Rainbow Company’s ‘Oz’ dominated by its visuals

Rainbow Company's "The Wizard of Oz" -- a Frank Gabrielson adaptation, with songs taken mostly from the 1939 movie version -- is light and likable.

The jovial script moves quickly and holds our interest. The Harold Arlen/E.Y. Harburg score is, as we all know, infectious and witty.

The direction and choreography by Karen McKenney manages to keep the heart of the story -- Dorothy's search for happiness -- intact, while slightly spoofing the material.

The many production numbers are rich in interesting and fun movement (especially the first-act curtain "Jitterbug," which was written for the film but dropped).

The 38-member cast projects a sense of play that's irresistible. Stefan Martin is long and thin and Tommy Tune-ish in step and talent, which adds up to a perfect Scarecrow. Renato Estacio makes for a charming kitten of a Cowardly Lion. (He sings a mean "Courage.") And best of all, the technical side of the show is unusually intriguing.

Kris Van Riper's sets and props are rooted in the artworks of Joan Miro i Ferra, Vincent van Gogh, Pablo Picasso and Grant Wood. Even if you don't get the connections, you're bound to be intrigued by the strong concept.

The loud symbolism in the scenery seems right for Dorothy's out-of-body experiences. The appearance of the Wizard is worth waiting for, since it entails a contraption brimming with fire and smoke and twinkling lights that resembles a robot from the world of "Lost in Space."

Jody Caley's lighting is hypnotic, and Victoria Shaffer's costumes are parades of clever design and color. Even Joseph Cottone's 11 orchestra members get in on the visuals: They sport berets, which contribute to the physical environment's sense of unity.

The truth is, though, that I wanted to fall in love with this show and couldn't. There's more wooden acting here than we're used to in Rainbow Company productions (especially by the adults). And the singing is often ordinary.

But just when you may be feeling disappointed, something surprisingly on-target occurs. There's more than enough magic and humor to leave you smiling. And what a great way for kids to be introduced to the psychological power of some great painters.

Anthony Del Valle can be reached at DelValle@aol.com. You can write him c/o Las Vegas Review-Journal, P.O. Box 70, Las Vegas, NV 89125.