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Wizard of Oz ornament

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הקוסם מארץ עוץ - פתיח (איכות נמוכה)

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הקוסם מארץ עוץ - פתיח (איכות גבוהה)

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Wizard of oz

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הקוסם מארץ עוץ - פרק 1 - פרומו

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Anthony Landini's Ruby Slippers

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The Oz themed episode of That's So Raven aired tonight and let me tell you, I was quite impressed.

Though the special CGI effects lacked (they always do on Raven) the makeup effects were outstanding!

Not only did the show pay tribute to Oz, but to I Love Lucy as well.

I LOVED this episode!

Hopefully I'll post the Oz segment from it soon!

(If you missed the episode, it's called Soup to Nuts, you can check tvguide.com for it's next airdate!)

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My friend who's family owns & operates the McDonalds here in Escanaba just sent me an email letting me know that they went a regional meeting yesterday & it was announced that in March the happy meal will come out with the Madame Alexander OZ dolls!!!!


Thanks Kelly!

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Thanks to the blog of Oz for this great pic!

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Stargate 200 Wizard of Oz Clip

funny stuff!

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"Over-the-top" Musical Miss Gulch Returns! Returns for ACT Fundraiser
Click here to read the Asheville Citizen-Times Review!

The uproariously funny off-Broadway musical, Miss Gulch Returns!, written by Fred Barton, returns for one performance only as a fundraiser for Asheville Community Theatre. Described as "bawdy, brassy and funny as can be" by the Boston Globe and "deliciously, wickedly funny” by Backstage, Miss Gulch Returns! is the perfect musical for those who have felt unlucky in love, who like a cold drink at the end of a long day, or who appreciate shrewish ladies who steal dogs. The return of Miss Gulch Returns! will be Sunday, August 20 at 12:00 pm. Sponsored by Magnolia's, the performance will be held on their outdoor patio located at 26 E. Walnut Street, and will be accompanied by a sit-down brunch, two house cocktails, and a live and silent auction. Patrons are encouraged to come dressed as a character from The Wizard of Oz, and those who do will received two complementary tickets to an upcoming ACT performance. All tickets for Miss Gulch Returns! are $40.

Miss Gulch Returns! is a musical combining subtle references, double entendres, and the wisdom of Miss Almira Gulch, the bike-riding, Toto-stealing, nasty neighbor to Dorothy in The Wizard of Oz. 35below at Asheville Community Theatre opened their 2005-06 season with Miss Gulch Returns! this past October and sold every seat to this musical that Jim Cavener of the Asheville Citizen-Times described as “over-the-top fun.” Miss Gulch's song "Pour Me A Man" is a cabaret standard, is being sung on three continents, and is a crowd favorite.
Accomplished actor Michael Cheek tackles this one-man show with the impeccable comedic timing, and vocal range necessary to make Miss Gulch Returns! a seamless production. Last seen onstage in Run For Your Wife at Asheville Community Theatre, Cheek's extensive resume includes the title role in Sweeney Todd at HART, the World Premiere musical Bachelor Pad at ACT, The Rocky Horror Show with Highland Repertory Theatre & Asheville Arts Center, as well as the North Carolina Stage Company's Catalyst Series and the Oxymorons Improv Troupe. Miss Gulch Returns! is directed by Eric Mills and Jeff Neese, with musical direction by Ruth Johnson.

The sole performance of Miss Gulch Returns! is Sunday, August 20 at 12:00 pm at Magnolia's, 26 E. Walnut Street, downtown Asheville. Brunch and cocktails will be served immediately. In addition to the performance, a silent and live auction will be held. Miss Gulch Returns! is recommended for mature audiences only. Though the title references a character from The Wizard of Oz, this is not a show for children.

All tickets are $40, and reservations are strongly recommended. Tickets may be reserved by calling Jenny Bunn at Asheville Community Theatre at 828-254-1320 x3.

MEDIA CONTACT Jenny Bunn, Program DirectorAsheville Community Theatre 828.254.1320 ext.3, jenny@ashevilletheatre.org
# # #
AT A GLANCE
WHAT: Miss Gulch Returns!, a musical by Fred Barton
WHO: Directed by Eric Mills & Jeff Neese; Musical Direction by Ruth Johnson; Starring Michael Cheek
WHERE: Magnolia's, 26 E. Walnut St, downtown Asheville, NC
WHEN: Sunday, August 20 at 12:00 pm (Noon)
TICKETS: $40 all performances,Asheville Community Theatre 35 East Walnut Street Downtown Asheville 828.254.1320


http://www.ashevilletheatre.org/Press/gulch2.html

Posted by There's No Place Like Oz Webmaster at 6:53 AM | Permalink | Comments

By T.L. HamiltonThe Daily News
Published August 18, 2006GALVESTON — All those who cannot avoid singing the lyrics “Clang, clang, clang went the trolley” as railcars rumble along downtown Galveston streets can sing along to the latest Galveston Musicals performance.The musical revue “Judy Garland and Friends” continues tonight through Sunday at the Moody Gardens Convention Center.The performance stars actress Zanna Fredland. She will perform many Garland hits while portraying her in her mid-30s, when she hit her prime.Born in 1922 in Grand Rapids, Minn., Garland performed in films as early as 1936, but did not reach star status until her lead role as Dorothy in “The Wizard of Oz” in 1939.She performed in musicals and films and continued entertaining until her death of a barbiturate overdose in 1969.“It will be a challenge to portray her,” Fredland said. “Let’s face it –– she’s an icon. No one can perfectly match her vocal style. However, I’ve studied her mannerisms, pronunciation and movements, which will fill in the blanks.”Fredland prepared for the role by reading several biographies on the actress and singer and watching concert performances.“I watched the performance she did with (daughter) Liza Minnelli at The Palladium, and of course films like ‘A Star is Born’ and ‘The Wizard of Oz,’” Fredland said. “I also have several live recordings of her performances.”Fredland received her bachelor’s degree in opera vocal performance at Carnegie Mellon University in Pittsburgh. In 2002, she earned her graduate degree in opera at Rice University.Although she enjoyed opera and was selected for roles in several school performances such as “The Marriage of Figaro” and “Midsummer Night’s Dream,” she also participated in musical theater and ended up focusing on it after her formal education was complete.She was noticed during a performance of “Sisters of Swing” at Granbury Opera House in Fort Worth and then auditioned and won the Judy Garland role. “We did a slightly different version of the revue at the Granbury in May and decided to alter it slightly and perform it here,” she said.Fredland worked with “Judy Garland and Friends” director Chad Alan-Carr on “George M.” and “The Buddy Holly Story.” Co-star Judy Norton, a former star of the television series “The Waltons,” has also worked with Fredland in the past. “We were in ‘Hello Dolly’ together,” Fredland said. “I’ve also worked with her on some plays she wrote and directed. We all work very well together; it’s been a lot of fun.”Alternating with Fredland’s numbers, Norton will perform some Liza Minnelli and Cole Porter songs.The performance will also include Frank Sinatra impersonator Ken Nelson and comedic actor Steven Einsphar as emcee.What: Judy Garland and Friends.Where: Moody Gardens Convention Center, 1 Hope Blvd., Galveston. When: Tonight through Sunday, 7:30 p.m. for evening performances and 2:30 p.m. for Saturday and Sunday matinees.Cost: $22 to $35.Call: 409-316-0346.Visit:: www.galvestonmusicals.com

http://news.galvestondailynews.com/story.lasso?ewcd=4f4a39cfd0008017

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The 'untold' story of the witches of Oz cast a spell on Broadway. Now it's coming to London. Nicola Christie follows the musical's yellow brick road to success


Full article can be found here:
http://enjoyment.independent.co.uk/theatre/reviews/article1219837.ece

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Morning Edition, August 17, 2006 · In the late 1800s, L. Frank Baum, author of The Wizard of Oz, wrote racist editorials in a South Dakota newspaper, calling for the extermination of native Americans. Some believe those editorials sparked the Wounded Knee massacre of 1890. Now Baum's family is offering a public apology.
South Dakota Public Radio's Charles Ray reports.

http://www.npr.org/templates/story/story.php?storyId=5662524

Posted by There's No Place Like Oz Webmaster at 11:08 PM | Permalink | Comments

Previously on the Disney Channel original series, That's So Raven, Raven's high school put on a production of the Wizard of Oz which Raven disgned costumes for.

But now they dive right into Oz this Friday, August 25, 2006 at 7:30pm!

The episode is called Soup to Nuts! Be sure to check it out and let me know what you think!


Joshua

Posted by There's No Place Like Oz Webmaster at 11:05 PM | Permalink | Comments

Just a note to confirm that footage taped at last weekend's International Wizard of Oz Club "Munchkin Convention" in Princeton, NJ, is scheduled to be telecast on the Sunday edition of NBC-TV's "Today" Show on August 20th.

Thanks for the info, John!

Posted by There's No Place Like Oz Webmaster at 10:10 AM | Permalink | Comments

By Rebecca Wright
Dean Cavanagh
A Bradford playwright's latest project has caused a global stir, Dean Cavanagh, 40, co-wrote Babylon Heights with Irvine Welsh - famous for the smash-hit, Trainspotting.
The book-based play, which had its world premiere in San Francisco and its European debut at the end of last week in Dublin, tackles the treatment of the actors who played the Munchkins in the Hollywood film the Wizard of Oz.
It unveils a life of debauched partying, social exclusion and the fact many of the Munchkin cast were paid less than Toto the dog.
But Bradford-born Dean, who now lives in Cottingley, said the story does not poke fun at the actors, but was written to highlight the harsh reality behind the well-loved film.
continued...

