Day: April 24, 2026

The Wizard of Oz Creates a World of Magic and Wonder at the Children’s Theatre Company

Regina Marie Williams, Reed Sigmund, Aniya Bostick, and Dean Holt Photo by Glen Stubbe Photography

The Wizard of Oz probably looked like a no-brainer when it was scheduled, likely around the time Wicked was becoming a global blockbuster in movie theaters. Now, coming on the heels of its less successful Part 2, Wicked: For Good, it might not feel like quite the slam dunk Children’s Theatre Company was hoping for.

I don’t see every show at CTC. Frankly, my kids are grown, the grandkids don’t live in town, and my niece and nephew are getting a bit old for most of their programming. But I try to catch one or two shows a year, usually something that appeals to me, my wife, or one of our usual plus-ones. The other factor is cost: tickets aren’t cheap, and if I’m going to recommend a show to a family, it needs to justify that price. This one absolutely does, it’s worth the splurge for a family outing.

The production is extremely faithful to the classic film, featuring all the songs you remember and love from childhood. I’m old enough to remember when The Wizard of Oz aired just once a year on network television, an event in our house. (I want to say it was around Easter, though that might be my memory playing tricks.) Either way, it was appointment viewing, something we looked forward to every year. I revisited the film a few years ago in its converted 3D version, and it still holds up, and if you are interested in such things, it’s a really solid conversion to 3D. But I may be wandering off into the haunted forest here. What I mean to say is: this feels like event theater, something you plan for, splurge on, and remember as a family. It’s filled with humor, unforgettable music, and impressive stage magic.

The role of Dorothy is played on alternate nights by two young actors, Aniya Bostick, who performed the night I attended, and Harriet Spencer. Bostick capably shoulders the weight of the entire production. Her talent and confidence in such an iconic role make her one to watch.

The entire cast is strong, but two scene-stealers deserve special mention. First is Alfie as Toto, who earns a collective “awww” from the audience every time he trots onstage, never missing a cue or putting a paw wrong. Second is a brief but hilarious moment from Brendan Nelson Finn as one of the apple trees, he knows exactly how to land a laugh without derailing the scene.

One of the production’s greatest strengths is the casting of Dorothy’s companions. These aren’t just solid performances, they’re fully committed, energetic, and deeply entertaining portrayals that elevate the show from something aimed primarily at children to something that genuinely works for all ages. No one phones it in; every actor digs into their role, finding every opportunity for humor and heart. The result is a show that trusts its story to captivate children while delivering performances that keep adults fully engaged. Leading that charge are Dean Holt as the Scarecrow, Regina Marie Williams as the Tin Man, and Reed Sigmund as the Cowardly Lion, who may well be the biggest laugh-getter of the night.

As mentioned, this is a production rich with stage magic, something I always appreciate when done well, and it certainly is here. Credit goes to the entire design team, starting with scenic designer Adam Koch, who brings to life a sepia-toned Kansas and the vibrant, technicolor lands of Oz. Costume designer Lex Liang strikes a nice balance between originality and homage, no designs are direct copies of the film, but all are clearly inspired by it. Lighting designer Jeanette Oi-Suk Yew, sound designer Reid Rejsa, and projection designer Kylee Loera all contribute to a seamless blend of effects that create a true sense of wonder.

If your kids are begging to see Harry Potter and the Cursed Child but your bank loan didn’t come through, this is a fantastic alternative, and one that wont put a penny into the despicable J.K. Rowling’s pockets. One you can enjoy without putting your house up as collateral, though you’ll still most likely need to put it on a Credit Card and pay it off over a couple of months.

The Wizard of Oz runs through June 14 at Children’s Theatre Company in Minneapolis. For more information and tickets, visit https://childrenstheatre.org/whats-on/the-wizard-of-oz-2/

The Stages of MN delivered straight to your inbox. It’s the best way to make sure you never miss out on the theater action. To subscribe on a computer, enter your email address on the home page (right-hand side) and click subscribe. On mobile, scroll to the bottom of the page to find the same option. You can also follow me on Facebook @thestagesofmn and on Instagram thestagesofmn.

