Bonham’s Auction Designed by Adrian. Kelly green hip-length felt coat with symmetrical cream-colored appliques, forest green trim, and large cream-colored buttons on either side of the front, attached together with a horizontal applique with hook-and-eye closures, with puffed shoulders and wide bell sleeves, bearing an interior green-lettered “Metro-Goldwyn-Mayer” label inscribed, “38” in ink. Adrian, who was MGM’s top costume designer in the 1930s, allowed his imagination to soar in the unforgettable costumes worn by all of the characters throughout The Wizard of Oz. His use of geometric shapes, oversized accoutrements, and brilliant colors brought the Land of Oz and Emerald City to dazzling life, and he is best remembered for his work on this film. Accompanied by a framed vintage re-release photo (R1970) showing a citizen of Emerald City wearing the coat in the scene where the witch spells out “Surrender Dorothy” with her broom.
Celebrating the Centennial of Children’s Book Week, Library of Congress Launches a Unique Online Collection of 67 Historically Significant Children’s Books Published More Than 100 Years AgoIn celebration of the 100th anniversary of Children’s Book Week (April 29 to May 5), yesterday the Library of Congress launched a unique online collection of 67 historically significant children’s books published more than 100 years ago. Drawn from the Library’s collection, Children’s Book Selections are digital versions both of classic works still read by children today and of lesser-known treasures. Highlights of the collection include examples of the work of American illustrators such as W.W. Denslow, Peter Newell and Howard Pyle, as well as works by renowned English illustrators Randolph Caldecott, Walter Crane and Kate Greenaway.
The Case of the Stolen Ruby Slippers It seemed incredible that two of the biggest thefts of Americana — the Rockwell and ruby slippers burglaries — had both taken place in Minnesota. And as it turns out, Bruce Rubenstein told me that, in December 2018, several months after the shoes were recovered, Chris Dudley — the FBI agent in charge of the ruby slippers case — showed up unannounced at his condo building outside Minneapolis wanting to discuss the identity of the thieves behind the Rockwell heist. Rubenstein says that he later continued the conversation at FBI headquarters in Minneapolis. s for the slippers, they aren’t home yet — wherever home winds up being. They remain in evidence with the FBI. For the Grand Rapids police, though, it feels like a conclusion. “Our goal was to get the shoes back,” Mattson says. “And we did that.”
Oconomowoc, the site where ‘The Wizard of Oz’ had its premiere 80 years ago, will create a yellow brick road The city of Oconomowoc is gearing up for the 80th anniversary of the world premiere of “The Wizard of Oz.” The plan is to create a plaza dedicated to the film that debuted in Oconomowoc on Aug. 12, 1939, according to Oconomowoc Director of Economic Development and Tourism Bob Duffy. On April 16, the common council approved the purchase of six life-sized statues of the main characters from the movie to help commemorate the occasion, which will take place in August. The statues will feature Dorothy with Toto, The Tin Man, Scarecrow, The Cowardly Lion, The Wizard of Oz and the Wicked Witch of the West. The cost of the statues was estimated at $28,500. Duffy said $22,500 has been raised through private funding.
Puppetry brings Dorothy’s dog, flying monkeys to life Nicholas Mahon’s work as a puppet and theatrical designer has taken him everywhere, from Sesame Street to the 2018 Winter Olympics Opening Ceremony in Pyeongchang, South Korea. So, when the yellow brick road led him to the world of ballet, the Canadian-born, Emmy-nominated designer jumped at the opportunity to create almost 20 puppets for Septime Webre’s The Wizard of Oz. Indeed, puppets proved critical in the execution of some of The Wizard of Oz’s more surrealistic moments. Take the harrowing flying monkeys scene, for example. Three sizes of puppets were created to make a “field of monkeys,” with larger ones in the foreground and smaller ones in the distance. “You really get a sense of perspective, that there’s this giant cloud of these monkeys,” Mahon says. The physical monkeys, combined with all the other production elements, including music and projections, make for a tense scene that Mahon promises will leave audience members on the edge of their seats. “I’m very proud of how (the puppets) integrated into that scene,” he says. A puppet is an obvious solution for Dorothy’s little dog, too. Casting an actual dog as Toto would have be distracting as well as impractical — having a wiggly pup underfoot of the corps de ballet seems like a sprained ankle waiting to happen. But an inanimate prop dog wasn’t ideal, either. “Toto is a very important character for Dorothy,” Mahon says. “We really want to believe their connection. Toto is all she has in this strange world. He’s her anchor and her link back to home and who she is. Having that emotional connection resonate and read for the audience is important.”