"If you are going to put people together, they are going to get up to mischief. It's a 1930s version of Big Brother," said Dean.
"We have had some amazing reviews and some that have absolutely panned it, but it's all the same to us," he said.
The pair met in the 1990s when music journalist Dean set up an underground magazine called The Herb Garden, of which Irvine was an avid reader.
Their first project together came about when Dean adapted Irvine's book, Filth, for the big screen.
Since then the writers have worked on a number of projects together, including a BAFTA nominated drama called Dose and a film called Wedding Belles, which has not yet been released.
Despite what seems to be sudden success, Dean said he has spent his entire career working towards this point.
"Its been a long hard slog. We have had lots of rejection, it's only now that things are coming up.
"It's fantastic, it's a great time, and hopefully we can keep it up," he said.
Dean, who grew up in Allerton and went to Rhodesway School, said his friendship with Irvine had produced some dynamic stories over the years.
"We have a great partnership, it's a joy to work with him," he said.
The married dad-of-four also said his own writing style, and direction, was developing.
"It's only in the last four to five years that I have found subjects I have really wanted to write about," he said.
Dean, who said he was not an academic at school, added he hoped young writers would not give up at the first hurdle if they were faced with rejection or needed to develop their style.
"Now I'm in my 40s and my apprenticeship is only just finished. It takes years to find your voice," he said.
He said young people in Bradford needed more encouragement to help them develop their talents.
"I just find it really, really sad that in Bradford if you have a talent at an early age they are going to take it off to London, New York, wherever.
"We have got an absolutely beautiful city and there is so much talent around, but nobody seems to be doing anything about it," he said.
"I love its honesty - you are never going to get too far up a pedestal here in Bradford. It's a difficult city, but I love it, it's fantastic."
e-mail: rebecca.wright@bradford.newsquest.co.uk

http://www.thisisbradford.co.uk/display.var.877908.0.munchkin_play_is_causing_a_stir.php

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WEST WINDSOR — It's been 50 years since it was first televised, 106 since it was written and 150 since the author was born. The International Wizard of Oz Club certainly had something to celebrate. Authors, fans and even a producer gathered at the Hyatt Regency Princeton over the weekend to celebrate the 39th Annual Munchkin Convention of the International Wizard of Oz Club and Oz author L. Frank Baum's 150th birthday. John Fricke of New York City said he has fun at the conventions every year because he enjoys seeing "people I've known for 40 years. It's a big family reunion." This weekend was the first time in 12 years he has been to a convention on the East Coast. Mr. Fricke is a Judy Garland historian, and has written four books — two about Oz and two about Ms. Garland, who played Dorothy in the film. He has also done commentaries on DVDs about Ms. Garland. When he first saw the movie at age five he fell in love. "My cousin smashed me down and told me that I had to see this movie," Mr. Fricke said. "It was life-changing. Suddenly, all I wanted to do was talk about Oz." From there, Mr. Fricke began going to Judy Garland concerts and writing to people around the world about his passion. "Oz and Judy Garland always mean happiness to me," he said. "I love when (the characters) see Emerald City for the first time over the poppy field. It's such a happy moment." David Anthony of Kansas agreed that "The Wizard of Oz" was a huge part of his life, as well. "You cannot leave the state of Kansas without knowing the movie forwards and backwards," he laughed. The movie had such an effect on him that he created a trilogy based on what would have happened next if the film had not been a dream. The first two books will be released in September and the third in December. "All of the stories came to me in dreams," said Mr. Anthony. "I began telling the stories to my nieces and nephews and they loved them." From there, Mr. Anthony began to write his stories down. "Because of 'The Wizard of Oz' I have a little more courage like the Lion and I'm a little more compassionate like the Tin Man," he said. "But I'm not quite as smart as the Scarecrow." Mr. Anthony said that, although he knew the film was popular in Kansas, he had no idea that it was so popular around the country. "Oz people are very friendly," he said. "If that's how it has affected them then I'm glad." Oz affected Mike Makar, director and producer of the 2005 documentary "Yellow Brick Road" in a different way. His brother, who has Down syndrome, performed in a production of The Wizard of Oz through a program called ANCHOR — Answering the Needs of Citizens with Handicaps Through Organized Recreation. The film traces the actors' journey from when they find out their roles to the actual production. "It tells the story of their preparation," said Mr. Makar. "It also follows five of the main characters at home and how they practice." This 75-minute movie premiered on Cinemax Reel Life in December and has been on HBO Family over 150 times since. "It's very rare for someone my age to sell their first movie to HBO," Mr. Makar said. "I feel pretty good about it." His brother also "loves it. He thinks he's Ben Affleck." One time he and some of the cast members from "Yellow Brick Road" went to see "Jersey Boys" on Broadway. At the end of the show, some of the Broadway actors recognized the cast. "They all love the attention," said Mr. Makar. "It's good for them because they don't have a lot of stuff that we experience." As many of the attendees put it, Oz has affected everyone.

http://www.zwire.com/site/news.cfm?newsid=17053582&BRD=1091&PAG=461&dept_id=425695&rfi=6

Posted by There's No Place Like Oz Webmaster at 12:24 PM | Permalink | Comments

http://www.associatedcontent.com/article/53781/wizard_of_oz_convention_held_in_new.html

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Prior to the publication of The Wonderful Wizard of Oz, L. Frank Baum published a weekly newspaper in Aberdeen, S.D. Now, more than 100 years later, his descendants are coming to South Dakota to apologize for editorials he wrote just before and after the Wounded Knee massacre calling for the extermination of the Lakota Sioux.Baum published the Aberdeen Saturday Pioneer from January 1890 to March 1891. On December 20, 1890, Baum wrote an editorial about the recent death of Sitting Bull. After noting Sitting Bull was the "most renowned Sioux of modern history," Baum opined:
With his fall the nobility of the Redskin is extinguished, and what few are left are a pack of whining curs who lick the hand that smites them. The Whites, by law of conquest, by justice of civilization, are masters of the American continent, and the best safety of the frontier settlements will be secured by the total annihilation of the few remaining Indians. Why not annihilation? Their glory has fled, their spirit broken, their manhood effaced; better that they die than live the miserable wretches that they are.Nine days later, troops from the U.S. Seventh Cavalry opened fire on a group of captured Sioux near Wounded Knee Creek in southwestern South Dakota. At least 150 Sioux were killed (some estimates are higher), most of them women, children, and unarmed men. Twenty-five cavalry soldiers also died.Within the week, Baum published another editorial, saying what occurred at Wounded Knee "resulted in a terrible loss of blood to our soldiers" and was "a disgrace to the war department." He then said,
The Pioneer has before declared that our only safety depends upon the total extirmination [sic] of the Indians. Having wronged them for centuries we had better, in order to protect our civilization, follow it up by one more wrong and wipe these untamed and untamable creatures from the face of the earth.Baum eventually left Aberdeen and went on to write his Oz books. Although his editorials reflected the racial outlook of the time, they remain sore spots in the history of race relations in South Dakota. Some even began efforts seeking an apology from the planners of an annual "Oz Festival" in Aberdeen.Now, South Dakota Public Broadcasting reports some of Baum's descendants are in South Dakota to help reconciliation efforts. Some family members told SDPB journalists of the time helped create some of the problems that led to Wounded Knee. They felt it important to continue to look at those issues today and plan to apologize to the Wounded Knee Survivors Association. An association mermber told SDPB the apology would be a historic event.

http://blogcritics.org/archives/2006/08/15/134054.php

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Miss Gultch - The

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Who Killed My Sister!?

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Jessica Grove - Over the Rainbow

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The Wizard of Oz Commercial -1997

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THANKS TO JL BELL OF OZ AND ENDS FOR THIS

Among the offerings at this December's Modern Language Association convention in Philadelphia is “Gales Will Be Gals: Dorothy’s Reproductive Capabilities and the Birth of Murder,” by Jon Hodge of Babson College and Boston University.This paper will be part of a panel titled "Concepts of Badness in Children’s Literature," which will also include:
“The Pippi Perplex: Badness and Contemporary Children’s Literature,” by Jennie M. Miskec
“The Good, the Bad, and the Ugly: Resistance and Complicity in Matilda,” by Kristen M. Guest
“Bad-Girl Best Friends: The Consequences of Rebellion in African American Girl’s Fiction,” by Gwen Athene TarboxWhat does it say about the study of children's literature today that all these papers focus on bad girls?Decades ago, the bad boy was a literary archetype: The Story of a Bad Boy, Peck's Bad Boy, The Real Story of a Real Boy, etc. Do we now have a shortage of snips and snails and puppy-dog tails? Has the figure of the "bad boy" gone the way of the buggy whip? Artemis Fowl and his Dreamworks marketers would surely differ. But perhaps the people who study children's lit, even more than those who consume it, lean toward the female.All that said, last year I published an essay called "Dorothy the Conqueror" in The Baum Bugle, so I certainly agree that Dorothy Gale is a dangerous little girl to cross. I just don't think Baum's character has much to do with the concept of "badness."

Posted by There's No Place Like Oz Webmaster at 9:50 PM | Permalink | Comments

Hollywood, CA 8/14/2006 11:18 PM GMT (TransWorldNews) Alpine Pictures is developing a series of animated feature films for the screen after acquiring rights to several Oz adventure books written by Roger S. Baum. The OZ series of books for development include Dorothy of Oz, The Oz Odyssey, The Rewolf of Oz, Toto of Oz and the Surprise Party, Toto in Candy Land of Oz, The Wizard of Oz and the Magic Merry-Go-Round and The Green Star of Oz. “Roger’s Oz adventures are wonderful and magical,” says Alpine Pictures co-founder and president Ryan Carroll. “We’re thrilled to bring his stories to life for everyone to enjoy.”Roger’s Lion of Oz was made into an animated feature film, and produced by Sony Wonder, Lions Gate Films and CineGroupe, Sunbow Productions and the Disney Channel (USA TV) and starred Dom Deluise, Lynn Redgrave, Jason Priestly and Tim Curry among others. He is considered one of the top ten best-selling authors of children’s books and has been honored as a member of “Marquis Who’s Who in America.” Dorothy of Oz will be the first in the series to be produced by Alpine Pictures, Inc and has Dorothy Gale with the aid of Lion, Scarecrow, the Tin Man, and Tugg the Talking Boat, battling Jester, who is using the dead Wicked Witch's magic wand to turn the citizens of Oz into porcelain dolls. The Oz Odyssey finds Dorothy on a new adventure in the realm of the yellow brick road; this tale finds her lost along an abandoned trail hidden in the brush of the shadowy Oz Forest. Along the way, she ignores a warning sign and walks with Toto into the Land of Never Return, where she learns that Bekama, the leader of the Tinybits, plans to imprison them forever. Their only hope of rescue lies with the Lion, the Scarecrow, and the Tin Woodman, Dorothy's three very best friends, who must thwart the dangers of the Oz Forest and find Dorothy before she becomes forever trapped in the lost reaches of Oz. This new tale of Oz kindles the imagination while providing lessons on responsibility, courage, and friendship.The Rewolf of Oz introduces Oz fans to a new character, the Rewolf, whose looks turn from disarming to charming after Dorothy and her companions help him gain the strength and confidence he needs to know the meaning of beauty and friendship. Toto of Oz and the Surprise Party has Toto on his very own adventure as Dorothy leaves him behind in Emerald City to attend a surprise party at Glinda’s palace in the south of Oz. Toto in Candy Land of Oz brings Dorothy and Toto to this unknown land that produces most of the confectionery sweets for the Emerald City shops. The ruler of Candy Land “His Highness The Giant Royal Marshmallow” has a problem and an exciting adventure unfolds. The Wizard of Oz and the Magic Merry-Go-Round is a story about two children who find an old merry-go-round in a junkyard. It appears, at first glance, to be the same one their parents use to ride when they were young. Soon, they discover that it is by traveling with the Wizard of Oz and a special Munchkin to the Emerald City and it becomes extra special when they are able to ride the merry-go-round with their parents. The Green Star of Oz is a tribute to L. Frank Baum and places the original author in the story, as he magically travels with neighborhood children on a green star to Oz, and helps rescue Dorothy and Toto. Alpine Pictures has begun principal photography on “Dark Honeymoon”, which is currently shooting on location along the California coast. Cast includes Oscar nominated actors Roy Scheider (All That Jazz) and Eric Roberts (Runaway Train) along with Daryl Hannah (Kill Bill Vol. I and II) and Tia Carrere (Wayne’s World 1 &2). Alpine recently completed “Love is the Drug”, a teen dramatic thriller, written by, and based on a story by Wesley Strick (“Cape Fear”, “The Glass House”, and “Arachnophobia”) starring Daryl Hannah, Lizzy Caplan (“Mean Girls”) Jenny Wade (“Monster-in-Law”) John Patrick Amedori (“Stick It”) Jonathon Trent (“Smile”) and D. J. Cotrona (TV’s “Skin”) which premiered to rave reviews in Park City earlier this year, and is currently being presented at the Cannes Film Festival. Alpine Pictures, Inc. operations currently include film and television production and distribution to all markets including theatrical, cable, broadcast and home video (DVD). The company is also expanding into the highly profitable area of new media such as Internet and vodcast. www.alpinepix.com