The Stages of MN YouTube channel is home to the Stages of MN Show. You can watch it by clicking here. Be sure to check out the latest episodes and subscribe so you’ll always know when a new one drops. Not sure you agree with one of my takes? I’m also part of the Twin Cities Theater Bloggers (TCTB), where you can find review roundups from my colleagues and me. Follow us on Facebook at @TwinCitiesTheaterBloggers.

Little Women Gets a Hugely Successful Adaptation at the Guthrie Theater

George Keller (Marmee), May Heinecke (Beth), Isabella Star LeBlanc (Louisa/Jo), Audrey Parker (Amy), and Stephanie Anne Bertumen (Meg) Photo by Dan Norman

Little Women has long been a favorite story of mine. I first experienced it in 1994 when I saw the film adaptation starring Winona Ryder in theaters. Since then, I’ve read the novel and seen other screen adaptations. But my only previous stage experience was the 2021 production at Artistry of Little Women: The Broadway Musical, which, frankly, was a disappointment. After that, I shied away from other stage versions, feeling that perhaps the theater just wasn’t the right venue for this story. Five years later, I decided to try again, this time with a non-musical adaptation at the Guthrie Theater. Why return? The script is by Lauren M. Gunderson, the most produced playwright in the country and the writer behind The Christmas at Pemberley trilogy, which follows characters from Jane Austen’s Pride and Prejudice, which are a personal favorite. (I’m still waiting for some ambitious theater company to mount all three plays in rep!)

So how does Gunderson’s adaptation compare to the Broadway musical? It blows it out of the water in every conceivable way. Gunderson uses the clever narrative device of having Louisa May Alcott herself tell the story. For those unfamiliar, Little Women is largely based on Alcott’s own life and her relationship with her three sisters. When the play opens, Alcott introduces us to her family, and then to their fictional counterparts. What’s beautiful about the story is how we follow the sisters and their relationships with each other and those around them. It feels very much in the vein of Jane Austen; you develop the same attachment to the characters, their misfortunes, and their joys. This is a story that thrives not on action or mystery, but on character.

Any adaptation of Little Women will succeed or fail largely on the strength of its cast. These are beloved characters, and audiences come in not just knowing them, but loving them. The cast here is sublime, led by Isabella Star LaBlanc as Louisa and, by extension, Jo. LaBlanc brings the perfect mix of confidence and intelligence. Her Jo has mischief in her eyes and secrets just beneath the surface. The moment that crystallizes her perfect casting is the look she gives the audience just before the blackout at the end of Act I. It can’t be described, it must be seen.

It’s also great to see Stages of MN favorite Daniel Petzold as Laurie. His strongest moments come in his interactions with Louisa; he’s particularly well suited to the show’s more meta elements, as well as the older, more mature version of the character. His younger moments feel slightly forced at first, but that fades as Laurie grows. The three sisters are equally well cast: Stephanie Anne Bertumen as Meg, May Heinecke as Beth, and Audrey Parker as Amy fully embody these beloved roles. A shout-out as well to George Keller, who is excellent as Marmee and delightfully comic as Aunt March.

As with most Guthrie productions, the set looks like a million bucks. Designed by Junghyun Georgia Lee, it’s a true stunner: an open grassy clearing surrounded by woods, with pieces of furniture scattered throughout. It supports the idea that we are watching Louisa and her sisters enact the story, rather than attempting strict realism. It’s a bold choice, and it works beautifully.

Fans of Little Women owe it to themselves to see this production. Like Theatre in the Round’s production of Pride and Prejudice last fall, it makes a story from another era feel fresh, immediate, and original.

Little Women runs through June 21st at the Guthrie Theater in Minneapolis. For more information and to purchase tickets go to https://www.guthrietheater.org/whats-on/little-women/

The Stages of MN delivered straight to your inbox. It’s the best way to make sure you never miss out on the theater action. To subscribe on a computer, enter your email address on the home page (right-hand side) and click subscribe. On mobile, scroll to the bottom of the page to find the same option. You can also follow me on Facebook @thestagesofmn and on Instagram thestagesofmn.

The Stages of MN YouTube channel is home to the Stages of MN Show. You can watch it by clicking here. Be sure to check out the latest episodes and subscribe so you’ll always know when a new one drops. Not sure you agree with one of my takes? I’m also part of the Twin Cities Theater Bloggers (TCTB), where you can find review roundups from my colleagues and me. Follow us on Facebook at @TwinCitiesTheaterBloggers.