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On July 10, 2026, I walked into the Bank of America Performing Arts Center in Thousand Oaks with that familiar, electric hum of anticipation that only comes on opening night.
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The Wizard of Oz in Thousand Oaks: A Fresh, Fun, & Family-Friendly Triumph at 5 Star Theatricals
The crowd was a beautiful mix: kids bouncing on their heels, grandparents adjusting reading glasses, and fellow theater lovers like me, scanning the program with eager smiles. There’s something uniquely magical about the moments before the curtain rises on a classic story—the shared hope that what you’re about to see will remind you why live theater matters in the first place.
I’m just someone who loves connecting with other theatergoers and shining a light on local productions that bring families together. When 5 Star Theatricals announced The Wizard of Oz, I knew this was one I had to experience and share. And no, this is not the Andrew Lloyd Webber version. This is the updated version by John Kane for the Royal Shakespeare Company. A story this beloved carries weight, but it also offers a rare chance for a company to surprise us—to make the familiar feel brand new without losing the heart we all came to see.
That night, from the opening notes to the final bow, I found myself laughing out loud, leaning forward in my seat, and—more than once—blinking back a tear or two. Not because it was perfect in some polished, distant way, but because it was alive. Every single person on that stage and behind the scenes believed in the story they were telling, and that sincerity practically spilled over the footlights into the audience.
What 5 Star Theatricals has done here deserves to be celebrated. Over the next few sections, I’ll walk you through exactly why this production worked so beautifully, from a truly stellar cast and a director with a crystal-clear vision, to design elements that transported us from dusty Kansas to a Technicolor dream. But above all, I want you to know this: if you’re on the fence about seeing this show, just go. Bring your people. You’ll thank me later.
Why You Need to See The Wizard of Oz in Thousand Oaks Right Now
A Classic That Feels Brand-New
The minute the lights went down, I felt that familiar flutter of anticipation—the one that comes with seeing a story you’ve known your whole life. But what happened next surprised me. Within the first few scenes, I forgot that I’ve seen The Wizard of Oz at least half a dozen times at all. It felt like I was meeting Dorothy, the Scarecrow, and the rest of the gang for the very first time. There’s something electric about a production that can make the familiar feel undiscovered, and that’s exactly what happened here.
It’s not that the show reinvents the wheel—it doesn’t need to. The beloved songs, the iconic characters, the yellow brick road—they’re all present and accounted for. But the energy on that stage was so immediate, so alive, that it transformed the audience into wide-eyed newcomers. I heard gasps of delight from kids around me and saw grown adults wiping their eyes during numbers they’ve sung since childhood. That’s no small feat.
Part of the magic comes from the pacing. The production trusts the material while treating every moment as worth savoring. Nothing drags, and no scene feels like a placeholder between the hits. The journey from Kansas to Oz unfolds with a momentum that pulled me along, and by the time the Wicked Witch made her first entrance, I was already fully invested—not because I knew what was coming, but because I was dying to see how this cast would handle it.
I think that’s the secret sauce here: the combination of reverence and fearlessness. The creative team clearly loves the original movie, but they’re not precious about it. They understand that the best way to honor a classic is to bring it vividly to life right now, for the people sitting in those seats tonight. And for that reason, this production does something I didn’t expect—it made me feel like a kid again, but with a deeper appreciation for the artistry that makes it all work.
If you’ve been holding off because you think you already know this story, let me encourage you to reconsider. This isn’t a dusty museum piece—it’s a living, breathing celebration that surprises you with how much heart it still carries. You’ll leave humming the songs, sure, but you might also leave with a fresh sense of wonder about why we keep coming back to Oz in the first place.
The Genuine Passion Behind Every Performance
Every single person on that stage, from the leads to the ensemble, was fully dialed in. They weren’t just performing The Wizard of Oz—they were living it, moment by moment, and inviting us to live it with them.
This kind of commitment is contagious. When an actor commits that fully, the audience can’t help but lean in. I found myself watching background performers during big ensemble numbers, catching little character choices and interactions that had nothing to do with the spotlight. That’s a sign of a healthy production—when even the smallest roles feel inhabited and intentional. It made the whole world of Oz feel richer and more dimensional.
