From Olivette to Oz 

When Children’s Theatre Company in Minneapolis opened its new production of The Wizard of Oz this spring, St. Louis was woven into the movement of every scene — literally. The show, which began April 21 and continues through June 14, is choreographed by St. Louis native Christopher Windom. His path from Olivette to world-class stages has been shaped by encouragement, discipline, and a deep belief in what young people can become when someone sees their light.

Windom — who choreographed the MGM Aretha Franklin biopic Respect starring Jennifer Hudson — is back in the Midwest for a three-month residency to bring the classic story to life. And while the production is directed by former Shakespeare Festival St. Louis leader Rick Dildine, who also serves as artistic director for CTC, Windom’s imprint is unmistakable.

“I am a hundred percent on board with the idea that choreographers make great directors,” Windom said. “We’re looking at composition, storytelling, and how bodies onstage communicate. It’s a broad point of view.”

He points to icons like Debbie Allen, Jerome Robbins, Bob Fosse, and Michael Bennett — artists who moved fluidly between choreography and direction. Their influence helped him understand that movement isn’t just steps. It’s narrative.

But Windom’s own story starts much closer to home.

He grew up in Olivette, the child of parents who believed in keeping their kids busy and out of harm’s way. “It was little league, Boy Scouts, piano — everything,” he said. “Dance was the thing that stuck.” He trained at St. Louis Academy of Dance, close enough to walk from his neighborhood. Teachers noticed his talent early and encouraged him to keep going.

“Go to where the light is,” he said. “And the light was bright there.”

He remembers the cultural ecosystem that shaped him — free seats at The Muny, shows at The Fox, afternoons at the art museum and the zoo. “St. Louis is rich with culture,” he said. “Those experiences mattered.”

Windom eventually studied musical theatre at Webster University and built his early professional foundation at Stages St. Louis and The Muny. Those summers taught him discipline, professionalism, and how to carry himself in a rehearsal room. Those lessons prepared him for New York, where he built a career directing and choreographing across the country.

But even as his résumé expanded, he never forgot the people who saw him before he saw himself.

“My high school music teacher, my librarian — I’m still in touch with them,” he said. “They encouraged me in ways I didn’t know I needed. They helped me see myself through someone else’s eyes.”

Now, working with young performers in The Wizard of Oz, he’s become that person for someone else.

“I talk to them like adults,” he said. “Not down to them. I want them to feel like professionals — like they can rise to the level of the room.”

He describes his approach as 90 percent cheerleader, 5 percent teacher, and 5 percent course-corrector. “I’m honest with them,” he said. “Not to break them down, but to help them see what’s possible.”

The cast includes both adult actors and young performers — including two alternating Dorothys — many of whom are stepping into choreography for the first time. Windom says watching them take risks is one of the most rewarding parts of the process.

“For some of them, dance isn’t their wheelhouse,” he said. “But the bravery it takes to try — that’s what I hope they walk away with.”

For audiences, he hopes the production honors the nostalgia of the classic film while offering something fresh.

“People have their own relationship with The Wizard of Oz,” he said. “We want to honor that, but also bring new ideas that don’t depart from the truth of the story. Making the familiar feel fresh — that’s our goal.”

Windom still remembers watching the movie’s annual broadcast on KSDK Channel 5, the moment the screen shifted from sepia to Technicolor, and seeing The Wiz on tour at the Kiel. Those memories sit right alongside the ones he’s creating now.

He’s traveled the world — London, Toronto, major regional theaters — but says reflecting on his St. Louis beginnings still grounds him.

“I’ve worked with all kinds of artists and been in incredible rooms,” he said. “But I always feel humble about the journey. I’m grateful for the reminder of my roots.”

The Wizard of Oz continues through June 14 at Children’s Theatre Company in Minneapolis, Minnesota. For more information, visit childrenstheatre.org/oz.

Living It content is produced with funding by the ARPA for the Arts grants program in partnership with the Regional Arts Commission of St. Louis and the Community Development Administration.

The post From Olivette to Oz  appeared first on St. Louis American.