http://www.transworldnews.com/NewsStory.aspx?storyid=9517&ret=Default.aspx

Posted by There's No Place Like Oz Webmaster at 9:49 PM | Permalink | Comments

By Alessandra Djurklou, Staff Writer
"WICKED"
Where: Segerstrom Hall, Orange County Performing Arts Center, 600 Town Center Drive, Costa Mesa.
When: 8 p.m. Tuesday-Friday, 2 and 8 p.m. Saturday and 2 and 7:30 p.m. Sunday; through Aug. 20.
Tickets: Sold out. A special $25 day-of-performance lottery for a limited number of seats will be held each day 2 1/2 hours prior to show times. Information: (714) 556-2787 or www.ocpac.org
IT'S NOT EASY being green.
You get picked on in school, boys think you're hideous, and the only one who has even a remote chance at popularity is the little blond witch who shares your dorm room.
Is it any wonder, then, that Elphaba, the main character in the hilarious touring musical "Wicked," now at the Orange County Performing Arts Center for two weeks, decides to turn to the dark side?
But things aren't necessarily as they seem. "Wicked" is the musical version of the best seller by Gregory Maguire, who in turn wrote his book based on the characters in Frank Baum's classic "Wizard of Oz."
The musical starts off where "Wizard" ended, with the residents of Oz cheering the Wicked Witch of the West's demise. They ask Glinda the Good Witch (Kendra Kassebaum) to tell them about it, and discover that she and the Wicked Witch were once, gasp! friends.
This leads to the beginning of the story, where we meet the green-skinned Elphaba (Julia Murney) and her wheelchair-bound sister Nessarose (Jennifer Waldman) on their first day of school.
There, Elphaba and Glinda meet and instantly loathe each other. Glinda is pretty, Elphaba is not. Elphaba is smart and has talent, Glinda does not. But the two eventually overcome their dislike and become friends. Their friendship is sorely tested, though, when they meet the Wizard of Oz (P.J. Benjamin), and nonconformist Elphaba disagrees with his vision for the future of Oz. And that drives the rest of the plot.
The touring show is professional and smooth, with great costumes, sets, and above all, performances. And the clever plot, with often snide lines, makes up for the somewhat dull score and not always memorable songs.
That is not to say there are no memorable numbers. One, "Popular," is Glinda's ode to the power of makeovers, and Kassebaum has a great time amping it up with little kicks and flounces. In general, Kassebaum plays her character as a mix between a supermodel and a poodle - silly, conceited and a blast to watch.
Murney, in contrast, plays misfit Elphaba as a passionate, strong and sometimes self-pitying individual with demons to spare. Her final number in the first act, "Defying Gravity," is marvelous.
It's hard to say which of the two owns "Wicked," maybe they both do. And the supporting characters do a nice job as foils. Benjamin is affable as the Wizard. You really can't dislike him even at his most nefarious.
Sebastian Marcellus is great as the conceited and bored popular boy Fyero, and gets a great chance to redeem his character at the end. Waldman is good as Nessarose, the soon-to-be Wicked Witch of the East.
Kirk McDonald proves to be the least sympathetic character as Boq, the munchkin who pretends to care for Nessarose, then breaks her heart by telling her he really loves Glinda. To say what he turns into would surely ruin a good surprise.
Alma Cuervo chews scenery as the headmistress Madame Morrible, but manages to not go too far over the top.
If you're looking for Dorothy, by the way, she is nowhere in sight. And by the time "Wicked" is over, you may very well wish the little brat hadn't set foot in Oz in the first place.


http://www.presstelegram.com/entertainment/ci_4177052

Posted by There's No Place Like Oz Webmaster at 9:48 PM | Permalink | Comments

I just heard a rumour that Madame Alexander Oz dolls will be featured as Happy Meal toys very soon!

I've contacted one of my sources at Madame Alexander and I'll post an update as soon as I find out!

Posted by There's No Place Like Oz Webmaster at 9:45 PM | Permalink | Comments

[Thanks to J.L. Bell of Oz and Ends for this!]

I did a most uncharacteristic thing at the Munchkin Convention last weekend. I bought a collection of material that I already owned. I bought a special hardcover edition of a book on sale for significantly less in paperback. I bought a book that weighs as much as a laptop. I hardly ever do this. But then I hardly ever see a book as crowded with gorgeous art as Adventures in Oz, by Eric Shanower. And my copy now includes an extra picture of the Scarecrow, hand-drawn on the title page. (No, not by me! By Eric.)You, too, can buy Adventures in Oz and have it autographed this Wednesday, 16 August, at Jim Hanley's Universe in Manhattan, across from the Empire State Building. The store seems to be promoting this as a visit from Eric Shanower, author-illustrator of the Age of Bronze series, published by Image. Not that there's anything wrong with that, but I don't see the event on Image Comics's website and it's prominent on Adventures in Oz publisher IDW's website, so if there's any co-op money changing hands I have a good guess about which publisher it's coming from.But enough about an event I'll miss. Back to me. I bought the deluxe edition of Adventures in Oz for the extra signatures in the back, which contain Eric's essay about how he came to write and illustrate his Oz graphic novels of the 1980s, as well as early versions of the stories, character sketches and color studies, undeveloped scripts, other miscellaneous Oz art, and many other goodies. Both paperback and hardcover editions offer excellent printing of those graphic novels, with strong colors on high-quality paper to match the painstaking draftsmanship.Nearly a decade ago now, when Eric was still co-editing the anthology Oz-Story, I sent him a manuscript for a short Oz comic. But I didn't know the format for comic scripts. I'd grown up reading Stan Lee's ever-buoyant descriptions of the "Marvel method," which I now understand to have been Lee spinning out ideas in his office while Kirby or Ditka takes notes, then goes back to his desk to lay out the story in panels and solve plot holes, gradually becoming possessive and resentful of the whole product. I was also used to the rules in picture-book publishing: author is responsible for text only, and cannot communicate graphic ideas directly with illustrator on pain of excommunication. So I made sure not to assign dialogue to panels or describe more than the most minimal of actions. Eric set me straight, and through a chain of circumstances, foreseen and unforeseen, ended up drawing a couple of illustrations for my story "Jack Pumpkinhead's Day in Court" in Oz-Story 5. Now, in Adventures in Oz, I can study some scripts linked to the best Oz comic stories around. If only I could draw.

Posted by There's No Place Like Oz Webmaster at 10:02 PM | Permalink | Comments

ARLINGTON HEIGHTS – When it comes to the top horse in their stable, Aury and Ralph Todd always have shown an extraordinary amount of patience.