That passion extends to the musical numbers, which were delivered with a vibrancy that filled the auditorium. The gorgeous orchestra’s energy under the baton of Anthony Lucca even exceeded the cast’s energy and talent in Act One, creating a soundscape that felt both lush and immediate. I could feel the joy radiating from the pit during the big group numbers, and it’s that joy—that unforced delight in the craft of musical theater—that separates a good production from a truly memorable one.
Meet the Dog Who Steals Every Heart
Let’s talk about the scene-stealer who arrives on four legs. Winnie, the dog playing Toto, is an absolute treasure. From the moment she trotted onto the stage, a wave of delighted murmurs rippled through the audience. There’s something about a live animal on stage that instantly raises the stakes and amplifies the charm, and Winnie delivered in spades. She was attentive, well-behaved, and utterly endearing—exactly what this production needed to ground the fantasy in something warm and real.
The bond between Dorothy and Toto felt genuine on that stage. It wasn’t just an actor holding a prop—it was a partnership, and you could see the trust between them. That relationship anchors the emotional core of the show. Dorothy’s journey is powered by her love for Toto, and when that love feels authentic, the whole story lands differently. I watched kids light up every time Winnie appeared, and honestly, the adults did too.
Having a real dog in the role also adds an element of delightful unpredictability. Live theater thrives on those moments when anything can happen, and Winnie brought just enough spontaneity to keep things feeling fresh. She wasn’t distracting—she was enchanting. And every time she cocked her head or wagged her tail at just the right moment, the audience responded with collective joy.
For families, this is an especially wonderful touch. Kids connect with animals in a powerful way, and seeing Toto brought to life by a real, lovable dog makes the whole experience more tangible and magical. I saw young audience members pointing and whispering with excitement, completely captivated. That’s the power of live theater—it creates memories that stick, and Winnie is a big part of why this production will linger in their minds for a long time.
So yes, come for the iconic songs and the stellar performances, but also come for the dog. She’s a reminder that some of the most powerful moments on stage come from the simplest, most honest connections.
A Stellar Cast That Shines in Every Scene
Hannah Sedlacek’s Dorothy: A Gorgeous Voice That Holds It All Together
A musical like The Wizard of Oz lives or dies with its Dorothy, and Hannah Sedlacek makes sure this production soars. From her first moments on stage, she radiates a natural, unforced sincerity that immediately draws you in. There’s no mugging or overselling—just a girl from Kansas who wants to find her way home, and you believe every word of it.
Her voice is the real anchor here. It’s a gorgeous, clear instrument that handles the iconic Judy Garland melodies with respect while making them feel lived-in and personal. When she sang “Somewhere Over the Rainbow,” the theater went completely still. The aspirational longing in her voice connected even with the youngest audience members, who were too young to know the song’s history but felt its emotional truth anyway.
Sedlacek also does a wonderful job holding the show together during the ensemble-driven moments. Dorothy gets bounced between Munchkins, talking trees, and a full complement of Emerald City citizens, and Sedlacek’s steady presence keeps the journey feeling cohesive. She reacts with genuine curiosity and kindness, and that makes the fantastical world around her feel grounded and believable.
Her chemistry with the other characters anchors the production’s emotional core. The way she looks at her newfound friends—especially the Scarecrow—conveys real affection, not just plot-mandated companionship. By the time she clicks her heels, you feel like you’ve been on this journey with a friend, not just watched a performance. That connection is what makes her Dorothy so memorable.
Tom Anawalt’s Cowardly Lion: The Comedian You’ll Want to Hug
Let me just say it: Tom Anawalt as Zeke and the Cowardly Lion is the reason I laughed until I cried. He is the comedian of the show, and he knows exactly how to milk a moment without ever stealing focus in a way that feels selfish. His timing is impeccable, and every punchline lands with a genuine, joyful thud that had kids and adults alike howling throughout the performance.
But the comedy is only half the magic. Anawalt has created a Lion who is so adorable and huggable that I loved him the most of the trio. There’s a softness in his eyes, a nervous shuffling of his paws, and a quivering vulnerability that makes you want to leap onto the stage and give him a reassuring squeeze. He’s not just funny—he’s deeply endearing, and that combination is rare.
His rendition of “If I Were King of the Forest” is a showstopper, full of physical comedy and vocal bravado, but it’s the quiet moments in between the big laughs where Anawalt truly shines. When he jumped at Toto’s bark, the audience lets out a collective “aww”.
