‘It’s Dorothy!’ Review: ‘Wizard of Oz’ Protagonist Gets a Deep-Dive Cultural Analysis in Wide-Ranging if Overstuffed Appreciation

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One delightful tidbit from the lore of “The Wizard of Oz” that many of us cherish is the hilariously witty TV guide description penned for a 1998 TCM broadcast of the MGM classic: “A young girl finds herself in an extraordinary world, kills the first person she encounters and then joins forces with three strangers to do it again.” Such quirky curiosities keep the intriguing series, “It’s Dorothy!”, from veering towards monotony, transforming potential dissection into discussion.

Hey there! I’ve got to say, some of the funniest moments in gaming come from unexpected surprises too – at least for me. Take the strangely tacky spectacle of contestants being eliminated on that British talent show, “Over the Rainbow,” for instance. They’d remove their jeweled slippers and hand them over to Andrew Lloyd Webber, seated on a throne, before being carried off the stage on a cardboard moon! Can you believe it?

The one who survived that reality TV nightmare, Danielle Hope, later graced the London stage as Dorothy Gale in Lloyd Webber’s 2011 musical adaptation of the iconic film starring Judy Garland. The original story was a children’s novel by L. Frank Baum, serving as its foundation.

One method of rephrasing in a natural and easily understandable manner:

Five former actresses who portrayed Dorothy from various films, television shows, and stage productions share heartfelt anecdotes about their experiences playing this character. They discuss how Dorothy’s journey resonated with them personally, particularly the theme of seeking home as a metaphor for self-discovery; the impact that the Kansas farm girl had on their own lives, and how she shaped their sense of identity in the world.

One individual observes about actresses portraying Dorothy, regardless if it’s for a school play or a major film production: “Wearing the ruby slippers seems to uncover a part of themselves they hadn’t recognized earlier.

Jeffrey McHale’s Dorothy-pedia, as a filmmaker, he crafted, is rich with archival content. However, what truly makes this documentary heartwarming and contagiously endearing is the raw emotional honesty of the women who have been significantly influenced by the character at pivotal moments in their lives.

Jeffrey McHale’s Dorothy-pedia, as both writer, director, and editor, is filled with archival materials. Yet, what gives this documentary its warm and infectious quality is the genuine emotional openness displayed by women who were personally impacted by the character at critical junctures in their lives.

You might rephrase it like this:
For hours, I would have gladly listened to Shanice Shantay, playing Dorothy in the 2015 NBC special, The Wiz Live!, speak candidly about the thrill of her one-time performance and the subsequent return to reality. Meanwhile, Nichelle Lewis, who made her Broadway debut in a 2024 revival of The Wiz, shares an emotional story about how Dorothy’s journey into fantasy mirrored her own methods of coping when she lost her father at age 9.

Reflecting on her debut role, Fairuza Balk reminisces about her portrayal of Dorothy in the 1985 film “Return to Oz,” an unofficial sequel that delved into a more somber aspect of L. Frank Baum’s literary series. Although the movie was criticized as a gloomy disappointment, Balk cherishes the memories of people approaching her for years after its release, praising her acting and expressing gratitude for how the film served as an escape from life’s hardships for them.

Over the course of its remarkable 125-year existence, this tale has been reinterpreted in numerous ways across various platforms – books, comic strips, articles, TV shows, and even plays for the stage.

McHale focuses a significant portion of the initial half on the MGM movie version directed by Victor Fleming, notably exploring the ambiguous boundaries between Judy Garland’s persona and that of Dorothy. Furthermore, he effectively incorporates clips from various points in Garland’s film career to emphasize crucial aspects, thus underscoring her pivotal role in the movie, as well as her most renowned character.

Gregory Maguire, the author behind the reimagined novel that inspired “Wicked”, expresses that L. Frank Baum’s creation, a foundational myth for America, likely won’t fade away so long as America remains a nation. He believes Dorothy continues to hold significant vitality and influence.

A multitude of critics explore the core concept that resonates deeply with numerous generations, as they relate strongly to Dorothy’s longing for something elusive. Despite having no physical description in the books, Dorothy serves as a blank canvas for readers to project themselves onto her character, be it young women at a pivotal point in their lives or queer communities discovering common ground in a character yearning for an innate desire denied.

The iconic Yellow Brick Road symbolically represents a significant aspect of the LGBTQ storyline. It embodies a voyage that resonates with numerous individuals within the community, as it mirrors their quest to escape the confines of rural seclusion and find themselves in the urban jungle, in search of personal identity.

