CTC’s “Wizard of Oz” is heavenly

Any successful mainstream venue, much less one that wins a Tony Award, is subject to suspicion of fluff-peddling, but sometimes you just have to take yes for an answer to the question, "Can there be such a thing as a commercial theater with integrity?" Where else are you going to find under one roof not only Dr. Seuss and Hans Christian Anderson, but Gabriel Garcia Marquez's "A Very Old Man With Enormous Wings", James Still''s "Amber Waves" and Carlyle Brown "The Beggar's Strike". You've got more authentic cultural diversity than half the p.c. mission statements in both Minneapolis and St. Paul. Of course, first and foremost, the artistry is premier.

Which brings us to the newest show. The only problem with "The Wizard of Oz" at Children's Theatre Company is that Dorothy clicks her little red heels and heads for home, and, then, you know it's time to get ready to grab your coat and see this wonderful show come to an end. It's hard to imagine a stage production delivering as much heartfelt warmth and general delight as the timeless M-G-M film, but CTC does the job hands down. From the very opening moment when little Toto comes scampering on-stage, eliciting a collective "Aw" from the audience to the closing curtain when everything works out for Dorothy after all, even the most jaded grown-up has been thoroughly engaged in this fantasy for kids all of ages.

Granted, one can't lose sight of author L. Frank Baum's genius in providing a larger than life concept that really boils to the simple facts of human nature. You're actually confounded, in fact, by how much trouble Baum had getting the book published at first. And it's hard to figure out why the 1939 film didn't catch on until years later, when it started running on television as a device to keeps the kids out from under foot as parents and such went about getting ready for Turkey Day.

Long story short, "The Wizard of Oz" is perfect material for Children's Theatre Company. The piece is a visual feast. CTC comes up with some of the most ingeniously versatile, eye-friendly set designs in creation. From there, it's a matter of talented director-choreographer Matthew Howe guiding a strong cast through a great story. This Howe does indeed, holding a steady, lively pace, eliciting energized performances from one and all. Those who caught last year's show may miss how he spiced it up with a dash of r & b choreography for the "The Munchkin's Song", but his ballroom dance number splashed with a liberal flavoring of tap is absolutely exquisite.

It doesn't hurt a bit that Dianne Benjamin-Hill (Wicked Witch), Reed Sigmund (Cowardly Lion), Dean Holt (Scarecrow) and Bradley Greenwald (Tin Man), are back from his cast of last year. These top-notch professionals as supporting principles have coalesced to outdo even the superbly magical team they were in 2002. Call it better theatre through ongoing chemistry. Reed Sigmund, handed the unenviable task of following Bert Lahr, admirably rises to the occasion. There are certain broad strokes established by Lahr that accordingly are inextricable from any production. Sigmund, however, still makes the character his own with remarkably fresh vitality and a command of craft by which he constantly goes way over the top without once resorting to just hamming it up. For good measure, he displays a fine singing voice. Dianne Benjamin-Hill, deliciously evil, brings fascinating immediacy to the Wicked Witch. Look as well for Gerald Drake as the Wizard, Marvette Knight as Auntie Em, Autumn Ness as Glinda the Good Witch and Wayne Morton as the Gatekeeper.

Eighteen-year old Laura A. Osnes is one heck of a find as Dorothy. She's a solid actor and, already, at her age, a vocalist of the caliber on which musical producers happily bet the ranch. Her tones resonate crystal clear and her phrasing is without flaw. Here's hoping she never lands in the hands of some manager who shoe-horns her into becoming just another gifted but formulaic and, thereby, unmemorable performer. Osnes, who, as it happens graduated Theatre Arts Training at CTC, deserves the chance to emerge as a truly original voice.

Scenic designer Scott Bradley returns with the same expertise he executed last season, rendering a gorgeous, versatile treat for the eye. Helen Q. Huang also brings back her excellent costume designs. Kudus as well to musical director Victor Zupanc. All in all, it's a wonderful, state-of-the-art production that could well stand to be staged on an annual basis.

P.S. Ten points to anyone who can figure how in the world Sigmund, Holt and Greenwald completed their makeup for the final scene.

L. Frank Baum's "The Wizard of Oz", based on the book and adapted by John Kane from the film, runs at Children's Theatre Company through Jan. 10. Address: 2400 Third Ave., Mpls. Dates, tickets and times: 612-874-0500.