Anawalt also does a clever job weaving his Kansas farmhand persona, Zeke, into the Lion’s mannerisms. You can spot the same bravado and underlying insecurity in both characters, and it makes the Oz journey feel like a natural extension of Dorothy’s real-world relationships. His performance adds layers to a character that could easily be a one-note joke, and the result is a Lion you genuinely miss when the curtain falls.
Becky Lythgoe’s Wicked Witch: Commanding and Impressive
Every great Wizard of Oz needs a villain you love to hate, and Becky Lythgoe delivers in spades. As Almira Gulch, she is dismissive and cold with a clipped, righteous fury that makes you despise her instantly. Then, when she transforms into the Wicked Witch of the West, she unleashes a performance that is nothing short of commanding. She owns the stage every time she appears.
Lythgoe’s voice has a razor edge that cuts through the orchestra, and her cackle will send delighted shivers down your spine. What impressed me most, though, was the physicality she brought to the role. Her angular gestures and predatory stillness between lines create a palpable sense of danger that keeps even the adults on edge—and the kids gasping at just the right level of delighted fright.
There’s a controlled ferocity in her performance that elevates the Witch beyond a caricature. When she threatens Dorothy and her friends, you genuinely feel the menace, and when she’s finally bested, the satisfaction is earned rather than assumed. Lythgoe never phones in the villainy; she makes every “I’ll get you, my pretty” feel fresh and genuinely threatening.
Her mirroring of the Kansas and Oz personas is especially clever. You can trace the same cruel satisfaction in Gulch’s bicycle scene and the Witch’s fireball threats, and that thread of consistency makes the fantasy feel grounded in real-world cruelty. It’s a smart, layered performance that proves the Witch can be more than just a cackling obstacle—she can be a genuinely impressive force.
Cassandra Marie Murphy: A Megawatt Smile as Glinda and Aunt Em
Cassandra Marie Murphy does double duty as Aunt Em and Glinda, and she brings such distinct warmth to each role that you almost forget it’s the same actress. As Aunt Em, she embodies the weary, no-nonsense farmer’s wife with a tenderness just underneath the surface. You feel how much she loves Dorothy, even in her short scenes, and that sets up the emotional stakes beautifully.
Then she floats in as Glinda the Good Witch, and the transformation is pure joy. Her megawatt smile as Glinda is like a beam of sunshine breaking through the Kansas gray. It’s charming, it’s lovable, and it fills the theater with a sense of hope that matches Dorothy’s own wide-eyed wonder. Murphy knows exactly how to use that smile—it’s never forced, just genuinely beaming.
I loved the gentleness she brought to Glinda’s guidance. She doesn’t solve Dorothy’s problems or preach life lessons; she simply offers nudges and a safe, sparkling presence that reassures both Dorothy and the audience. It’s a delicate balance between magical authority and maternal care, and Murphy walks it effortlessly.
Her vocal work during Glinda’s trills is also impressive. She handles the higher registers with ease, and there’s a luxurious, silvery quality to her tone that matches the glittering costumes perfectly. When she floats away after each appearance, there’s a palpable sense that goodness itself just visited the stage—and that’s all due to Murphy’s luminous performance.
Director Richard Israel & the Design Team Deserve a Standing Ovation
A Vision That Honors the Classic While Making It Feel Brand New
Watching a beloved classic like The Wizard of Oz comes with certain expectations. You know the songs, the characters, and exactly how the yellow brick road should feel under Dorothy’s ruby slippers. And yet, from the very first scene, director Richard Israel pulls off something rare: he makes you forget you’ve ever seen this story before. There’s a sense of discovery woven into every moment, a feeling that you’re not just revisiting a memory but experiencing something alive and immediate. That’s the mark of a director who truly understands why we keep coming back to these stories in the first place.
Israel never lets the production coast on nostalgia. Instead, he trusts the material enough to let it breathe, giving moments room to land without dragging the pace. A comedic beat from the Lion gets its full laugh, and then we’re seamlessly into a tender scene with Dorothy and her friends. The transitions feel organic, never jarring, which is harder than it looks when you’re juggling munchkins, flying monkeys, and a wizard behind a curtain.