There’s disagreement about when the phrase “friend of Dorothy” started being used as a code for gay men, similar to the myths surrounding the relationship between Judy Garland’s death and the Stonewall riots, which significantly impacted the gay rights movement. However, it’s irrelevant whether these stories are factual or not when discussing Dorothy’s influence on queer culture, as one observer rightly points out.

John Waters and Margaret Cho offer amusing insights into the topic at hand, while Lena Waithe skillfully bridges the queer viewpoint with her personal experiences as a Black woman. As we delve deeper, the influence of The Wiz becomes increasingly significant. Initially, it was a Broadway production that initially faced skepticism but ultimately swept the 1975 Tony Awards. Later, Sidney Lumet’s controversial 1978 film adaptation, despite its negative critical reception, emerged as a cultural icon for numerous generations of African Americans.

In this documentary, Diana Ross, who stirred up debate by portraying Dorothy as an adult, does not appear, but McHale skillfully incorporates passages from her memoir. The song “Brand New Day,” penned for the show by Luther Vandross, serves as a symbol of freedom and emancipation tied to the Black community, resonating during a significant period in Ross’ career. She attributes the film with bolstering her confidence as a woman and entertainer. A moving testament to this is archived footage from her 1983 Central Park concert, where she can be seen enthusiastically performing amid heavy rain, clad in an orange sequined bodysuit and voluminous coat.

Captivating snippets from a past interview with the youthful Stephanie Mills, Broadway’s first Dorothy in “The Wiz,” highlight the vast disparity between the adoration she received from the audience and the harsh criticisms leveled against her by critics during that period.

Ashanti, well-known R&B artist, graced roles as Dorothy in the 2005 TV movie “The Muppets’ Wizard of Oz” (a delightful moment seeing Miss Piggy tossing subtle jabs at a female colleague) and four years later in a New York stage production of “The Wiz”. Beyond her performances, she offers insightful reflections, tracing her initial encounter with the Lumet film produced by Motown around age 7, and the significant impact Ross’ portrayal had on her.

McHale is evidently smitten with Garland, and this documentary is filled with so much intriguing content – some already well-known and other fresh perspectives – that it could have solely focused on the connection between Judy and Dorothy, as well as the enduring impact of Garland’s iconic song, “Over the Rainbow.”

(This version maintains the original meaning while using simpler language for easier comprehension.)

Expanding his endlessly curious eyesight beyond the ordinary, he often makes insightful observations – along with captivating footage from various sources, both popular and lesser-known, as well as cultural references from shows like Family Guy, The Simpsons, South Park, and Dora the Explorer, among others. However, this extensive exploration sometimes leads to certain elements appearing forced in an attempt to cover all bases.

In the concluding part of the musical “Wicked”, it feels like an additional thought was added; quick peeks at quirky merchandise and business collaborations are hard to fully grasp; and the musician Rufus Wainwright, who identifies as a Dorothy Gale fan, seems to have been given less focus. He not only performed “Over the Rainbow”, but also spoke about the recent surge in anti-LGBTQ discourse: “We are once again being chased by this dark force that wants us gone, wants to take away our lives, and steal our symbolic ruby slippers.

It’s worth noting that one of the parts that seems to have been written in a hurry is Gita Dorothy Morena’s account, being her experience of reading Baum’s novels as a child and subsequently visiting places where he resided with her mother. A notable incident occurred during their visit to South Dakota, where Baum served as an editor for a Dakota Territories newspaper. This trip led to a startling revelation for Morena – she found that her great-grandfather had written an editorial in 1890 advocating for the continuation of the mistreatment towards Native Americans to secure the safety of Americans, suggesting eradicating “these wild and uncontrollable beings” from the earth.

Later on, Morena and another relative went back to South Dakota to publicly apologize to the local Native community. Roxane Gay, a writer and scholar, explains that while these discoveries don’t necessarily mean we should stop enjoying our favorite films, it’s beneficial for modern audiences to have a better understanding of the context: “By doing so, viewers understand that this artwork was created by a person, and people often make mistakes.

This information is quite intriguing, though it feels more tailored for a comprehensive series rather than a single piece. This would provide a better platform for exploring various aspects and perhaps adding more song interludes, like Lewis’ performances on NPR’s Tiny Desk Concerts. Unlike McHale’s reevaluation of Showgirls, You Don’t Nomi, it is less playful but thoughtful, analytical and filled with stunning visuals, particularly the captivating shift from black-and-white to color in the Garland film.

Now, time for therapy to address my childhood deprivation of the LEGO Wizard of Oz set.

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2025-06-12 00:55