Now that the curtain has closed on Rancocas Valley Regional High School’s production of The Wizard of Oz, it’s easy to remember the dazzling performances, colorful sets, and iconic songs. What audiences don’t always see, however, is the hours of work, coordination, and dedication that happen behind the scenes to make those moments possible.
On Thursday, March 19—during the first day of tech week—I followed sophomore Keira Kreig through a full rehearsal day. Kreig, who played Dorothy, is no ordinary lead: this is her first-ever stage production.
When the 2:27 p.m. bell rings, signaling the end of the school day, Kreig heads straight for the Performing Arts Center, which many RV students are familiar with calling the ‘PAC.’ Rehearsal doesn’t officially begin until around 2:45, but the time in between is quickly filled with meeting friends, checking the call sheet posted the night before, and slipping into character shoes designed for long hours of dancing under stage lights.
Tech week rehearsals run from 2:45 to 9:00 p.m., and this particular afternoon focuses on two large ensemble numbers. Scenes begin, pause, and restart constantly. A moment builds toward its climax, only to be interrupted with a quick “pause” from the director as lighting, blocking, or sound cues are adjusted. Then it’s back to the beginning.
“When I am singing and doing choreography, I really try to focus on my breathing so that my voice can sound strong and supported,” Kreig explained. “Other than that, I am usually trying to think about the mindset of my character so that I can portray her emotions as accurately as possible.”
That focus is necessary in a production filled with technical complexity. This year’s show features a moving set, requiring constant coordination between actors and crew. A scrim (a large, light-reactive backdrop) helps transform the stage visually, while set pieces shift in and out to create entirely new environments in seconds.
Behind those changes is a team of incredible staff and students working in sync. Grant Mech prepared the cast musically, while Nick Rossi led set production and Caris Norway handled choreography. The production was guided by director Evan Snyder, alongside producer Lauren Pliskin, costumer Erica Maira, and assistant technical director Tori Milan. I want to recognize all of them for the work they put into bringing the show together. Thank you as well to Mr. Snyder for giving me the opportunity to sit in on rehearsal and write this article.
Despite the structure, much of tech week involves waiting. Actors sit in the wings or audience seats, running lines, snacking, or quietly rehearsing choreography off to the side. The atmosphere is relaxed—until it isn’t. The moment directions come through the speaker system, conversations stop and everyone.
Dinner break arrives around 5:30 p.m., giving students a brief chance to recharge. Some bring food from home, while others pile into cars for quick trips to nearby restaurants. By the time rehearsal resumes, the energy shifts again. Everything is now more focused, more urgent, as the full run-through approaches.
Later in the evening, Kreig is fitted with her microphone for the first time, running quick sound checks before stepping back into character. Her role rarely allows for downtime, but in the brief moments she has offstage, she stays busy.
“I usually take the time to prepare props for the next scene, feed Kona treats, or dance with my castmates,” she said.
Yes, the iconic Toto is played by a real dog named Kona, adding another layer of unpredictability to an already complex show. Keira even keeps treats hidden in her basket to help guide her four-legged co-star through scenes.
That basket also contains a small stuffed stand-in, affectionately named “Tori” by the cast, used when needed during rehearsals. It’s one of many small, behind-the-scenes details audiences never see.
Kreig’s journey to the role of Dorothy makes her performance even more remarkable. After participating in theater as a costumer her freshman year, she decided to audition (with no prior acting experience) and landed the lead.
“I didn’t think I would get the role,” she admitted.
Still, her background in choir and band helped prepare her for the vocal and performance demands of the show. To rehearse, she records herself running lines and continues vocal training outside of school.
“I try to think about the scene and why Dorothy is so upset, then I utilize my own anxieties about performing and show them with my onstage tears,” she said.
As rehearsal continues into the night, the full cast gathers for a run-through from the top. There are still stops and corrections, but eventually, a scene lands just right.
“Yes!” the director calls out.
Applause breaks out across the stage.
Moments like that are what audiences ultimately see: the polished result. But behind every successful performance is a process filled with repetition, problem-solving, and long hours of collaboration.
For Keira Kreig, the experience has been both fast-paced and transformative.
“I love how I was exposed ‘feet first’ into the cast side of theatre,” she said. “I am extremely grateful for the learning opportunities I’ve had.”
As the final performances wrap up, it’s clear that The Wizard of Oz was more than just a show, it was the product of a dedicated cast working together, both onstage and behind the curtain.