Why, just naming him took longer than it should have. Eight years ago, the Todds kept submitting names to the Jockey Club for their new colt, a son of Triple Crown winner Affirmed.
Each time, the name was returned because another horse already owned it. So one day, Ralph Todd saw footage from "The Wizard of Oz" and sarcastically suggested the name The Tin Man.
It surely would be rejected.
The Todds sent it in anyway.
"It was more of a frustration thing," Ralph Todd remembered. "[But] I turned it in and by golly they took it."
Nothing has come easy for The Tin Man since. That is, until Saturday, when the 8-year-old gelding cruised to a wire-to-wire victory in a slow-paced Arlington Million.
In doing so, The Tin Man became the second-oldest winner in Million history, finishing only behind the legendary John Henry, who won his second Million at age 9 in 1984.
He also provided a rare positive headline to Arlington Park, which has battled the stigma of having 18 horses euthanized after breakdowns in races this season.
"He's been around a long time," trainer Richard Mandella said of The Tin Man. "He's a pretty cool guy."
For their part, so are Mandella and the Todds. In a business where Triple Crown stakes and purse-hungry owners sometimes rush horses into dangerous situations, those who care for The Tin Man show that patience can make perfect.
As a 2-year-old, The Tin Man went unraced, the victim of two tendons that partially tore and became bowed. The injury is a potential career ender.
But the rest allowed the horse to become a stakes winner by the age of 4, winning two Grade I races at Santa Anita and Hollywood Park.
At the age of 5, The Tin Man won a Grade II race at Santa Anita and was entered in his first Arlington Million, finishing sixth after weakening late.
The next season he wrenched the ankle on his front right leg. With breeding out of the question, the only course for The Tin Man was rest.
And lots of it.
On Mandella's recommendation, the Todds allowed The Tin Man to miss almost all of 2005 while recuperating.
"I don't know how many times the vet says give him three months and [Mandella] says 'How about five?' " said Ralph Todd, a businessman who lives in California. "I say that's fine, whatever you want.
"[That approach has] really, really worked well for us with a variety of horses. If they're not going to heal up when you give them an excessive amount of time, they're sure not going to heal up when you run them in there shorter."
As The Tin Man recovered, Mandella recognized that his charge healed differently from most horses.
"He's had some injuries that would have stopped most horses along the way," Mandella said. "His body must have a great ability to heal himself, because he's overcome all his problems, and now he's the soundest horse in the barn."
The Tin Man returned in 2005 with an allowance victory at the Santa Anita turf course. He won another Grade II race in January, finished second in a Grade I race in the United Arab Emirates in March and then won a Grade II race at Hollywood Park at the beginning of July.
That triumph led into Saturday's 1 1/4-mile turf race, where The Tin Man went off at 5-1, bursting quickly from the gate and establishing an early presence along the rail.
Allowed to set a slow pace, The Tin Man and jockey Victor Espinoza reached the first pole in a creeping time of 24.75 seconds. The second pole came in 50.37, giving Espinoza the idea that his horse had not overextended himself and had more than enough left for a win.
From there it was easy. While second-place Cacique made a half-hearted bid on the final turn, The Tin Man wasn't going to be denied by the younger field.
"On the first turn, I knew the pace was slow," said Espinoza, who rode War Emblem to victory in the 2002 Kentucky Derby. "Then, turning for home when no one was coming to me, I knew we were going to win the race. "
Luckily for the Todds, their horse had no problem crossing the finish line. In 2002, The Tin Man raced in the Breeder's Cup turf race at Arlington and was spooked in training by a light near the finish line.
"He crawled under the finish line [in the race]," Mandella remembered.
But that wasn't the case Saturday, which turned out to be a day that reminded the racing community that younger isn't necessarily faster.
"Just wait until he's 10," Mandella joked.
No doubt the Todds will do just that.
– Kevin Kaduk is the Northwest Herald's sports columnist. Reach him at kkaduk@nwnewsgroup.com.


http://www.nwherald.com/SportsSection/kaduk/318204826718834.php

Posted by There's No Place Like Oz Webmaster at 9:58 PM | Permalink | Comments

http://www.mindspring.com/~daveh47/Oz/OzTravelGuide.html


Check out this site for some interesting Oz attractions!

Posted by There's No Place Like Oz Webmaster at 7:40 PM | Permalink | Comments

The two-hundredth episode of Stargate SG-1 promises to be utterly unlike any other, with puppets and zombies and Furlings promised -- not to mention a return from former star Richard Dean Anderson as Jack O'Neill. And things just keep getting wilder.The new issue of TV Guide magazine shows off some of the cast's zany antics, revealing that "200" will send up a plethora of science fiction and fantasy favorites, with the cast playing parts in fictional concepts of The Wizard of Oz and Farscape, among others.



http://www.gateworld.net/news/2006/08/200parodiessci-fiandfantas.shtml



Thanks Sharon!

Posted by There's No Place Like Oz Webmaster at 7:35 PM | Permalink | Comments

trailer

This is the preview for the episode with the Wizard of Oz spoof!

Posted by There's No Place Like Oz Webmaster at 7:35 PM | Permalink | Comments

Here's a look at the next Oz book which should be due out sometime next month! We'll keep you posted!

Thanks Marcus!

Posted by There's No Place Like Oz Webmaster at 4:00 PM | Permalink | Comments

Mythbusters

Kari Byron gets painted with aluminum paint on Mythbusters, turning into "Tin Woman" to test a myth about the original Tin Man actor in 'The Wizard of Oz.'

Posted by There's No Place Like Oz Webmaster at 2:20 PM | Permalink | Comments

very nice, check out the site

http://www.studio360.org/americanicons/ai_show081106.html

Posted by There's No Place Like Oz Webmaster at 2:18 PM | Permalink | Comments

Check it out: http://www.oznightclub.com/

Posted by There's No Place Like Oz Webmaster at 2:15 PM | Permalink | Comments

By DANIELA FLORESAssociated Press WriterAugust 12, 2006, 6:22 PM EDT

WEST WINDSOR, N.J. -- A fan of "The Wizard of Oz" since she was a little girl, 35-year-old Denise Rubinetti said there's no chance her toddler sons won't become fans themselves. "We watch it almost every other day," the Livingston resident said while clutching onto a red bag adorned with the phrase "Click your heels" and a pair of ruby slippers.

Rubinetti wore her own version of Dorothy's slippers _ white flip-flops with red sequins _ but there were plenty of ruby heels to be clicked Saturday during the 39th annual Munchkin Convention of the International Wizard of Oz Club. The three-day event, which started Friday and features lectures and many other public events, celebrates the 150th birthday of L. Frank Baum, author of "The Wonderful Wizard of Oz" and its numerous follow-ups. Among those attending the many events held Saturday were dozens of members of the International Wizard of Oz Club, said Chris Warkala, 46, a Lawrenceville resident who has been organizing the event with his wife, Sharon, for the last few years. Lila Solomon, 5, of Bala Cynwyd, Pa., had a caricature drawn of herself as the Tin Man, her favorite "Wizard of Oz" character because of his kindness, and took pictures with a group of performers dressed up as Dorothy and her friends. "I was afraid the movie was going to be too scary" for her, Lila's mother, Vandy Solomon, 39, said. "But no it's not," said Lila, who was dressed as Dorothy herself. Convention attendees also got a chance to meet Clarence Swensen, 88, who played a munchkin soldier in the movie. Swensen, who lives in Austin, Texas with his wife of 61 years, said he makes between 12 and 15 appearances a year and enjoys meeting fans because "it's the public that makes the picture." One fan happy to meet Swensen was Matthew Makar, a 28-year-old filmmaker from New York City whose documentary, "The Yellow Brick Road," was screened at the convention Saturday. The film, which has been shown on HBO and Cinemax, follows a group of disabled actors as they put together a performance of "The Wizard of Oz." Fans also were able to look through Oz memorabilia, including old books and collectible items, participate in an auction and meet with authors and illustrators. Kansas native David Anthony said had dreams about what would have happened if Dorothy's adventure had not turned out to be a dream. The 40-year-old Anthony, who now lives in Deerfield Beach, Fla., decided to write down his ideas and has a trilogy of books coming out soon. "It's good to see Oz is alive and well _ and not just in Kansas," he said, commenting on his first visit to the convention. Gina Wickwar, who will be 62 next week, has been a member of the International Wizard of Oz Club since 1965 and even wrote her master's thesis on Baum's books. Asked what she enjoyed most about the Oz legacy, the Logan, Utah resident cited the lessons people can learn from it. "They're different people and different creatures, but they all have their worth and everyone is respectful of the differences," said Wickwar, who had her own Oz book published after winning a contest celebrating the centennial of Baum's first book. Michael Patrick Hearn, 56, author of "The Annotated Wizard of Oz," had his own take on what makes the story a favorite after so many years. "That there is this alternate world where everything seems to work out for the best," the New York City resident said. "Where good conquers evil."


http://www.newsday.com/news/local/wire/newjersey/ny-bc-nj--ozconvention0812aug12,0,7861080.story?coll=ny-region-apnewjersey

Posted by There's No Place Like Oz Webmaster at 2:14 PM | Permalink | Comments

Head on over to the Other section in the Emerald city to learn all about the 1976 movie, "20th Century Oz"!

Posted by There's No Place Like Oz Webmaster at 8:48 PM | Permalink | Comments

Head on over to the Photo Gallery (In the Emerald City section) and check out the Oz Originals to see a new glamorous witch of the east and a witch of the west redo!

Posted by There's No Place Like Oz Webmaster at 8:24 PM | Permalink | Comments

*More art added to the Oz art section in the photo gallery

*More Oz originals added in the photo gallery

*The Wizardry of Oz book photos added in the photo gallery

*News updated (ofcourse, daily)

