There are other worlds than these. Some of them are on paper. Some of them require a physicists' explanation. Some of them are in the mind. One of them is in the Balch Arena Theater this weekend. Torn Ticket's fall major production, The Wizard of Oz, is an experiment in transformation. Senior Brian Finkelstein is seeking to bring an extraordinary vision to life, turning a single theatrical venue into a fantasy world where giant trees loom ominously and yellow bricks line the street.
"The Arena is a wonderful, wonderful space. Most people don't use it to its full potential. There is an opportunity with Oz to do more technically in order to create a separate world," says Finkelstein. "I want to present a series of beautiful images on stage. I hope it turns out that way."
Armed with the most experienced arena set designer in town, senior Heather Edwards, and a production staff of nearly 30, this production has recently taken over the Theater. At every possible moment, the Oz staff is painting, building, climbing, and testing - all in the attempt to create quite a spectacle under Finkelstein's direction.
Finkelstein has been involved with Torn Ticket since his freshman year. From lighting design to stage management, he has tackled nearly all positions in technical theater. Most recently he produced Jesus Christ Superstar, a show that sold out the mammoth Cohen auditorium for two nights in a row.
After organizing and realizing the dream of The Rocky Horror Picture Show in Dewick for Halloween 1999 - a joint effort of Torn Ticket's and Film Series' complete with audience participation and risqu?© floorshow - Finkelstein took an interest in reuniting the Rocky crew for a major production. "Originally, the director wanted to do Evita, but I said 'nuts to you. We're doing JCS'," he fondly recalls.
Further seeking to push his creative envelope, Brian sought to bring his vision of Oz to life. The ambitious director claims that part of the challenge of creating this world of Oz is that he is concocting a new vision of the familiar tale. The Wizard of Oz is a story that permeates popular culture in every possible way. In this retelling, the cast and crew have built something more modern and relevant to this day and age.
Torn Ticket veteran Anastasia Kousakis faces the formidable task of portraying Dorothy, that quintessential victim of circumstance. Plucked from her ho-hum life in Kansas and thrust into the stimuli-saturated world over the rainbow, the story's heroine is part audience member. "Oz is largely seen through Dorothy's eyes," says Kousakis. "It's her perception of the real people she knows."
"We've taken the story and changed its commentary to convey something different," says senior Matt Bargoot, who plays the Cowardly Lion. "Just enough, though. It's the original idea, the fantasy of Oz with a twist."
Does this modernization and adaptation of the text work? "Absolutely," confirms Bargoot. "The reason Oz has been so popular is that it strikes a common chord with everyone. We all need our own way of escaping. That's where Oz comes in."
Of course, the cast faces the unique challenge of discovering characters that differ from their archetypal counterparts found in the famed movie version of the story. Finkelstein's direction has been important in this process. "We've taken the characters and reinterpreted them according to the theme of this production," he says. "It's still a fantasy and has a floaty feel, but we've maintained a grittier quality."
"The cast is tremendous, and have really started to own each individual character," said Finkelstein.
Kousakis did not initially see herself as a potential Dorothy. The draw to audition was the desire to work with Finkelstein and be part of his strong vision for the production. "Brian is original and capable of doing something that no one has seen before," she claims. And as a first time director, he has risen to the challenge, especially in working with actors. "He always has an answer, and if not, he'll take his time and find one."
Kousakis feels affection for Dorothy's character. "I believe in her. Dorothy's certainly one of the only people in Kansas that is alive," she muses. "I think she learns that you shouldn't always settle for things the way they are just because it might be too hard to change them."
Senior David Hartnagel, director of last fall's successful A Funny Thing Happened on the Way to the Forum, reprises his role as producer of a Torn Ticket major. "This may sound clich?©, but Brian really works outside the box. He throws the rules out the window and isn't afraid to take risks," he says. "For example, no other director would have attempted the poster design," says Hartnagel, referring to the strikingly minimalist posters that have popped up all over campus.
Presenting The Wizard of Oz on stage, particularly on a college campus, means facing a certain ambiguity in the target audience. Hartnagel reflects that "we have done a bit to let families in the community know that the show is appropriate for children, but adults will be able to take away a new appreciation of the story."
Finkelstein expects a younger audience for the show's matinee. This is not necessarily true of the evening performances, though. "Everyone can relate to these themes, particularly college students, who will be forced to rethink their understanding of a fantasy they grew up with."
Ostensibly, The Wizard of Oz is sure to be a different kind of production than Tufts theatergoers are used to, and a special treat that can only come around once in an academic lifetime. And when it's over, all it will take is three clicks of the heels to get home again.
