Promoted as “The Wiz” through “the blackest lens” in a feature in the New York Times, this new revival, which just opened on Broadway, offers a fun experience while tapping into that tradition. But in the end, this “Wiz” is adrift. Productions are busy creating entertainment and showing blackness at the expense of a coherent artistic vision.
In the adaptation of The Wizard of Oz, Dorothy (Nichelle Lewis) once again wears slippers (silver instead of ruby red) and her friends (Avery Wilson, Philip Johnson Richardson, Kyle Lamar Freeman) I pick it up and go on a journey to find it. A great and powerful wizard (Wayne Brady) who can solve all problems. Harmonies and solos often drew enthusiastic applause, a testament to the ensemble's rich talent. Lewis plays the sensitive Dorothy and delivers her tender song “Home” with gorgeous emotion. Melody A. Betts, who plays Aunt Em and the evil witch Evillene, is a powerful presence, bringing humor and vocal talent to the gospel-inspired “Don't Bring Me No Bad News.” Brady is an energetic and fun whiz who completely understands his extraordinary personality. Freeman is as hysterical as a lion and often makes the theater burst into laughter.
However, the sound of the music is overwhelming. Any performer's vocals are often drowned out by the swooping orchestration. You can hear the vocalist's voice on every song (Deborah Cox, who plays Glinda, was barely audible during the middle of the verse of “He's the Wiz”, which was a real shame considering her great talent). ) The performers are forced to sing and shout, and this routine becomes increasingly familiar.
Cher Williams' directorial choices are equally frustrating. This revival lacks synergy between images. The projections and props to get you from place to place make Oz look generic and cheap.
Set designer Hannah Beachler, known for her work on the Black Panther series, borrowed from a series of black-inspired images, including the colorful houses of black New Orleans and the Adinkra symbols carved into trees. Masu. Afro picks and power fists decorate Wiz's green throne. But they are fragmentary and do not coalesce into a lasting vision.
Despite being a visually packed musical, Williams neglects to depict key moments. There is no yellow brick road, one of his most peculiar images of this musical. In its place are dancers wearing yellow security guard costumes printed to look like roads. Their standard entrances and exits are dull, especially when their choreography doesn't completely fill out the rest of the stage.
We also never fully see Dorothy return home and reunite with her aunt (the play ends with her arriving home). And since Evillene's dissolution takes place on top of a scaled tower, the audience only needs to see a hint of smoke to know that she has been defeated – fairly quickly.
The musical's four main characters are often pushed to the side of the stage or interrupted by dancing ensemble members. The choreography, by Jaquel Knight, known for his work with Beyoncé, entertains the audience with a mix of twirls, occasional twerks, and lifts. However, like other elements of the show, there is no clear connection to the story.
The original book by William F. Brown has been revised by comedian Amber Ruffin, whose jokes are sometimes funny (though the joke about Evilen being afraid to wet the silk press is a little cringeworthy). Ruffin wastes no time explaining his humor. we Who will get it?
However, the dramaturgical questions surrounding Dorothy remain behind a wall of irony. Why does Dorothy suddenly think of Kansas as “home”, especially after sharing the hellish loneliness of the countryside? Throughout her journey, Dorothy spends most of her conversations encouraging her companions, especially How do you feel because you're being used to keep going? In the interest of having fun, these basic questions are left unanswered and Dorothy is relegated to the margins of her own story. .
In many ways, “The Wiz” is a fascinating watch. It's fun to feel the audience really enjoying themselves. But that commitment to fun leads down a very disturbing path.
With, currently underway at the Marquis Theater in New York. 2 hours 30 minutes including break. withmusical.com