Posted by There's No Place Like Oz Webmaster at 11:28 AM | Permalink | Comments

In which Oz comic did Sean, sister Kat and boyfriend Travis make their debut? And who inked Oz: Zero, anyway? Comic Artists Direct brings you the most complete credit and plot summary of the Oz comics available anywhere!
Caliber Issues
Oz #1, 1994, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan. Cover inked by C.P. Smith and colored by Britt Martin. Kevin, Pete, Mary and their dog are swept into Oz by a tornado from a mystical book. They find Oz is populated by frightening people and seeming monsters. Kevin and Pete are separated from Mary in an attack by vicious Munchkins.
Oz #2, 1994, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan. Cover inked by C.P. Smith and colored by Britt Martin. The kids make their way through Munkins and a horrible Kalidah to discover the Scarecrow, who is as ominous as the others they've met. Evil witch Mombi is plotting in the Emerald City.
Oz #3, 1994, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan. Cover inked by C.P. Smith and colored by Britt Martin. Kevin and Pete break the spell over Scarecrow and he returns to his good self. He takes them to Tin Man's fortress. Mary has discovered the Freedom Fighters. Othe rdenizens of Oz who look ferocious, but are on the side of good. Tin Man is also a wicked tyrant. Nome King has an adult Dorothy hypnotized and is ruling Oz.
Oz #4, 1994, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan. Cover inked by C.P. Smith and colored by Britt Martin. The group defends itself against Tin Man and his robot slaves. In so doing, they break his spell and he returns to the good. Mary and the Freedom Fighters battle evil witch Mombi and her Amazon warriors.
Oz #5, 1995, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan. Cover inked by C.P. Smith and colored by Britt Martin. Our boys band together to seek the Lion. They find, battle him and break his spell with a magical amulet. Mary and the Freedom Fighters, that is Jack Pumpkinhead, Hungry Tiger and Tik Tok, among others, continue to fight Mombi and the Amazons. Tik Tok is shattered. Flying Monkey and Wogglebug to to enlist the help of other monkeys. The Nome King threatens Ozma.
Oz: Book One, Mayhem in Munchkinland. Contains issues #1 through #5. Cover by Bill Bryan and colored by Britt Martin.
Oz #6, 1995, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan. Cover inked by C.P. Smith and colored by Britt Martin. The Flying Monkeys refuse to help. The boys find Quadlings who tell of how Scarecrow lost his standing as king and Nome King came to power. Wogglebug and Monkey are imprisoned for a past crime of the Freedom Fighter monkey, Abeela. The remaining Freedom Fighters are attacked by huge wolves.
Oz #7, 1995, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan. Cover inked by C.P. Smith and colored by Britt Martin. The monkey Abeela is vindicated and freed. The Fighters and Mary defeat the wolves. The boys, with Scarecrow, Tin Man and Lion, reach the Emerald Palace, where the Nome King attacks them with his counless, tenacious nomes. Peter is taken into the palace while the others fight on.
Oz #8, 1995, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan. Cover inked by C.P. Smith and colored by Britt Martin. Kevin, with Scarecrow, Lion and Tin Man, fight the nomes, then flee with the help of Scarecrow's mass of blackbirds that flow from him. The Freedom Fighters are directed to their next goal by the Mouse Queen -- entailing their trip through a dark cavern to reach the captured Queen Ozma. In their trek, they battle giant spiders. Peter is taken to a dungeon and discovers Ozma.
Oz #9, 1995, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan. Cover inked by C.P. Smith and colored by Britt Martin. Nome King and Mombi, his disgruntled servant, make plans. Peter gets information from Ozma in the dungeon. Jack Pumpkinhead becomes a casualty in the battle with the giant spiders. The other Freedom Fighters, Flying Monkey and Wogglebug and Tiger, attach Scarecrow, Lion and Tin Man, assuming they are still evil as Kevin and his dog look on.
Oz #10, 1995, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan. Cover inked by C.P. Smith and colored by Britt Martin. Mary and her friends, Amber Ombi and Jinjur, are left to seek Ozma. They find and free her. Jack returns, the worse for the spider battle, and joins them. Wogglebug, Flying Monkey and Tiger battle Scarecrow, Tin Man and Lion, not knowing that Scarecrow and friends are not under the evil spell. Kevin is prevented from interfering by the Sawhorse. Mary and her new friends with, thankfully, Ozma in tow, interrupta the battle. The Wogglebug and friends realize the famous trio are back to their old selves and all vow to join forces.
Oz: Book Two, Gathering of Heroes. Contains issues #6 through #10. Cover by Bill Bryan and colored by Britt Martin.
Oz #11, 1995, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan. Cover inked by C.P. Smith and colored by Britt Martin. The reconciled heroes make their plans with Wogglebug and Ozma, venturing to the realm of the Winkies for help on the Flying Gump. Peter battles Amazon guards to reach Dorothy and break her spell. She is shocked that she is an adult. They escape into the lower dungeon. Wogglebug and Ozma receive the remnants of Tik Tok.
Oz #12, 1995, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan. Cover inked by C.P. Smith and colored by Britt Martin. Wogglebug and Ozma reach Winkieland and enlist the help of the mechanical wizard Johnny Doiat, to fix Tik Tok and build a wonderful, armored car to march on the Emerald Palace. Pete and Dorothy battle horrible dog-eared goblins in the suberranean depths under the Emerald Palace. The remaining Freedom Fighters, with Kevin and Mary, find Mombi's quarters and descend upon her.
Oz: Zero, 1995, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan, inked by Randy Zimmerman. Painted cover by Bill Bryan. A Pre-Oz #1 story. Before the heroes of Oz change to omnious forms, the Nome King comes supposedly for a friendly visit, but his nomes appear in the courtyard and, with Mombi by his side, he makes his outrageous claim on Oz. Ozma orders the heroes out to protect little Dorothy. The Wizard is captured. The whole city is threatened. The Scarecrow, Tin Man, Lion and Dorothy, with the Swashbuckling Amber Ombi, wait in secret, then rush into the chamber taken over by the Nome King. As they had planned, Nome King and Mombi hypnotize the three friends. Amber is jolted, but escapes through a horde of nomes to fight another day. The friends are bewitched and evil, and Dorothy is made into a mindless pawn. Ozma is imprisoned as the villians gloat. But, the Wizard prepares the magic book that will summon the earth kids who will be the only hope for Oz.
Oz: Freedom Fighters, 1995, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan, inked by Randy Zimmerman. Cover by Bill Bryan and Britt Martin. A Pre-Oz #1 story. Mombi and Nome King have made Scarecrow, Lion and Tim Man evil and put Dorothy in a sedentary spell. It is now up to the self-appointed Freedom Fighters to help or defeat the three friends. Jack Pumpkinhead, Wogglebug and Tik Tok are among the group. Also, the heroic humanoid Amber Ombi and his Scraps, the Straw Girl. Abeela the Flying Monkey, is also part of the group and for requesting help from his fellow monkeys he is ostracized from the flock. General Jinjur, a beautiful warrior, and a soldier of her regiment are all attacked by the evil nomes. The Freedom Fighters rescue her and she pledges to join them.
Oz: Lion Special, 1995, written by Ralph Griffith and Stuart Kerr, drawn by Paul Kowalski, inked by Bradley Walton. Cover by Bill Bryan and Britt Martin.
Oz: Scarecrow Special, 1995, written by Ralph Griffith and Stuart Kerr, drawn by Daniel Preece, inked by David Hutchinson. Cover by Bill Bryan and Britt Martin.
Oz: Tim Man Special, 1995, written by Ralph Griffith and Stuart Kerr, drawn by Andy Barlow, inked by Randy Zimmerman. Cover by Bill Bryan and Britt Martin.
Oz #13, 1996, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan. Cover inked by C.P. Smith and colored by Britt Martin. Mombi stops the heroes in their tracks and, using the earth-memories in Kevin's mind, sends the Oz heroes into a violent, sprawling earth city where they are killed one by one. Wogglebug and Ozma gain the loyalty and help of the Munchkins. Mary hasn't been hexed, so she and her dog stop Mombi's spell. The Oz heroes awake in Oz to find they are alive. About to arrest Mombi, they feel the tremor of a huge mountain that bursts out of the ground in the not-too-distant land of the Hammerheads.
Oz #14, 1996, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan. Cover inked by C.P. Smith and colored by Britt Martin. The flying monkeys come to help as promised, and distract Nome King as the Freedom Fighters, with Kevin and Mary, descend upon him from Mombi's quarters above. Mombi has vanished. A battle ensues, but Nome King has a magic cap which enthralls the monkeys to him. The Goblin King, far underground, is told that the Wicked Witch is coming to join them from within that huge mountain. Pete and Dorothy arrive to the battle and, taking the magic hat, render Nome King helpless, so they think.
Oz #15, 1996, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan. Cover inked by C.P. Smith and colored by Britt Martin. Nome King is cornered by the heroes, but they have almost forgotten his abilities to move, shape and hurl rocks and boulders. Wogglebug and Ozma, with Johnny Doit, face the innumerable nomes outside the Emerald Palace. The heroes trap Nome King and a crow takes his left eye. He escapes through a self-made hold in the floor. The kids reunite, as does Dorothy with her friends. The nomes are defeated. The Wizard magically returns. The evil Goblins march through Quadling country. Quadling soldiers attack, but are immediately captured. The goblins continue on. They are destined to be the pawns of the Wicked Witch who is soon to take the place of Nome King as the master villian of Oz.
Oz #16, 1996, written by Ralph Griffith and Stuart Kerr, drawn by Tim Holtrop, inked by Bradley Walton. Cover by David Boller.
