My first Broadway show was with friends on a middle school trip to see The Wiz. The tornado dance was a brilliant introduction to creative stagecraft and the allurement of live theater. I still remember the show vividly, including Stephanie Mill’s knockout rendition of “Home”. Much time and many changes to musicals happened from 1975 to 2024. How will this chestnut hold up?
When I started this blog in 2017, I began watching archival footage of shows at the New York Public Library. The Wiz was the first one. This Tony winning Best Musical retold L. Frank Baum’s children’s novel through a then contemporary African American cultural perspective. The show showed its age most notably in the book. Jokes were wildly dated but the songs still worked.
In my blog post I wondered if the book could be fixed. Amber Ruffin has used her magic wand to reorganize and enhance William F. Brown’s original. Even the good witches are impressed. “I have heard of houses and I have heard of murder… but to combine the two!” When our band of misfits finally reach the city gates the guards simply dismiss them as “talking trash and a dusty cat”.
This rewrite certainly links old jokes but instead of using the slum descriptor “projects” the reference becomes the “housing market”. The book was never the most important element since nearly everyone knows the story of Dorothy and her trip to see the wizard of Oz. All of the fun is still intact and a significant number of truly memorable scenes can be had if you just follow that yellow brick road.
Filling Stephanie Mills’ legendary ruby slippers is a tall order and Nichelle Lewis makes the role her own. She’s both a stabilizing presence in a world of outrageous inventions as well as a vocal powerhouse. The “Home” finale, which everyone in the audience waited for with bated breath, is better than one could hope for. Ms. Lewis put her spin on these songs but always let Charlie Smalls’ music and lyrics shine. She has a big, beautiful voice but there is no bombast obstructing the melodies or her gorgeous vocal stylings.
The cast is entertaining throughout. There is usually a battle between the Scarecrow and the Cowardly Lion for favorite sidekick. Phillip Johnson Richardson has far different ideas. His Tinman is a scene stealing wonder from his entrance song “Slide Some Oil to Me” to his second act showstopper “What Would I Do If I Could Feel?” That song is typically a middling moment in a lesser second act. Mr. Richardson turns the moment into solid gold. (I wanted to say Tin Pan Alley showstopper but that pun is both dated and far too silly.)
Understudy Allyson Kaye Daniel played Aunt Em and Evillene the night I caught The Wiz. Her witchy “Don’t Nobody Bring Me No Bad News” remains a high point. Glinda (Deborah Cox) belted “Believe In Yourself” a little too strongly which smothered the words but it was certainly rousing.
Along with the enjoyable performers is a staging concept that was inspired. Schele Williams has directed The Wiz with a nod to 1970’s variety shows. Jaquel Knight’s choreography definitely references that period but also, and ingeniously, takes these highly memorable and admired tunes and gives them a modern kick. The Wiz bridges 1970’s disco movement with hip hop and other more recent dance styles. Many shows try this but do not exceed at this high level.
If all of that is not enough goodness, the visuals on stage are a technicolor fantasia. Sets (Hannah Beachler) and video projections (Daniel Brodie) are superlative, both old school and bursting with color. The harken back to this century old story is nicely glossed with a futuristic flourish. Evillene’s Palace is a particular visual treat. Forest transitions are elegant and varied. Ryan J. O’Gara’s lighting design makes this kaleidoscope of color an eye-popping feast. Even the show’s curtain is alive.
Costumes are hugely important and Sharen Davis has given the characters and this talented ensemble an array of clever designs. The Poppies and the Yellow Brick Road crew are two excellent examples. The Scarecrow (Avery Wilson), Lion (Kyle Ramar Freeman) and Tinman outfits are all expertly realized.
This musical has been reworked and reorganized to great effect. The lagging second half has been restructured to guarantee entertaining moments throughout. The first act now closes with “Be A Lion,” one of the show’s best numbers. If you have never seen this show or want to relive an appealing, popular score from yesteryear, simply ease on down the road to the Marquis Theatre. Green sequins seem to be the perfect fashion choice for a number of attendees.
I have always found the ending of the Wizard of Oz to be a bit sad. Saying goodbye to new friends who have bonded in a life changing and life affirming adventure. The final reprise of “Ease on Down the Road” here is stunningly poignant and truly lovely. This technicolor spectacle even knows how to pause and conjure touching intimacy.
The Wiz is for theatergoers who connect with this material in any of its many incarnations. The Wiz is also for people excited to see a well staged, memorably sung, big Broadway musical. Isn’t that nearly all of us? “Can you feel a brand new day?” I can and did.