“The Wizard of Oz” Is Peak Theater-Kid Spirit from the Children’s Theatre Company

The Wizard of Oz, a stage adaptation of the 1939 film of the same name, has landed at the Children’s Theatre, showcasing an exciting and vibrant production appropriate for all ages.

Film-to-stage adaptations are not nearly as common as their stage-to-film counterparts, but The Wizard of Oz manages to make the transition smoothly in terms of script, music, and aesthetics. Of course, aspects of the costuming, effects work, and set have been adjusted between mediums and time periods, but the story feels naturally suited for live theater. The CTC acknowledges this in the program, highlighting two other stage adaptations of The Wizard of Oz and the film’s source material, the 1900 novel The Wonderful Wizard of Oz, one from 1902 and another from 1998.

Aniya Bostick as Dorothy and Becca Claire Hart as Glinda, the Good Witch of the North. Glen Stubbe

The cast includes two young women in the role of Dorothy, Aniya Bostick and Harriet Spencer. Bostick was onstage the evening I saw the show; both her acting and singing are wonderful, and she brings a lot of energy and conviction to the character. Two real dogs, Alfie and his understudy Nessa, fill the role of Toto. Toto has limited stage time, but since animal actors are relatively rare in the live theater space, the dog actor managed to be notable. In an interview with Lavender Magazine, artistic director Rick Dildine quipped, “There’s a rule in theater—never share the stage with a dog—and we have two.”

Guthrie regular Regina Marie Williams, who I was excited to see on the cast list, plays the Tin Man. Dean Holt brings great physical comedy to his role as the Scarecrow, and Reed Sigmund’s impressions add a meta layer to his performance as the Cowardly Lion. Autumn Ness plays Almira Gulch and the Wicked Witch of the West with total dedication.

Dean Holt as the Scarecrow, Regina Marie Williams as the Tin Man, and Aniya Bostick as Dorothy. Glen Stubbe

I had an opportunity to speak with Ness just as rehearsals were beginning in April, and she was an absolute joy to talk to, embodying a true “theater kid” spirit. She immediately opened up about her creative inspirations, her love of playing villains, and her work in the world of disability-accessible theater, especially for children on the autism spectrum. At the Children’s Theatre, where she is in her 26th season, Ness previously created and starred in Babble Lab, a show aimed at preschoolers and focused on speech development.

I asked about the influence of Margaret Hamilton, who played the Wicked Witch in the 1939 film. Ness expressed nothing short of admiration not only for Hamilton’s performance, but also for her as a person, noting that Hamilton was a kindergarten teacher and a single mother in addition to being an actress. Ness described her as “no-nonsense, clear, and balls to the wall” in her personality, giving her “full, guttural self” to her work. Though the Wicked Witch is Hamilton’s legacy, she only appeared in 12 minutes of The Wizard of Oz—and still earned her character the title of fourth-greatest movie villain of all time and greatest female villain. “She looms over everything,” Ness said.

In her stage performance, Ness takes clear inspiration from Hamilton’s Wicked Witch in her performance and looks to be having a lot of fun doing it. “I always love a villain,” she told me. Indeed, one of the first things she did in the interview was show me some Disney villain–themed artwork on the wall behind her.

Autumn Ness as the Wicked Witch of the West. Glen Stubbe

While it would be fun to get straight to Oz, and that might be the impulse of someone bringing the 1939 film to stage, this version, adapted by John Kane for the Royal Shakespeare Company in 1987, holds off. The scenes set in Dorothy’s hometown in Kansas have some time to breathe, which allows the audience to get to know the people in her life and share in her disorientation when she is dropped in Oz. The Oz sets are bright, engaging, and dynamic. When she is introduced, Glinda, the Good Witch of the North (Becca Claire Hart), comes down from above the stage on a pink-and-purple bubble, made real by a brightly lit hoop—a highlight of the viewing experience for my plus-one.

As a stage production, The Wizard of Oz manages to be technically impressive enough that you don’t always realize that it’s being technically impressive. The show’s use of moving set pieces, pyrotechnics and smoke effects, quick-changes, and lighting feels seamless, and even the moments that don’t translate as easily from film to screen (the transition between Kansas and Oz and the Wicked Witch’s crystal ball scene) are handled in an engaging and theatrically appropriate way. Overall, it was just a joy to experience, and it’s clear that a lot of love and talent went into bringing this story to stage in a time when themes of hope, teamwork, and perseverance feel especially important.

Reed Sigmund as the Cowardly Lion. Glen Stubbe

The Wizard of Oz runs until June 14, 2026, at the Children’s Theatre in Minneapolis. Shows are around two hours long with a 15-minute intermission. You can find more information and book tickets, as well as learn more about Autumn Ness and her work, on the CTC website.