Oz #17, 1996, written by Ralph Griffith and Stuart Kerr, drawn by Tim Holtrop, inked by Bradley Walton. Cover by Willie Peppers and Looptan Garoli.
Oz #18, 1996, written by Ralph Griffith and Stuart Kerr, drawn by Tim Holtrop, inked by Bradley Walton. Cover by Ray Snyder.
Oz: Romance in Rags #1, 1996, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan. Cover by Bill Bryan and Britt Martin. A Pre-Oz #1 story. The Freedom Fighters defeat Kalidahs, great, fierce creatures. They plan to question the evil Scarecrow. Scraps, the straw girl, wants to appeal to his decency. Scarecrow has captured Mr. Pipt for his powder of life formula so that he can make an army of straw men.
Oz: Romance in Rags #2, 1996, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan. Cover by Bill Bryan and Britt Martin. The Freedom Fighters are concerned, not having sanctioned Scraps going ahead to Scarecrow. Indeed, Scarecrow is not moved by her. The heroes, Amber Jinjur and Pumpkinhead, steal into Scarecrow's awesome barn to find he has almost won Scraps as a partner in his horrible plan.
Oz: Romance in Rags #3, 1996, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan. Cover by Bill Bryan and Britt Martin. Scarecrow ties the heroes to posts in the cornfield with the help of his evil Munchkin subjects. Scraps is being wrenched to join Scarecrow. Her love magnet, stolen from the Shaggy Man, has no affect on Scarecrow and she frees the heroes to battle the Munchkins. Scraps is sent to the Emerald Palace for imprisonment and Scarecrow brings to life his first straw filled slave, Stitch.
Oz: Straw and Sorcery #1, 1996, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan. Cover by Bill Bryan and Britt Martin. A Pre-Oz #1 story. The Freedom Fighters escape while Scarecrow perfects his prototype strawman. Scraps is taken prisoner to the Emerald City by Munchkin servants, but the coach throws a wheel and she escapes. The Freedom Fighters, in formation, take the Scarecrow's barn by storm and capture him. Evil witch Mombi catches Scraps on a rooftop and attacks her with deadly bolts.
Oz: Straw and Sorcery #2, 1996, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan. Cover by Bill Bryan and Britt Martin. The heroes have Scarecrow captured. Mombi threatens Scraps on the rooftops fo the Emerald Palace. Two good Munchkin brothers fight Scarecrow's evil Munchkins in the cornfield and defeat them with the help of Pumpkinhead and Sawhorse. Mombi throws Scraps off the rooftop and Mister Pipt, creator of the Powder of Life (the animating dust for Scarecrows) finds her. Scarecrow still won't explain himself to the Freedom Fighters.
Oz: Straw and Sorcery #3, 1996, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan. Cover by Bill Bryan and Britt Martin. Scarecrow taunts the Freedom Fighters with antics and jokes not to inform them of the spell or his plans. Flying Monkey and the Hungry Tiger, searching for the Lion, encounter two deadly Kalidahs, huge tiger-bears, and join in defeating them. Scarecrow finally reveals that due to his twistable straw body, he was never trapped and escapes with a poetic taunt. Nome King reveals his sexual designs on Ozma as he threatens her in the dungeon. Scarecrow repairs back to the barn. Pipt helps Scraps back to the heroes' quarters and Amber agonizes over the awful state of Oz.
Oz #19, 1997, written by Ralph Griffith and Stuart Kerr, drawn by Tim Holtrop, inked by Bradley Walton. Cover by Gary Shipman and Looptan Garoli.
Oz #20, 1997, written by Ralph Griffith and Stuart Kerr, drawn by Tim Holtrop, inked by Bradley Walton. Cover by Tim Holtrop, Bradley Walton, Looptan Garoli.
Daemonstorm, Part Two of One, written by Ralph Griffith and Stuart Kerr, drawn by Tim Holtrop, inked by William Trattle. Cover by David Boller. Involved the titles Legendlore, Kilroy and Deadworld, as well as Oz.
Arrow Issues
Dark Oz #1, 1997, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan. Cover by Bill Bryan and Britt Martin. Adult Dorothy with good Scarecrow, Tin Man, Tiger and friends Betsy and Trot, search for Glinda at her now-ramshackled palace. Betsy, Trot and Tiger are captured in the lower quarters by evil straw people. Dorothy, Tin Man and Scarecrow, searching for clues, also find a band of scary straw men who attack them. Tin Man is battered to unconsciousness, Dorothy is accidently pushed into a looking glass that whirls her mysteriously into the dimension of Wonderland, and Scarecrow is entreated by evil Stitch, who he had created while evil, to join him in wiping out flesh people.
Dark Oz #2, 1997, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan. Cover by Bill Bryan and Britt Martin. Gilliken warriors fight goblins, alongside King Erburt and varlorous Captain Julian. Scraps, atop Flying Gump, embarks to find Scarecrow's party. Amber and his finest military leaders with (good) Lion prepare to face the goblins. Wizard and Ozma seek the help of the Quadlings and an arrow is their answer.
Dark Oz #3, 1997, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan. Cover by Bill Bryan and Britt Martin. The heroes are in jeopardy at Glinda's trashed palace as evil Stitch advances his plan to destroy all "fleshlings." Scarecrow is unable to dissuade him. Amber, Lion and the Oz generals score a victory against the vast goblin army. Stitch horrifies scarecrow with his plans as Scraps and Gump free Tiger, Betsy, Trot and Tin Man. The palace begins to burn as the heroes drop their torches in the battle against the straw folk. The heroes escape from the conflagration - but without Scarecrow.
Dark Oz #4, 1997, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan. Cover by Bill Bryan. Lion and Amber perish in their final battle with the goblins. Jinjur's life forces are extracted by the beautiful, but deadly Wicked Witch and her goblin slaves prepare to ride on the Emerald Palace.
Dark Oz #5, 1997, written by Ralph Griffith and Stuart Kerr, drawn by Bill Bryan. Cover by Bill Bryan. The final battle between the Wicked Witch and her many goblin slaves and the heroes of Oz is about to be joined. The Quadlings enter at the eleventh hour, but it isn't enough. Betsy, Sawhorse, Trot, Tiger and Gump all meet their fate at the hands of the goblins. A toasted Scarecrow comes in with a strange book. Just as Tik Tok and Tin Man fall before the witch's hand, Ozma uses the Book of Undo to wipe out the Land of Oz and take the witch into oblivion. Huge sections of Oz are taken over by white nothingness.
Wogglebug Special, 1998, written, drawn and cover by Bill Bryan. Gilliken warriors, with Captain Julian, seek to rid the land of marauding goblins, when they are joined by the Wogglebug. At Julian's astonishment, the bug explains that he's a fighter, not just an intellectual, and why the heroes of Oz became big and omnous, leaving their cute, whymsical forms behind -- namely, the Nome King's unexpected evil. Wogglebug and Julian, like so many other characters in Dark Oz, fall in battle.
Arrow Anthology #4, 1998, features Land of Oz preview. Sean, sister Kat and boyfriend Travis think they're flying off for a camping trip, but a tornado whisks them to Oz. When they regain themselves, they are surrounded by a bunch of lethal-looking men with wheels in place of hands and feet!
Land of Oz #1, 1998, written by Gary Bishop and Bill Bryan, drawn by Bill Bryan. Sean, Travis and Kat are assisted by King Evardo and Friend, the sorceror in defeating the Wheelers. They explain that the Wheelers are the servants of evil sorceror Dolnar, who ravaged Evardo's kingdom and stole a belt of power. Meanwhile, Lion, Scarecrow and Tin Man are called by the Emerald City to lend their help.
Land of Oz #2, 1998, written by Gary Bishop and Bill Bryan, drawn by Bill Bryan. The heroes see that Ozma is comatose after the great Spell of Undo. Scarecrow and friends meet Evardo, Friend and the Earth kids. They decide to fight Dolnar and retrieve the magic belt. Sean ventures into the catacombs of the Emerald Palace, finding a mystical den. Dolnar and the Wheelers have come and the heroes prepare themselves for battle.
Land of Oz #3, 1999, written by Gary Bishop and Bill Bryan, drawn by Bill Bryan. The heroes face their initial skirmish with Dolnar and the Wheelers. The villians must retreat. They are helped by Singra, a beautiful soceress. Sean is discovered missing as he finds a magical staff in the secret den. Dolnar and company attack anew the Emerald Palace and are soundly defeated, with the help of young Sean and his staff. Singra and Dolnar must flee with some renegade flying monkeys. The heroes triumph.
Land of Oz #4, 1999, written by Gary Bishop and Bill Bryan, drawn by Bill Bryan. The heroes bid farewell to Evardo and Friend. Dolnar and Singra heal their wounds and plan. Sean continues his studies as a young wizard. He also finds his Walkman is animated and speaks! Tin Man, Lion, Scarecrow, Kat, Travis and Sean venture forth to find Glenda (now spelled with an "e") so that there might be a cure for Ozma. Ozma begins an other dimensional journey with an alter ego to analyze the undo consequences.
Land of Oz #5, 1999, written by Gary Bishop and Bill Bryan, drawn by Bill Bryan. The heroes witness a result of the spell when they come to an area of nothingness. Little Dorothy is revealed in an outland of Oz.
Land of Oz #6, 1999, written by Gary Bishop and Bill Bryan, drawn by Bill Bryan, inked by William Messner-Loebs. Dorothy runs into the Wizard in his friendly, rotund glory. The heroes pass through the awesome nothingness to emerge again into the reality of a hostile shire of elves who take them for evil and proceed to capture them. Dorothy and the Wizard plan to return to Oz and our heroes are brought before an angry Elf King. Dorothy and the Wizard enjoy the hospitality of the King and Queen of Oakdale who work on a balloon for them to return to Oz. Ozma begins to face the destruction of parts of Oz with the shadow figure. An evil Scarecrow, Lion and Tin Man ravage an elf village. Obviously, something is left over from the spell, as the good counterparts reside in the Elf King's throne room in shackles.
Land of Oz #7, 1999, written by Gary Bishop and Bill Bryan, drawn by Bill Bryan.
Land of Oz #8, 1999, written by Gary Bishop and Bill Bryan, drawn by Bill Bryan.

