The 1939 film version of “The Wizard of Oz” wowed American audiences with a set design that took Dorothy from the black-and-white landscape of Kansas to the kaleidoscope of color in magical Oz.
Now, set and costume designers at the Alliance Theatre have created a similar effect for live audiences of the musical production in Atlanta.
In the Alliance’s performance, which opened yesterday, Dorothy wears two dresses, identical in shape. One dress features black-and-white checkered squares. The second dress is blanketed with swirls of yellows, pinks and purples.
“Color is the strongest tool we have,” said Sydney Roberts, costume designer for “The Wizard of Oz,” holding up the brightly colored dress next to the rather dull one in the costume shop at the Alliance.
“When she opens the door, it says, ‘We are not in Kansas anymore.’ ”
Black-and-white imagery is one of the hottest trends in fashion, advertising and the arts.
“The Artist,” an Oscar best picture nominee, is filmed in black and white. New York’s fashion week this month featured stark black and white combinations.
David Goodrowe, associate dean of the school of fashion and building arts at SCAD, said black-and-white is making a comeback.
“You are seeing black and white in movies, and on TV and in fashion,” said Goodrowe. “And it’s going back to what it used to be — standard classic fashion. Among other things, it makes color more important.”
Goodrowe himself recently paired black and white palettes with color in a fashion show at America’s Mart. The collection kicked off with black and white threads — accompanied by black and white video images.
And then, suddenly, his spring line switched into an explosion of color — yellows, oranges and pinks.
While black has always been popular in fashion, it’s the pairing with every shade of white that’s getting hot, he said.
“Black has always been a staple, but there’s an emergence of white to show the contrast,” he said. “All kinds of white — optic white, even crème and pale pink and white with the slightest tint of and then pairing that with black.”
Still, developing a black and white feel on stage is different than featuring black-and-white on the big screen.
The Alliance production of “Oz” plays contrast between black and white and color in both costuming and set design.
In costuming, designers opted for muted tones — grays and pale browns and deep blues. Roberts said using true black and white fabrics would be too harsh and even lend to a “comedic feel.”
Even Toto the dog changes hues — from the drab brown of burlap to a rusty red.
The set also flips in color schemes, going from a sepia backdrop to vibrant, whimsical, beach colors — turquoise and corals, sea greens and lemon yellows.
Trees with twisted newspapers as limbs give way to bright, bottle-tree art. And with the help of lighting, the ground will change from nondescript to a cheerful, quiltlike pattern.
Show developers felt it was important to keep some of the iconic black-and-white feel of the movie while introducing new inspirations for color, mainly American folk art.
Bright folk art-inspired pieces pop up everywhere in the show. Dorothy’s brightly colored dress was inspired by one of Howard Finster’s angel paintings. Munchkinland was inspired by quilter makers of Gee’s Bend in Alabama.
Dorothy begins the show in black leather shoes. And, of course, she changes into ruby red slippers at the end.
Onstage
“The Wizard of Oz”
1 and 3:30 p.m. today. 1 and 4 p.m. Saturday; 1 and 3:30 p.m. March 4; 1 and 3:30 p.m. March 10-11. $35. The Alliance Theatre, 1280 Peachtree St. N.E., Atlanta. 404-733-5000, www.alliancetheatre.org.
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