Written by Jack Nurse and Robbie Gordon

Directed by Bruce Strachan

Review by Dominic Corr

The Wizard of Oz

A glitter-splattered, good‑natured panto that shines brightest when it stops trying so hard; the Brunton’s annual festive juggernaut rolls into its makeshift Musselburgh home at the Loretto High School with The Wizard of Oz, a production that leans into the technicolour chaos of pantomime with gusto. It’s a show that knows exactly what its audience wants during the festive period: sparkle, silliness, and a familiar story with enough pop‑song padding to keep the wee ones wriggling in their seats. And to its credit, it delivers all of that; whether it delivers it cohesively is another matter.

But crucially, the cast is a tight, hardworking ensemble. Led with a much-anticipated return to the damehood by Graham Crammond, as Glinda, the show’s comic anchor — a seasoned dame who can turn a raised eyebrow into a punchline. Their experience shows; quick on their feet, sharp with the audience, and capable of rescuing the occasional sagging moment with a well‑timed quip. They’re missed when departing the stage; but are often replaced with the tremendously talented Nicola Jo Cully’s Wicked Witch, fresh from their tour of Night Waking. The performance is a delightfully acidic presence, commanding the stage with a crackling energy that gives the production some much‑needed bite.

The central quartet — Dorothy, Scarecrow, Tin Man, and Lion — are earnest and endearing. Directed by Bruce Strachan, a seasoned theatre‑maker with National Theatre of Scotland credentials, the production has a steady hand at the wheel. Strachan keeps the tone buoyant and the pacing mostly brisk, though the show occasionally sags under the weight of its own enthusiasm. The script, penned by Jack Nurse and Robbie Gordon of Wonder Fools, leans heavily into panto tropes: local jokes, cheeky asides, and a jukebox of chart‑toppers stitched into the classic tale. It’s fun, if familiar, and sometimes feels like it’s trying to cram in every idea at once.

The cast are a unit: Caitlin Anderson’s Dorothy is bright‑voiced and earnest, anchoring the chaos with a sincerity that keeps the story from floating away entirely. Paul Beeson’s Tin Man is charmingly stiff‑limbed, Ben Cunningham’s Scarecrow brings loose‑limbed physical comedy, and Alex Stewart’s Lion roars with gusto. They are a guiding force for the story with charm even when the script threatens to drown them in exposition. The young chorus, drawn from local performers, is one of the production’s strongest assets. Their choreography is crisp, their harmonies confident, and their enthusiasm infectious. It’s clear they’ve been drilled well, and their professionalism lifts the whole affair.

Visually, the show is a treat. The costuming — created with support from Queen Margaret University students — is imaginative and impressive, from Glinda’s shimmering pink confection to the clever black‑and‑white opening sequence that nods to the 1939 film. Equally, the lighting captures colours from every shade Over the Rainbow, particularly amplifying the wretched greens of the Wicked Witch.

But for all its strengths, the show isn’t without its yellow‑brick potholes. The pacing wobbles, particularly in the first act, where the script seems determined to explain every plot point twice. The result is a slightly lumbering start that only finds its rhythm once the full ensemble is in motion. The pop‑song inserts — a staple of modern pantomime — are hit‑and‑miss. Some numbers soar; others feel like they’ve been wedged in because someone, somewhere, insisted on “one more tune. Still, when the show clicks, it really clicks. The journey to the Emerald City is lively, the children in the audience are enthralled, and the adults get their fair share of sly humour. It’s a warm, community‑driven panto with heart — even if its ruby slippers pinch now and then: charming, uneven, and undeniably festive.

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