http://www.comicartistsdirect.com/bryan5.html

Posted by There's No Place Like Oz Webmaster at 11:24 AM | Permalink | Comments

Lyn GardnerThursday August 10, 2006Guardian Unlimited

Dorothy has fallen from the sky; Bobby Kennedy has risen from the grave and is wandering around the garden and the kids are home alone on the Springer family homestead celebrating the fourth of July after mom and dad's disappearance, abducted by aliens or maybe Jesus.
In a festival which seems to be increasingly obsessed with the fragile state of the American psyche, the latest work from Theatre of the Emerging American Moment (The Team) is pure theatrical apple pie. "Are we good people?" is the question being asked as the Wizard of Oz collides with A Christmas Carol, bombs fall, eggs get smashed and there is the sound of distant explosions.

There's plenty going on here - perhaps even a little too much for British audiences who are unlikely to easily pick up all the references to American political history of the last 50 years. And the company certainly have no aversion to repeating themselves.
But for all its confusions this is an engaging and ambitious piece of work which belongs in the tradition of the American avant garde and companies such as the Wooster Group - the piece combines playfulness with a questing intellectual fervour as it melds the mythological and the fictional with the harsh realities of American neo-conservatism and finally, rather touchingly, puts its faith in the people.


http://arts.guardian.co.uk/reviews/story/0,,1841467,00.html

Posted by There's No Place Like Oz Webmaster at 11:22 AM | Permalink | Comments

Review: A touring version of the phenomenally popular musical arrives in O.C. with all of the show's trademark attributes intact.
By PAUL HODGINS
The Orange County Register
Recently, there's been a lot of speculation about why "Wicked," an imaginative musical prequel to "The Wizard of Oz," is so gosh-darned popular.
Don't believe me? Then consider this: the Orange County Performing Arts Center, where "Wicked" opened Thursday for a brief run on its first national tour, sold out close to 50,000 tickets in a matter of days.
I have a theory, based purely on empirical data: "Wicked" is hugely entertaining. It's brilliantly crafted, seamlessly weaving its story into the pre-existing Oz narrative. Stephen Schwartz's songs are among the best he has penned in his long and illustrious career.
And "Wicked" has what I call the magic "Phantom" factor: It's about a misunderstood geek who's really not that bad. Who among us (those who were always chosen last for the dodgeball team, anyway) can't relate to a character like that?
Schwartz and writer Winnie Holzman ("My So-Called Life") have wisely tapped Gregory Maguire's novel without getting tangled in its complexities. The story zeroes in on a mean, green teen named Elphaba and her often bumpy relations with the world of Oz – particularly her rival, Galinda.
Elphaba is from a noble household plagued by bad luck and infidelity. Her younger sister Nessarose was born with deformed legs, and Elphaba feels responsible – her parents' fear of producing another child with Elphaba's bright green skin led to an unhealthy pregnancy and a premature birth.
Years later, Elphaba and Nessarose arrive at Shiz, a Hogwart's-style academy. Elphaba, who's been sent to the school to serve as her sister's caregiver, is shunned by her fellow students.
To make matters worse, Elphaba's roommate is a nightmare. Galinda, bubbly, self-absorbed and terminally blond, has yet to encounter a speed bump or even a pebble on her sunny road of life.
Amazingly, these opposites somehow develop a close bond, even after the school's headmistress, the formidable Madame Morrible, decides Elphaba needs special tutoring because of her unusual skills: Every time the emerald kid goes ballistic, strange stuff happens.
"Wicked's" story revolves around one of Elphaba's most endearing traits: her concern for animals. Doctor Dillamond, a scholarly old goat, is the last remaining four-legged faculty member at Shiz. The Wizard of Oz wants to banish animals to the Ozzian hinterlands, and the pressure has taken its toll on Dillamond, who has started to lose his ability to talk.
The Dillamond story is one of several that fill out the many characters and situations in L. Frank Baum's original "Wizard of Oz." Sometimes the speculation is clever and adds poignancy to the tale. At other times, it seems a bit strained.
More successful are the new characters and the romantic entanglements they bring. Cupid's misfiring arrows create motivations for the dramatic events that propel "Wicked" to its eventful final chapter, which begins when that brat from Kansas and her little dog drop by.
Schwartz and Holzman make sure that "Wicked's" many subplots aren't just filigree, but work to reinforce story's essence: Galinda and Elphaba's complicated relationship. My hunch is that's the key to this show's success. It's about friendship – its unpredictability, its resilience, its importance.
As Elphaba, Julia Murney must project the cast's biggest character arc, transforming from nerdy, bitter girl into a compassionate woman who finds a way to endure all the unfairness that life has dealt her. Songs such as "The Wizard and I" are bursting with the longing and pain that Elphaba has been harboring for too long. Strong of voice and stout of spirit, Murney's Elphaba is this production's undisputed star.
Kendra Kassebaum played Galinda in last year's Pantages production, and her mastery of the role has deepened. Kassebaum's winsome witch is as cute and annoying as ever – she still stamps her feet and swings her legs to show her girlish glee – but as Galinda gets more entangled with Elphaba's adventures, Kassebaum shows glints of a growing maturity that weren't there before. It makes sense: Elphaba's transformation changes her best friend almost as profoundly.
There's plenty of talent in supporting roles.
Sebastian Arcelus plays Fiyero, the object of both Elphaba's and Galinda's affections, as a callow stallion who gradually realizes that life in Oz is more serious, and his actions more fraught with consequences, than he imagined. Alma Cuervo plays Morrible as a haughty old battle ax; her character's comeuppance brought cheers at Thursday's performance. And K. Todd Freeman brings pathos to poor old Dillamond without milking his character's plight.
Director Joe Mantello keeps this complicated show flowing briskly. Eugene Lee's fanciful sets impress without overwhelming the story; ditto Susan Hilferty's costumes, which employ a riot of green.
To those who couldn't snag a "Wicked" ticket, my sympathies. Here's one consolation: a show this popular will undoubtedly come around again and again. Like "Phantom," "Wicked" is destined to be a cultural icon for years to come.
CONTACT US: 'Wicked' 714-796-7979 or phodgins@ocregister.com
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http://www.ocregister.com/ocregister/entertainment/homepage/article_1240783.php

Posted by There's No Place Like Oz Webmaster at 11:21 AM | Permalink | Comments

Adventurous troupe combines songs from ‘The Wiz,’ ‘Wicked’ and the original ‘Wizard of Oz’ to create show all its own
By JIM FARMER Friday, August 11, 2006
A revue of music from all three “Oz” themed stage musicals — “The Wizard of Oz,” “The Wiz” and “Wicked” — seems like foolproof entertainment.
But that’s not quite what Onstage Atlanta delivers with its new show, “The Oz Chronicles: The Concert.”
Using a diverse cast of 13, “The Oz Chronicles” zigzags between the three musicals, with different performers portraying the main characters. The opener, “One Short Day” from “Wicked,” utilizes the entire cast and is pretty lively.
Unfortunately, what follows is dandy one moment and awkward the next. And despite a concept that might seem terribly engaging for gay audiences, “Oz” is simply not the production it could be, marred by some lethargic numbers and inconsistency.
Megan Hodge and Kristie Krabe team for another offering from “Wicked,” the duet “What is This Feeling?” The two women harmonize well together and make the number a pleasant, give and take offering.
J’Nai Walker later lends her charisma and energy to “No Bad News” from “The Wiz,” another winning effort, and Clinton Dillard shows some flash in two solos from the same show.
The performer who really stands out is Laine Binder. She offers a husky delivery and a heck of a stage presence.
Binder is one of the featured singers in the first act finale, the show stopping “Wicked” signature, “Defying Gravity.” She tears into the song with a voice that matches the emotional intensity of the number. But after that, nothing comes even remotely close to that performance.
Amanda Leigh Pickard has a decent enough voice, displayed on “The Wizard and I” from “Wicked” and some other songs. But her big number of the night, “Over the Rainbow,” is surprisingly bland and forgettable.
Pickard’s delivery isn’t really strong or flexible enough for such a classic ballad. It winds up as one of the evening’s lost opportunities. Some of the other numbers are underwhelming to the point that they barely exist.
Director Scott Rousseau is a veteran, and he usually has a keen eye for detail and talent. But some of his performers here don’t seem well suited for the theater — at least not yet.
Emily Dillson is a high school student who seems utterly lost onstage, especially when the spotlight is solely on her. And when Megan Hodge returns for the solo “No Good Deed” from “Wicked,” the number is flat as a pancake, diminished by an unconfident voice.
Throughout “The Oz Chronicles,” the performers come onstage and give us a history of each musical. The action not only seems a little unnecessary, but it slows down the production as well.
Earlier this year, Onstage presented a well-cast and well-choreographed version of the Broadway smash “Urinetown.” That’s what makes the erratic nature of “The Oz Chronicles” so disappointing.
Onstage Atlanta is the kind of troupe you root for, that bends over backward to produce plays the city’s bigger playhouses should be doing. Yet this is a production that never really makes the most of its potential. Despite an appealing gimmick, this show is in need of some inspiration.
Elsewhere, Whole World Theatre presents the gay-themed prison drama “Fortune and Men’s Eyes” through this weekend.
Also, Georgia Shakespeare Festival closes its summer season with one of its most ambitious productions, Mary Zimmerman’s “Metamorphoses.” Starring Daniel May, Carolyn Cook and many others, the play employs a huge cast and an even bigger swimming pool onstage.

http://www.sovo.com/2006/8-11/locallife/theater/oz.cfm

Posted by There's No Place Like Oz Webmaster at 11:21 AM | Permalink | Comments

By ALYCE HAND BENHAM For The Press
Published: Friday, August 11, 2006
Question: I am enclosing pictures of a book titled “The Life and Adventures of Santa Claus” by L. Frank Baum. The book was given to my great-grandmother when she was a little girl and my aunt insists that it is a valuable first edition. The book was illustrated by Mary Cowles Clark and published by The Bowen-Merrill Co. in 1902. I would like to know if we own a first edition of the book. — P.G., LongportAnswer: Two years after author Lyman Frank Baum's popular “The Wonderful Wizard of Oz” was published, his “The Life and Adventures of Santa Claus” was released and copies of the Christmas fable were given as holiday gifts to delighted children. The adventures of baby Claus were recorded from his abandonment as an infant in a magical forest through childhood protected by fairies to adulthood in which his special mission is the happiness of children.First edition copies of your great-grandmother's book wear price tags that range from $175 to $10,000. Serious collectors look for books in very good to excellent condition that are first edition, first state (also known as first issue or first printing) with 206 pages. First edition, first state copies of the book have a bright red pictorial cloth binding stamped in bold green, black and white that shows Santa starting his climb down a chimney. Illustrations include a colored title page and 19 full and two-color plates by artist Mary Cowles Clark. The inside of front and back covers and corresponding end pages are illustrated with a color panorama of Santa in his sleigh being pulled by 10 (not eight) reindeer.The first edition, first state book is divided into three parts; “Book First,” “Book Second” and “Book Third” while the same sections are titled “Youth,” “Manhood” and “Old Age” in subsequent printings. Also, the first printing does not have a frontispiece or the marginal page decorations that appear in later issues.


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As with other collectible antique books, an original dust jacket adds value while water damage; foxing; damaged binding and end papers; chipped, torn or loose pages; faded or missing illustrations; hand and dust soil; crayon and pencil marks; and evidence of silverfish are unfavorable factors. Gift inscriptions, usually considered harmful to book values, are often acceptable when linked to a Christmas presentation of your book. Baum's signed inscriptions, which are rare, can send values of his books soaring to a five-figure level.
Using the above guidelines, you should be able to determine if great-grandmother's book is a first edition, first state copy of “The Life and Adventures of Santa Claus.” Such a book, when in good to very good condition, is valued at $400 to $700, based on flaws that may be present. Sub-sequent issues of the first edition are tagged from $175 to $350.
Question: Enclosed is a photograph of a 5-inch, footed silver bowl with scalloped edge marked, “Sterling, plata 925, Taxco, Hecho en Mexico” and an approximate drawing of the hallmark that appears on it. I would like information about the bowl. — J.S., Cape May Court House
Answer: Your photo shows a sterling silver scalloped bowl, known as a spoon bowl, with mirror finish. The logo you have drawn, a conjoined A and V, markedly resembles the stamp of Alfredo Villasana, a Taxco designer who worked for renowned silversmith, William Spratling, and Hector Aguilar. Villasana's popular silver jewelry and decorative ware were purchased by folks who visited Mexico and by customers of high-end stores that included Saks Fifth Avenue, Neiman-Marcus and Bonwit Teller.
You did not note that your bowl bears the Mexican assay eagle stamp, which was introduced in 1948. Absence of the assay mark is a characteristic of many bowls like yours that were made from 1931 to 1946 and presently sell for $125 to $150.
Alyce Hand Benham is an antiques broker, appraiser and estate liquidation specialist. Send questions to: Alyce Benham, Features/Life section, The Press of Atlantic City, 11 Devins Lane, Pleasantville 08232. Letters may be used in future columns but cannot be answered individually, and photos cannot be returned.


