The lights were battery operated and had tiny on/off buttons the actors pushed when the lights needed to be turned on and then off again. Check it out here.Īs for the flame effect we couldn't afford to hire a pyro guy and we were concerned about the safety of high school actors so instead we used tiny LED lights woven into the broom and Scarecrow's jacket. Many rock bands use them in their concerts. They shoot fog into the air and have hundreds of lighting color combinations. Made a world of difference in the special effects and wowed the audience. They happened to own a couple of these machines and lent them to us for the show. We don't have a theatre on campus so we perform out of the local community theatre space. They aren't too pricey to buy considering tech these days and I think you can rent them too. We did Wizard last year and used the Gyser Pro machine for the exploding effects for the Witch and Oz. But the timing didn't work out, so we went with a commercial product. Safety is vitally important with any sort of fire effect, but this is less dangerous than something like a live candle (which we haven't done onstage, but do all the time here in religious services). It's a relatively simple lab project using supplies that, while hazardous, are part of a normal lab's stock. We had plans initially to team up with an upper level chemistry course to make our own flash cotton. I think it ended up being a really good experience for the actors, in that it forced them to be really conscious of their movement - always a good thing to practice. That way, if one or the other failed to set off the cotton (the igniter was similar to the rotating flint on a lighter), the effect still came across. Both the witch and scarecrow had one and the "throw" was a pair of detonations - first the witch with throwing motion and then the scarecrow right in front of her torso. We used a flash cotton effect - a palmed device. Pyrowizard™ Double Shooting Flash Gun Home Thank you, and I hope your 2018 is inspiring, productive, and full of storytelling! So, perhaps ideas that don't just revolve around smoke would be quite helpful. Combining its mythology, already so rich, with the modern fantasy genre poses a risk.We are producing The Wizard of Oz for our spring musical this year, and I'm struggling to figure out how to manage to get fire on stage? I might be able to work around the "explosions" the script calls for every time the Wicked Witch enters and exits (although I'd be open to cool ideas for that, too), but the Wicked Witch needs to throw a fire ball at the Scarecrow and (even more difficult) the Witch's broom needs to be on fire in order to justify Dorothy throwing water on her to kill her in the end.Īny ideas? I'm still finding out if I can have any sort of smoke on the stage. The Oz revival has been going strong for years, from the successful (“Wicked” and NBC’s “The Wiz Live!”) to the less successful (“Oz the Great and Powerful”). “It’s allegorical to a lot of what’s going on right now,” he added. “The things we care about reflected on-screen.”Ĭassidy added that much of the action centers on a “war between science and magic.” “You’re going to bring connections to this world,” Schulner said. There are also trans characters, which executive producer David Schulner noted “came right from the books,” a reference to the recurring Princess Ozma of Baum’s tomes. I’m never going to get this,’ ” said the Guatemalan-Puerto Rican actress, known for her role on “True Detective.” Not least is Arjona as a Latina Dorothy “I remember thinking, ‘I’m Hispanic. Singh and the writers have managed to work in other modern flourishes. He added that he didn’t want to abandon ship after the first episode - “it would be like someone comes in and sleeps with your wife.” “It would have scared me if I knew the source material that well,” Singh said at the panel, adding that if producers wanted to “mix it up,” then “an Indian guy telling an iconic white story - it will be mixed up.” The commercial and film director (“The Fall”) known for his vast sweep and exacting visuals said he didn’t know much about “The Wizard of Oz” coming in - which could work to his benefit. In another cable touch, all 10 episodes are directed by Tarsem Singh. The show is following the template of NBC chief Robert Greenblatt’s pay-cable background, airing just 10 episodes as it seeks to find not just the genre voice but also the cultural relevance of shows like “Game of Thrones.” When the touchstones from the classic tale are included, they can take on pretty different forms in “Emerald City.” On her journey, Dorothy meets the Scarecrow (Oliver Jackson-Cohen), a brooding swordsman who is barely breathing after being rather baroquely crucified.
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