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Camelot Theatre is putting on a dazzling production of the “The Wizard of Oz” as its final offering for the 2023 season.

The 40 artists, directors, designers and production team who worked on this musical have combined all the elements to make for extraordinary live musical theater — terrifically energetic dance numbers, clever lighting and videographic effects (wait ‘til you get a load of the Wizard), a kaleidoscope of colorful costumes and imaginatively designed and painted sets. The result is a musically magical journey that is familiar to all, but in some ways, refreshingly new.

You’ll be surprised, for instance, to discover who is now running the Lollipop Guild, as well as the variety of characters who inhabit Camelot’s version of Munchkinland, and you’ll be drawn in by the tornado that carries Dorothy to her ultimate fate.

It was pleasing to see how video projections, sometimes absent in other Camelot “Spotlight” productions, were in full use here. It never ceases to amaze me how often elaborately-staged shows have been successfully produced in a space-limited auditorium — and yet Camelot has proven countless times it can be done — and done well.

Not everything is perfect in the Land of Oz, however.

Lifted straight out of the vaudeville humor of the ’20s and ’30s, the original film script contains a slew of clever one-liners, such as when Professor Marvel first meets Dorothy, bragging about how he could take her to meet the heads of Europe, and in the next breath asks her if she knows any. Since Camelot’s version is somewhat overlayed with the original script, it seems important the humor be carried over, as well. Instead, emphasis on the right words are glossed over or non-existent, and so those wonderful witticisms get lost.

Charles “Chuck” Isen, as Professor Marvel and the Wizard, has been a standout in local community theater productions, turning out some fine performances. It would be wonderful then, if he would really step into the part of the Wizard. The Wizard of Oz is a showman, a grandstander who likes to show off. Isen’s Wizard almost seems hesitant during moments he should stand out, such as when he bestows the Tin Man’s clockwork heart and the Lion’s medal of courage. There’s a wonderful speech that goes with the handing over of the Scarecrow’s diploma, which unfortunately gets muffled in Isen’s care. The Wizard is a bumbling character, yes, but he’s also very funny and very wise.

Chalise Kadin plays a challenged lion, an earnest lion, a sincere King-of-the-Jungle wannabe, but she doesn’t quite fit the bill as the Cowardly Lion. The Cowardly Lion exhibits bravado and fearfulness at the same time. The Cowardly Lion tries to be terrifying yet is frightened by his own tail. The Cowardly Lion builds to a crescendo with the song “If I were King of the Forest,” and then concludes with “What makes the Hottentot so hot? What puts the ‘ape’ in apricot? What have they got that I ain’t got?” To which Dorothy and her entourage respond: “Courage.” Kadin speaking the lyrics is fine, but she needs to do it more convincingly. Her dialog is garbled, hard to understand and could be easily remedied.

It is a pleasure to accompany Sierra Milburn as Dorothy Gale on a journey from frightened girl to enlightened young woman, during which she realizes her strengths and where her home is. Her rendition of “Over the Rainbow,” is moving. We really want to go there with her.

Amber Clayton plays a mean Wicked Witch of the West. However, it would be good to see her build up to the intensity of a desperate witch.

Joey Larimer is as close to the Scarecrow as one could get. He’s charming and amiable and can spread himself thin. Literally. He doesn’t move like Jagger, but he’s got the moves like Scarecrow. He’s limber, rubbery and finds his balance. That being said, the Scarecrow needs to react a bit more when set afire, and the attempted dousing by Dorothy needs to be slowed down.

Cody Pettit has really inhabited the Tin Man — suit, character and all. Courtney Crawford understands Auntie Em’s desperation and Glinda’s responsibilities, one of which is not to be an enabling Good Witch. Steven Orton is a homespun Uncle Henry. And let’s not forget a darling, docile Toto, who looked a lot like Roxy the “understudy,” but could have been played by Baloo the night I saw the production — it was a bit hard to tell.

Melanie Marie’s costumes are just as important to this production as the actors and special effects. It’s almost as though she visited Oz in a dream. There are Dr. Seuss-meets-Godspell-type ensembles that are original and explode with color, a wonderful array of pink, blue and other colored wigs, wonderful striped stockings and vests. And married to these designs are the almost Japanese-style backdrops by scenic designer Nathan Ynacay. More applause for sound designer AJ Ark; lighting designer Evan Carbone; music director Bernadette Mondok Keller; video designer Oliver Quant; multi-talented choreographer Kayla Robles; and last but certainly not least, director Olivia Carbone. The time and energy she devoted to this production is evident.

Of course what would this emerald of a story be without the wonderful book by Frank L Baum; with music and lyrics by Harold Arlen and E.Y. Harburg, and dance and vocal arrangements by Peter Howard? There are many charming song intros that were left out of the classic film that you may hear for the first time here. The score really captures the spirit of the story — the wonder, the desire we all have to be understood, to be accepted for who we are, to be validated as worthy beings.

“The Wizard of Oz” is one of the greatest children’s stories of all time. There is so much heart to this story. So much imagination.

The love and desire for friends, home and family were ever-present in Frank L. Baum’s story (originally published 123 years ago), and in the 13 books that followed. It was the “Harry Potter” of its time. So endearing is this tale, that MGM Studios turned it into a movie in 1939, making it one of the most beloved films of all time.

If you go Camelot’s production, you’ll learn all about courage, heart and intelligence — and that “a heart is not judged by how much you love, but how much you are loved by others.”

Performances of “The Wizard of Oz” are scheduled for 7:30 p.m. Thursdays through Saturdays, and 2 p.m. Sundays, through Dec. 31, at the Camelot Theatre, 101 Talent Ave., Talent. Tickets are $20-$38. Tickets and information available at camelottheatre.org or 541-535-5250. Group and discounted season packages, as well as special rate performances, are available. The Box Office is open three hours before performances, or by appointment. See website for special performance dates.