle, “…there’s still that point where…I really liked it when you were flapping your arms…”
It’s now 7:00 and I head out to the seats again. The curtain is drawn. The stage is being swept, “Hey! Do you have a dust pan?” Voices call out from behind the curtain. I pay attention, “Is Dorothy up there?” “You’re going to need to get that out of the way.” Other comments drift in and out in the scuffle to get this production underway.
I venture up to the light and sound booth where I find Joey Stamp. Usually he assists UNI student Chris Blade at the lights, but tonight this is all his domain. Joey’s in 8th grade and he knows the ropes having been involved in numerous productions at the BHCT (The Hobbit, Henry & Ramona, Beauty and the Beast and others). His mom, Linda, is also in the production as a tree, part of the tornado and one of the Emerald City residents.
I sit in the back of the house for a moment soaking in the pre-production sounds. I can hear the director and Dorothy on stage, “When Oz is here. You’ve been standing with your back to the audience and we’re not hearing you.” “Now in the witches chamber you’re on the steps and you hear Auntie Em's voice…then the Witch comes through and you need to look like, ‘How can I get out?’ You look around panicked and then collapse in the chair.” Dorothy (Bailey) is soft spoken, “Then I hear them at the door.” Liane answers, “Yes. Then you say, ‘PLEASE HURRY!” There are footsteps and the stage is clear.
It is quiet for a time. The actors have all gathered in the green room to get their pep talk from the director.
Out in the house I chat with Michele Luziach, John’s wife, and photographer Cleon Wood. Michele gets the fun of bringing “soup for Sandy and buttons for Uncle Henry” and whatever other odd jobs arise. Cleon has been the “official photographer” for the CFCT for at least 5 years and counting. He is a retired John Deere engineer who’s interest in photography dates back 50 years when he first started taking portraits of his own family.
It’s 7:30. This is when curtains are slated to open. Liane, the director, emerges from the sidelines, “I’m going to sharpen pencils. The most productive thing I can do at the moment.” And she will use those pencils later to take scrupulous notes on this performance.
In the pit they are looking for cables to get the keyboard and amp wired up and working. “I think I have an adaptor.”
The director calls from the back, “Are people in their places back there?” The stage manager cries out, “EVERYONE IN THEIR PLACES.” The director again, “Get Joey in place.”
Backstage voices, “Come out. Come out. Wherever you are.”
Director, “We really need to start…Okay Joey! Take the house to half.”
The music cable issue is not yet resolved but the show must go on. It is 7:40 and Linda Sharp jumps into the opening piano overture.
Dorothy entersand the audience is transported to Kansas.
**
Be sure to catch the next CFCT production, "2 by 2."
Posted: December 30, 2003  
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