What impressed me most was how Israel balances spectacle with intimacy. There are big, splashy numbers that fill the stage, but he never loses sight of the smaller, quieter moments. A glance between Dorothy and the Scarecrow, a pause before the Witch delivers a threat—these are the details that make the characters feel real and the stakes feel genuine. It’s direction that trusts the audience to pay attention, and that trust pays off beautifully.
I kept thinking about how easy it would be to play this show purely for laughs or pure nostalgia. Israel chooses a braver path. He finds the genuine emotion underneath the fantasy, letting the humor and the heart coexist without one undercutting the other. The result is a production that entertains on every level while still giving you something to feel.
Set Design That Invites You Into the Land of Oz
Walking into a theater and seeing the set for the first time is one of my favorite parts of any production, and this design team delivered something special. The Yellow Brick Road practically beckons you to follow it, and I watched several kids in the audience lean forward in their seats the moment it appeared.
The design for Munchkinland is colorful without being cartoonish, and the Emerald City shimmers with a kind of jewel-toned richness that feels regal rather than gaudy. There’s a thoughtfulness to the color palette that tells you someone made deliberate choices about what Oz should feel like, not just what it should look like. The Kansas farmhouse, by contrast, is simple and grounded, a visual anchor that makes Dorothy’s longing for home feel tangible.
I especially appreciated the practical touches that made the fantasy world feel lived-in. This is set design that supports the story without distracting from it, and that takes real skill. You notice it, you admire it, and then you sink right back into the action because the world feels so complete.
The team clearly understood that the audience spans generations, and they designed for all of them. A child sees magic and color and wonder. An adult sees craftsmanship and intention and art. Both experiences are valid, and both are happening simultaneously throughout the show. That’s the kind of design that rewards repeat viewings because there’s always something new to discover.
How Brandon Baruch’s Lighting Tells the Story Without a Single Word
If you really want to understand how a production distinguishes its worlds, watch what happens with the lights the moment Dorothy opens her door in Oz. Brandon Baruch‘s lighting design does more than illuminate—it transforms. Kansas is bathed in muted grays and soft, dusty tones that feel heavy and real. You can almost feel the weight of the prairie sky pressing down. Then Oz explodes into color, and the shift is so dramatic that the audience actually gasped on opening night.
That contrast does something more important than just looking pretty. It tells the story. The grayness of Kansas isn’t dreary for the sake of being dreary—it’s the visual language of Dorothy’s restlessness, her feeling that there must be something more out there. And when Oz arrives in full Technicolor brilliance, you understand immediately why she’s overwhelmed. The lights themselves become a character in the narrative, guiding your emotions before any actor says a word.
Baruch uses light to shape mood throughout the entire production. The Witch’s scenes are shadowed and angular, with sharp edges that make her presence feel dangerous. Glinda’s entrances are soft and warm, practically glowing with benevolence. The Wizard’s chamber flickers with an eerie, unsettling quality that makes you question everything you’re seeing. Each lighting choice reinforces the story and deepens the emotional texture of the moment.
One of my favorite details was how the Yellow Brick Road would (spoiler!) glow from within during certain scenes. It’s subtle, not a neon sign screaming for attention, but a gentle warmth that makes the path feel alive and magical. Combined with the set design, it creates a sense of invitation that’s hard to resist. You want to walk that road, and that’s exactly the feeling a great design should create.
5 Star Theatricals Produces Family-Friendly Fun You Can’t Help But Love
A Shared Delight for All Ages
I looked around during intermission and saw something theater doesn’t always achieve—a packed house where grandparents, parents, and little kids were all beaming at each other. A woman sitting next to me was holding her daughter on her lap, both of them whispering about what was going to happen next. Two rows back, a dad was explaining the tornado scene to his son, and the kid’s eyes were wide as saucers. That kind of shared delight is rare, and this production delivers it in spades from the overture to the final curtain.
You don’t have to worry about whether the humor will land for your eight-year-old and your eighty-year-old relative at the same time. It does. The jokes are clean but clever, the slapstick is timed perfectly for belly laughs, and the tender moments never slip into sugar-coating. Every generation in the room gets something real to hold onto. The witches are spooky but not too scary, the flying monkeys provoke gasps instead of tears, and Dorothy’s longing for home hits differently depending on your age—which is kind of the point.
