Reimagining Oz: Sonia Jalaly on Writing a New Chapter for a Beloved Classic

What first excited you about reimagining The Wizard of Oz for Theatre by the Lake?
It’s such a great title because it’s one everyone knows and loves, across all generations. Right now, it’s having this massive moment because of Wicked, which makes it both exciting and daunting. When something is that iconic, people arrive with their own expectations. They have such strong emotional attachments, especially to the Judy Garland film and now to Wicked. Those stories and songs mean a lot to people.

So, I wanted to find an angle that felt new and specific, something I could explore differently. When I reread L. Frank Baum’s original book, I realised how strange it is and how open to interpretation. That’s probably why it’s inspired so many different versions, The Wizard of Oz, The Wiz, Wicked, it’s such a rich world to play in.

What really excited me was unpacking Dorothy’s backstory.

In the book, it’s simply stated that she lives with Auntie Em and Uncle Henry, but we’re never told why. I wanted to explore that, to ask what’s missing from her life and what she’s searching for. In our version, Dorothy has recently lost her mum and is living with her aunt and uncle as she begins to process that grief. Her journey through Oz becomes a reflection of that, she’s learning to live with her loss, to find comfort and connection again. Once we discovered that emotional journey for her, everything else fell into place.

And on a purely joyful level, any story with magic is a gift to write. There’s so much humour, silliness and heart. You’ve got Munchkins, flying monkeys, and all this imagination. It’s a treat to play in that world.

Did Theatre by the Lake approach you with the project, or was this a story you already wanted to tell?
It started with you! Theatre by the Lake had already decided to stage The Wizard of Oz, and then I had a chat with Sarah Punshon (Director) about what I was interested in exploring and what kind of tone and world we could create together.

How did the Cumbrian setting inspire your take on the story?
At first, we talked about keeping it in Kansas, like the original, because there are similarities: the rural landscape, the open skies, that feeling of distance. But rooting it in Cumbria made the story feel completely fresh. It gave it a whole new tone and identity.

Keswick is such a magical place. There’s something otherworldly about the landscape; it feels epic and alive.

I could imagine a child who’s not from here, who’s feeling lost or displaced, finding that magic through her imagination. In our version, Dorothy is from London. After her mum dies, she comes to live in Keswick with her aunt and uncle. That shift from city life to somewhere quieter and more remote mirrors what she’s going through emotionally. She feels out of place and is learning to navigate a new world, just like in Oz.

I grew up near Manchester and now live in London, so I understand the difference between places and the adjustment that comes with it. There’s something powerful about exploring how people adapt to change, especially when they’re dealing with grief.

What was most important to you in creating this adaptation for modern audiences?
Finding an emotional truth. For me, that’s about grief, but also about hope. Dorothy’s emotions are raw; she’s angry and heartbroken. Her journey through Oz is how those feelings manifest. The world of Oz becomes a safe, imaginative space where she can process them and, ultimately, find her way home again.

It’s a hopeful story about grief, about learning to live with it. I think that resonates deeply right now. We’re only five years past the pandemic, and so many people are still living with loss. I wanted to create a story that acknowledges that but still feels joyful, funny, and full of light.

Fairy tales give us a way to touch on big emotions without it feeling heavy.

And of course, music plays a huge part too. We’ve imagined Dorothy as a teenager, and her connection to music is so central, it’s how she expresses herself and finds release. Pop music is having such a moment right now, especially with artists like Olivia Rodrigo and Billie Eilish, who capture that teenage intensity and honesty. That energy is definitely in our show.

You’ve woven humour, heart and local identity into the script. How do you balance those tones?
I never want it to feel heavy, even though the story deals with loss. That’s the beauty of fairy tales and musicals; they let you touch something raw but still have fun. There’s a rhythm between those moments: we go somewhere emotional, then the Munchkins come in and make us laugh again.

Ultimately, it’s a Christmas show. It’s about family, togetherness, and that warm feeling you take home afterwards. But it doesn’t shy away from the truth that family can be messy and complicated too and that’s okay.

Were there any characters you particularly enjoyed reinventing?
I’ve loved writing the Tin Woman. She’s very much inspired by Auntie Em, that mum figure who’s doing her best, spinning a thousand plates at once, and trying to make Christmas nice for everyone while everything’s going wrong!

She’s got this hard, practical exterior, but underneath, she’s soft and full of love. That balance, between her strength and her warmth, has been really fun to write.

What themes do you hope audiences, especially young people and families, will take away?
That it’s okay to feel big feelings, that grief, love, anger, and hope can all exist together. And that home isn’t necessarily a place, but the people who love you and the love you give back.

What’s it been like seeing your words come to life in rehearsals?
It’s been amazing. The cast is fantastic, so funny, so full of heart, and such brilliant singers. Hearing Ziad’s music in the room has been joyful; there are real bangers in there! There’s just a great energy in the space. It feels like we’re all having fun and I hope that’s exactly how audiences will feel too.

And finally… if you could step into Oz yourself, what would you ask the Wizard for?
Honestly? A holiday! Or maybe just a bit more summer before winter properly sets in.

About Sonia Jalaly
Sonia Jalaly is a writer and theatre maker from Manchester, based in London. Theatre credits include Jack and the Beanstalk (writer, Lyric Hammersmith, 2024), Aladdin (writer, Lyric Hammersmith, 2024), Jack and the Beanstalk (co-writer, Lyric Hammersmith, 2022), Happy Birthday Without You (writer/ performer, Kiln Theatre, Paines Plough’s Roundabout at the Edinburgh Fringe, winner of Greater Manchester Fringe Festival Best Newcomer award), Catch (writer, Clean Break), Cold Chips and Pick n Mix (writer, the Den at Royal Exchange, winner of the Manchester Culture Award), Bump (writer, Kiln theatre). Her TV credits include Superato (CBeebies), Class Dismissed (CBBC), Jaime’s Yoga Adventures (Zodiak/ Sky), Justin’s House (CBeebies), Swashbuckle (CBeebies), Biff and Chip (CBeebies), The Amelia Gething Complex (CBBC).

The Wizard of Oz
Friday 14 November 2025 – Sunday 11 January 2026