http://www.pressofatlanticcity.com/life/story/6623968p-6472767c.html

Posted by There's No Place Like Oz Webmaster at 11:20 AM | Permalink | Comments

By GRACE GLUECK
Published: August 11, 2006
Amherst, Mass.
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“The Wicked Witch of the West,” a 1985 engraving by Barry Moser.
“The Wonderful Art of Oz” continues through Oct. 22 at the Eric Carle Museum of Picture Book Art, 125 West Bay Road, Amherst, Mass.; (413) 658-1100.
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George M. Hill
W. W. Denslow’s original title page for “The Wonderful Wizard of Oz,” published in 1900.
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“Poppy Field,” by Charles Santore, a watercolor included in a 1991 edition of “The Wizard of Oz” published by Jelly Bean Press.
CLICK your heels together three times if you know who L. Frank Baum (1856-1919) was, and why his 150th birthday this year should be celebrated. No? Well, as any Ozophile can tell you, he was the author of what is still one of the most popular children’s books in the world (eat your heart out, Harry Potter), “The Wonderful Wizard of Oz,” published in 1900. Even before the legendary movie starring Judy Garland was made in 1939, Baum’s creation had become a classic of children’s literature.
That’s reason enough to honor his sesquicentennial. So the Eric Carle Museum of Picture Book Art here has mounted “The Wonderful Art of Oz,” a wonderful show tracking Oz-inspired artists, from W. W. Denslow, who drew the brilliant illustrations for the first edition, to more recent interpreters, including Maurice Sendak, Andy Warhol, Kiki Smith and Barry Moser.
Baum’s meeting Denslow (1856-1915), a versatile talent just beginning to achieve recognition for his book and catalog illustrations, was the break that helped make “The Wizard of Oz.” Baum, an entrepreneur with numerous interests and careers, had already published “Mother Goose in Prose,” a book of fairy tales he had invented for his children. But it didn’t attract much notice. He now proposed that Denslow illustrate a book of children’s verse he had gradually hatched over the years and printed on his own press.
With the aid of a small commercial publisher, the George M. Hill Company of Chicago, the two turned it into a beautifully illustrated volume, called “Father Goose, His Book,” that became the best-selling picture book of 1900. It established Baum, at 43, as one of the brightest stars of the day in the children’s field. But before it reached the stores, he later told George M. Hill, president of the company that bore his name, he was struck with an inspiration for “The Emerald City” (published as “The Wonderful Wizard of Oz”), a “modern” fairy tale that would break the grip of the Grimm Brothers/Hans Christian Andersen stories and give children a happier experience.
The success of “Oz” was due as much to Denslow’s pictures as to Baum’s story, contends the show’s guest curator, Michael Patrick Hearn, author of the scholarly “Annotated Wizard of Oz” (1973, reissued by Norton in 2000). Baum knew that good pictures were crucial to a children’s book, Mr. Hearn writes in the show’s catalog, noting that John Tenniel was as responsible for the continuing popularity of “Alice in Wonderland” as its author, Lewis Carroll, was.
“Oz” became the best-selling children’s book of the 1900 Christmas season. With Baum and Denslow assuming printing costs, it was one of the most lavishly illustrated American children’s books of the 20th century, and its bold color work revolutionized the field, which had long suffered from timid design. “Oz” continued to sell into the new year, with the publisher producing nearly 90,000 copies of the original book.
Denslow’s sharp, witty drawings of Dorothy’s oddball companions have enormous charm, with expressive bodies and faces that mirror human attitudes, yet are funky enough to serve as foils for the square Kansas-bred girl and her dog, Toto.
Explaining the magnitude of his task, Denslow said he had to “work out and invent characters, costumes and a multitude of other details for which there is no data,” down to deliberately rendering the Scarecrow’s left eye as bigger than his right.
His perfect pitch is evident right from the title page of “Oz,” which shows the Scarecrow and the Tin Woodman sitting on the boxlike logo of the book’s publisher, half-turning to face each other as they share a congratulatory handshake. The debonair Woodman, with his high, stiff collar; crisp bow tie; spats; and jaunty oil-can hat plays well against the sloppy, floppy rube Scarecrow, with his amiably foolish countenance and wisps of hay sticking out from his stuffed bag of a head.
“Oz” established Denslow’s reputation as the best illustrator of children’s books, and he had plenty of work, including a non-Oz book by Baum, “Dot and Tot of Merryland,” which didn’t do nearly as well. But the partnership with Baum soon went awry. The two fell out over who should receive more credit for their success, and their relationship ended after Baum’s reinvention of “Oz” as a musical extravaganza, a resounding Broadway hit of 1903 for which Denslow, its costume designer, demanded — and was grudgingly given — an equal share of the royalties.
Denslow went on to other projects, and Baum busied himself with “The Marvelous Land of Oz,” a sequel to the first book, letting his new publisher choose a new illustrator, John R. Neill (1877-1943), a talented young newspaper artist from Philadelphia. The second book was a winner, too, and established the long line of Oz volumes, which went on after Baum’s death. In all, Neill illustrated 35 of them, including a number by Ruth Plumly Thompson, Baum’s successor in the series, and 3 that he wrote himself.
The Neill illustrations for “Marvelous” and subsequent Oz books were highly imaginative, too, but lack the crisp presentation of Denslow’s work. They are a little too fancy for my taste, at least the earlier ones. “Drinking the Health of Princess Ozma of Oz” (1907), for example, a scene in which many figures toast the ravishing princess, looks almost as mannered as a tableau of an Arthurian legend.
A crucial difference between the two illustrators, I think, is that Denslow dealt with the zany story as if it made human sense; Neill dressed it up in party clothes.
Yet sometimes Neill outdid himself, as in his drawing of “Miss Cuttenclip,” a girl who rules a village of living paper dolls, for “The Emerald City of Oz” (1910). At a very early time he inventively used collage in the form of scattered bits of pasted-on newspaper strewn around the girl as she wields a pair of scissors.
There are a number of standouts in the show’s present-day entries, some of them based on the 1939 film rather than on the Oz books. Portraits of the Wicked Witch include Andy Warhol’s screenprint of Margaret Hamilton reprising the creepy laugh of her film role, from his 1981 “Myth Series,” and the illustrator Barry Moser’s harrowing black-and-white wood engraving (said to resemble Nancy Reagan deliberately) from his 1985 edition of “The Wonderful Wizard of Oz.”
Lizbeth Zwerger, a Viennese-born illustrator, spreads the witch out flat, showing her wearing a giant fringed black shawl and wielding a yellow umbrella as she gestures to a pack of wolves under her sway. Robert Sabuda provides a refreshingly new take on Baum’s original book in a pop-up version, whose maquette shows an imaginative vision of the cyclone and the witch’s castle.
There’s plenty of other beguiling material, including comic strips, costume designs and an homage by Eric Carle, the illustrator who founded the museum, in the form of his famous Very Hungry Caterpillar dressed as a Tin Woodman. Understandably, this lovely get-acquainted show only scratches the surface of a vast enterprise that could keep Oz green for generations to come.

http://www.nytimes.com/2006/08/11/arts/design/11oz.html?ref=arts

Posted by There's No Place Like Oz Webmaster at 11:18 AM | Permalink | Comments

By Andrew Gans10 Aug 2006
Lipton (top) and Skybell (bottom)
The Broadway production of Wicked at the Gershwin Theatre welcomed two new company members Aug. 8.
According to a production spokesperson, Logan Lipton replaced Robb Sapp in the role of munchkin Boq, and Steven Skybell succeeded Sean McCourt as the ill-fated Dr. Dillamond. The two actors joined a company that currently features Eden Espinosa as Elphaba, Kate Reinders as Glinda, Jenna Leigh Green as Nessarose, Carol Kane as Madame Morrible, Derrick Williams as Fiyero and David Garrison as the Wonderful Wizard of Oz.
Logan Lipton played Boq in the national tour of Wicked and was seen Off-Broadway in Cupid & Psyche.
Steven Skybell, who originated the role of Dr. Dillamond in the Chicago company of Wicked, has been seen on Broadway in The Full Monty, Love! Valour! Compassion!, Café Crown and Ah, Wilderness!. He received an Obie Award for his work in Antigone, and his other Off-Broadway credits include The Lesson, The Controversy and What Didn't Happen.
With a score by Stephen Schwartz and a book by Winnie Holzman, Wicked began previews on Broadway Oct. 8, 2003, after a summer tryout at San Francisco's Curran Theatre.
Based on Gregory Maguire's novel, which turned every Oz myth inside out, Wicked explores the early life of the witches of Oz: Glinda and Elphaba. The two main characters meet at Shiz, a school where both hope to take up sorcery. Glinda is madly popular and Elphaba is, well, green. By a misunderstanding, they wind up roommates and, after an initial period of mutual loathing, begin to learn something about each other. Their life paths continue to intersect through a shared love, entry into the Emerald City and interaction with the Wizard himself. Eventually, their choices and convictions take them on widely different paths.
The Broadway company, directed by Joe Mantello, plays the Gershwin Theatre. Tickets are available by calling (212) 307-4100 or by visiting www.ticketmaster.com.

http://www.playbill.com/news/article/101343.html

Posted by There's No Place Like Oz Webmaster at 6:46 PM | Permalink | Comments

A state dog?
While it is appropriate that Kansas has its official bird, animal, flower and so forth, there has to be a limit. The newest proposal is to name a state dog, and not surprisingly that breed would be the cairn terrier, a dog most widely recognized as Toto from "The Wizard of Oz."
Hopefully, this will go nowhere. Kansas doesn't need a state dog, and it especially doesn't need one that is so controversially associated with the state.
"The Wizard of Oz" has been both a blessing and a curse for Kansans. A fascinating story that takes the reader/viewer through a girl's dreams as she is tossed about by a tornado, the tale is a wonderful story of love, smarts and courage. Filmed in 1939, the special effects were particularly enchanting, if not downright awesome for the time.
But few Kansans have ventured outside the state without being asked how Dorothy is or if their dog's name is Toto. And Kansans who relocate are probably hit by this the most.
It may be smart for Kansans to try to capitalize on the red sequin shoes and the little blue and white pinafore of Dorothy, but that's a marketing option and not something that should beg for the time of elected officials in the Kansas Legislature.
Annette McDonald of Wichita thinks differently, though. Of course it helps to know that she has owned the breed for 25 years, showing it in national dog shows. And naturally the Wizard of Oz attractions in Liberal and Wamego are on board with the idea, with many visitors readily signing the petition she has circulated.
But this is too much.
By geographic area, if Kansas did have a dog that truly represented the state, it would be an old mixed-breed farm dog. If it had one from a special interest group, it would likely be some kind of hunting dog. But for it to have an official dog based on a character from a movie that is as much despised as loved is not good.
Anything that carries the state's official endorsement should be something widely supported by residents. Decades ago the meadowlark beat out the cardinal in a statewide vote by students for an official bird. If the Legislature determines that an official dog is absolutely necessary, at the very least it should open the nomination process to others so there can be a debate and a choice.
Rubber-stamping an idea just because it was tossed out is not acceptable.
- Ann Charles
Editor and publisher


http://www.parsonssun.com/news/articles/edit081006.shtml

Posted by There's No Place Like Oz Webmaster at 6:45 PM | Permalink | Comments