Creating Oz, Brick by Yellow Brick
This summer, the Cook Theatre magically transformed into the wonderful world of Oz. Bringing this beloved story to life required the talents of countless artists, from the visionary director and creative team to the dedicated cast and crew who worked together to create an unforgettable theatrical experience for audiences of all ages.
With imagination, ingenuity, and a keen sense of storytelling, director Cat Brindisi transformed The Wizard of Oz: Youth Edition into a production unlike any seen before. Dazzling with creativity, its heart lay in Brindisi’s thoughtful vision, one that balanced spectacle with intimacy and encouraged audiences to rediscover the familiar story in an entirely new way.
The source material “lends itself to more of a scrappy production,” explains Brindisi. Working closely with costume designer Jordan Jeffers, she embraced an approach that relied on creativity and transformation. With just eight actors portraying more than 35 characters, costumes became an essential storytelling tool, helping audiences journey seamlessly from Kansas to Munchkinland and beyond.
One of the most eye-popping aspects of this rich production is its striking visual world. Inspired by both childhood imagination and the grand silhouettes of haute couture designers like John Galliano and Alexander McQueen. When asked about the motivation behind his designs, Jeffers stated: “It was from a place of whimsy and practicality, just trying to have as much fun and kind of evoke what six-year-old Jordan would have fun with.”
For David Covach, Asolo Rep’s retiring Costume Shop Manager, the production offered a fitting opportunity to celebrate the artistry and craftsmanship that have defined his more than three decades with the theatre. Covach noted that “There are a ton of dress-maker qualities to these things. There are quilted pieces and pieced pieces and lots of early American technique, in terms of the decorating.” From intricate hand-crafted details to lightning-fast costume transformations, the costume shop’s work helped bring Oz vividly to life.
All of that had to be done in a way that would allow the quick changes to keep up with the brisk pace of the show. Here, the costume shop outdid themselves, creating multiple unique looks for the eight actors, all on a truncated timeline. Jeffers mentioned this being the biggest challenge they encountered in design and construction, saying, “How do you go from a simple town in Kansas, to munchkins, to the wicked witch live onstage? It was really figuring out the technicalities of it all.”
At the center of the story was Aria Rayes, a rising second-year student in the FSU/Asolo Conservatory for Actor Training, who portrayed Dorothy. As she prepared for the role, Rayes did not study the Wizard of Oz film or novels in her approach to Dorothy but instead applied new strategies from the program’s curriculum, testing her classroom skills onstage. Using this method, and experimenting alongside the cast, Rayes created her character.
She shared that she overcame “crazy impostor syndrome” during the rehearsal period but gradually realized that Dorothy faces many of the same doubts as she navigates the unfamiliar world of Oz. Like Dorothy, Rayes learned to trust herself and the people around her.
Luckily, those people include an exceptionally tight-knit cast. Rayes reflected that “there are some moments in theatre… when you get really, really lucky with the people that you get to work with, and it mirrors the story that you’re telling.” Speaking about Dorothy’sfarewell to the friends she met in Oz, Rayes added, “When I am onstage saying goodbye… every single time, I think… this is real.”
That sense of connection between artists, students, audiences, and community is what made The Wizard of Oz: Youth Edition so special. From Brindisi’s imaginative direction to Rayes’ heartfelt performance and Jeffers’ inventive designs, the production showcasedthe creativity, collaboration, and artistry that define Asolo Rep.
For audiences, it was a joyful trip down the Yellow Brick Road. For the artists who created it, it was a reminder that, much like Dorothy’s journey, theatre has the power to bring people together, spark imagination, and reveal that sometimes what we’re searching for has been within us all along.
Now Playing: Asolo Rep On Tour
The 4th Wall recently caught up with Terrance Jackson, Asolo Rep’s Director of Education & Engagement, now in his third season with the company, to chat about Asolo Rep On Tour. Read on to learn more about the history of the tour and what’s in store for this year.
Can you talk about the history of Asolo Rep on Tour and how it has evolved over the years?
Asolo Rep has a rich history of touring. In fact, I have a black-and-white photo hanging in my office featuring Ann Morrison in a touring production for young audiences from the 1970s. That photo has been a great source of inspiration for what I wanted the tour to become.
Since 2008, Asolo Rep and the FSU/Asolo Conservatory for Actor Training have partnered to present an annual touring production created specifically for school audiences. Performed by third-year Conservatory students as part of their professional training, these productions bring high-quality live theatre directly to students throughout Florida, many of whom may not otherwise have access to professional theatre. The tour has reached thousands of students over the years.
Last season, we expanded the tour beyond Shakespeare, which had primarily served middle and high school students, and added a second production tailored specifically for students in grades K–6. That expansion has been extremely successful and has led to significant growth for the program, reaching even more students and communities.
What makes this year’s tour unique?
We’re seeing tremendous growth. For the first time since the pandemic, we’ll be performing as far south as Miami, and we’re receiving increasing interest from major performing arts venues across the state. It’s exciting to see the program expanding and introducing new audiences to live theatre.
Where did you draw your inspiration from to reimagine Shakespeare’s works and Jack and the Beanstalk?
Shakespeare45 came to me during my first season at Asolo Rep. Creating a 45-minute version of a full-length Shakespeare play is an enormous challenge because, inevitably, something important always has to be left out. While watching a performance of our Asolo Rep on Tour production of Much Ado About Nothing, I began imagining a different approach: a Shakespeare revue that could showcase the best of Shakespeare while also teaching students why his work is so important and remains relevant today. I’m extremely proud of how it has evolved and come together.
I’ve also always loved Jack and the Beanstalk, so I knew I wanted to bring that story to the tour. The reimagining really grew out of conversations with James Monaghan, our Director of New Works and Dramaturgy, and my co-writer on the show. We wanted audiences to understand that the Giant has just as much to lose as Jack does. That idea is at the heart of the show, which is why we titled it BEANSTALK: The Adventures of Jack and the Giant.
We hope students will see themselves in the characters.
What is one of the biggest challenges of touring?
The most common challenge is that the performance space changes with every show. One day, the cast might be performing on a beautiful, enormous stage in a performing arts center, and the next day they may be in an elementary school cafetorium on a 15-by-15-foot stage, where the lights above the stage don’t work because the space hasn’t been used in 10 years!
But that is also the best part of touring. It keeps everyone on their toes, encourages creativity and collaboration, while challenging us to find solutions on the spot. I think it also creates an environment that brings out some of the best acting.
What is something special that you would like our patrons to know about Asolo Rep on Tour?
Asolo Rep on Tour came to my high school when I was a student. I remember seeing the show, thinking how cool it was, and feeling incredibly inspired afterward.
Last season, we performed Shakespeare45 at the middle school where I first fell in love with theatre. Standing there as the person leading the program was an incredibly meaningful full-circle moment.
That’s why this work matters so much to me. You never know which student in the audience will discover a passion for theatre, storytelling, or the arts because of a single performance. I hope the work we’re doing with Asolo Rep on Tour inspires the next generation of theatre lovers, artists, and creative thinkers in the same way it inspired me so many years ago.
Do you have any more facts or information that you would like to share?
Last season, Asolo Rep on Tour presented 52 performances at 28 schools and 13 community spaces across nine cities, reaching more than 9,000 people.
We can’t wait to see how much further the tour can reach this season!
