Steven Mitchell Wright of The Danger Ensemble says the Wizard of Oz narrative is embedded in the collective unconscious, thanks to Judy Garland and MGM. But Wright’s reinterpretation for a younger audience comes at you in a 4G-fast visual assault. “They’re also highly visually literate,” he says. “They can read and perceive story and intention through image much faster than a generation 20 years ago could. The nature of theatrical work these days is that in my opinion it is a visual art as much as it is a written and oral and auditory work.”
This Wizard is described as “a fantastical world of couture-clad witches and bondage-bound munchkins, in a land where high-fashion visual art show meets Australiana in an explosion of glitter, glory, and goddamn rainbows”. There’s a camp sensibility at work here, but also an emotional depth, hinted at when Wright veers from a discussion of camp to older women and their dreams of liberation.
“The campness comes from an older generational version of glamour and [Judy G’s] vision and idea of a Hollywood star,” he says. “She’s your grandmother, she’s the woman you don’t want to see lonely, you don’t want to see trying to escape, but she is.”
Read more here: The Dangerous Wizard of Oz – Gay News Network.