Kansas City Ballet Dancers Naomi Tanioka as Dorothy and Alladson Barreto as the Wizard of Oz. Photography by Brett Pruitt & East Market Studios.
With its mischievous Munchkins and flying monkeys, not to mention Scarecrow, Tin Man and Cowardly Lion, “The Wizard of Oz” is meant for ballet. And of course there is no story more fitting for a ballet company that makes its home in Kansas City.
It’s hard to imagine a more perfect incarnation of the beloved story than the Kansas City Ballet’s dazzling presentation. With its epic scale (92 roles!), sensational design, marvelous dancing and enough energy to levitate a house (literally), this “Wizard” is pure magic.
Open on Dorothy, in drab-gray (LOL), tornado-prone Kansas. Naomi Tanioka’s ingénue wonderment and emotive storytelling make her a Dorothy to root for. On bike or broom, Mei McArtor’s angular haughtiness steals her scenes as Miss Gulch / The Wicked Witch of the West.
Munchkinland blasts us into technicolor with a fast, fabulous succession of dance breaks, each more amusing than the last. The dynamic trio of Elliott Rogers, Isaac Allen and Keaton Linzau (the “Ruffians”) is even more scintillating than their neon polka-dotted getups.
Indeed, the entire company leaps at the opportunity to inject personality and pep into their larger-(or smaller)-than-life roles. Aidan Duffy, Gavin Abercrombie and Cameron Thomas have a blast as the Scarecrow, Tin Man and Lion, respectively. Each has a distinguishing music genre and dance style, but it is maybe most fun to watch them execute identical steps upon their arrival in Emerald City, inflected (respectively) with a touch of Scarecrow floppiness, Tin Man stiffness and Leonine swagger.
Don’t sleep on the beautifully bewitching Poppy Scene, with its exquisite harmony of music, scenery and dancing. The second act delivers one showstopper after another, with Rockettes-like razzmatazz and an especially sharp number by the male corps. Whitney Huell and Ben Workman deserve mention for the classical loveliness of their Emerald City pas de deux. The last act is a triumph of stagecraft, with its dramatic, slo-mo melée and vanishing Wicked Witch.
Envisioned and commissioned by KCB Artistic Director Devon Carney, “Wizard” is cheekily choreographed by frequent Devon collaborator Septime Webre (“Alice” and “Great Gatsby”), to a vividly colored score by Matthew Pierce. Frequently jaw-dropping scenic design by Michael Raiford and eye-candy costuming by Liz Vandal are treats to behold. As usual, Trad A. Burns provides masterful mood-setting lighting, while cinematic video projections by Aaron Rhyne play bigger-than-usual roles. Special shoutout to Nicholas Mahon, whose elegantly simple puppetry designs, whether evoking wind or flying monkeys, is notably clever and effective.
With breathtaking spectacle and glorious dancing, gorgeous music and enchanting storytelling, this production has everything. Including more flyovers than MCI, and unexpected, adorable child roles (like Grasshoppers and Poppy Seeds).
There’s a reason we love this story. As Dorothy learns, what matters truly is the friends you make along the way. So grab your Yellow Brick Road-trip buddies, click your ruby red slippers, and be off to see the Wizard, the wonderful “Wizard of Oz.”
Kansas City Ballet
Wizard of Oz
Reviewed October 16, 2026
Remaining Performances:
October 17, 2026 – 7:30 PM
October 18, 2026 – 1:30 PM
October 22, 2026 – 7:30 PM
October 23, 2026 – 7:30 PM
October 24, 2026 – 1:30 PM
October 24, 2026 – 7:30 PM
October 25, 2026 – 1:30 PM