I saw a group of siblings—maybe seven, ten, and thirteen—completely absorbed together, no phones, no elbow-jabbing, just three kids leaning forward in their seats during the poppy field scene. That’s a small miracle in 2026. The production understands children without talking down to them, and it respects older audience members without bogging things down in nostalgia for nostalgia’s sake. The balance is delicate, and 5 Star Theatricals nails it.
For families nervous about bringing younger children, I’ll say this: the runtime is managed perfectly. There’s no stretch where little attention spans drift. The pacing keeps things moving—bright musical numbers, quick scene changes, and a parade of colorful characters that arrive before any restlessness sets in. You can feel the director’s hand in making sure the youngest audience members feel included, not merely tolerated.
The intergenerational appeal isn’t accidental. It’s baked into the design. The sepia-toned quiet of Kansas gives way to the technicolor explosion of Oz in a way that makes you feel the shift in your chest. Older audience members recognize that feeling from the film; kids experience it fresh for the first time. Watching that recognition happen in real time, on faces across the auditorium, is part of the magic. This is a show that hands the best parts of childhood to a new generation without making anyone feel left out.
If you’re looking for a reason to put a date on the calendar and rally the whole crew, this is it. Coordinating schedules, finding parking, managing bedtimes—all the logistics melt away once the overture swells and your family is suddenly in Oz together. I left the theater feeling lighter, and judging by the full-hearted chatter around me, so did everyone else. Some things are worth the effort, and this production of The Wizard of Oz is absolutely one of them.
Get Your Tickets Before They’re Gone
Here’s the part where you stop reading and start planning, because the clock is ticking. The Wizard of Oz runs through July 19, 2026 at the Bank of America Performing Arts Center in Thousand Oaks. That’s not a lot of runway, especially for a show that I expect will draw strong word-of-mouth crowds as more people experience it. The opening night energy was electric, and I wouldn’t be surprised if later performances start selling out faster.
Tickets are available through the 5 Star Theatricals website, and I always recommend booking directly through the official box office rather than third-party resellers. You’ll get the best prices, the most accurate seat availability, and the peace of mind that comes from knowing your tickets are legitimate. The Bank of America Performing Arts Center has comfortable and accessible seating throughout the house, so even if you’re not in the front row, you’ll have a great view of the action. If you want the best seats, though, don’t wait. Grab them now.
Thinking about bringing the whole family? I’d suggest looking at matinee performances, which offer a great experience for younger kids who might not last through a late evening show. And if you have a multi-generational group ranging from grandparents to grandchildren, call the box office and ask about group rates. You might save enough to make that post-show ice cream stop even sweeter.
One more thing for my fellow theater lovers: subscribe to 5 Star Theatricals. I know, I know, everyone asks you to subscribe to everything these days, and the inbox is already overflowing. But hear me out. Local theater companies need ongoing support to keep producing work at this level, and subscribing is the single best way to ensure they can plan ambitious seasons, attract top talent, and continue bringing Broadway-quality shows to our community. Plus, you get first dibs on tickets and often some nice perks like discounted pricing and exchange flexibility.
Supporting local theater isn’t just about seeing a show. It’s about being part of something. It’s about walking into that lobby and recognizing familiar faces, getting to know the ushers, and feeling like you belong to a community that values live performance. Some of my favorite memories have happened in regional theaters like this one, surrounded by people who showed up not because it was trendy but because they genuinely loved the art form. Subscribing says: I want this to keep existing.
So here’s my invitation. Grab your tickets for The Wizard of Oz, bring the people you love, and let yourself be transported. And while you’re at it, check out what else 5 Star Theatricals has in their upcoming season (hint, hint — it’s my all time favorite musical). I bet there’s something else you’ll want to see. Two shows on the calendar is better than one.
Until next time, keep supporting the arts in your community, keep bringing new people into the theater, and keep letting yourself be swept away by a good story well told. There’s nothing else quite like it. See you at the next show!
Continue the Conversation
Did you make it to Thousand Oaks for this production? I want to hear from you. Drop a comment below and tell me your favorite moment. Was it that first glimpse of Oz in full color after the Kansas scenes? Tom Anawalt’s Lion stealing yet another laugh? The way Cassandra Marie Murphy’s Glinda seemed to float across the stage? Or maybe, like me, you just couldn’t stop watching Winnie. Whatever it was that got you, I’d love to know.
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