Cabaret Scenes Theatre Review

The Wiz, bright and inviting as that sunny brick road, offered some light-hearted, good-time delights with its driving rock/soul score and characters as familiar to most people as their own families. If you read, go to the movies or watch TV, you know L. Frank L. Baum's classic, The Wonderful Wizard of Oz. You've rooted for Dorothy to get home to Kansas and you've shivered in fear of those evil witches. So let's dispense with the plot and talk about this 2009 version of Encores! Summer Stars revival of the all-black musical interpretation.

In 1975, The Wiz was a hit Broadway show for four years and in 1978, it became a forgettable film starring Diana Ross. A Broadway revival in 1984 did not fare well. This time around, librettist William F. Brown updated the book, leaving the show alive with sassy street talk and numerous distinctive characters.

Alex Lacamoire's onstage orchestra rocked with Harold Wheeler's (Dancing With the Stars) original 1970s arrangements. Still energizing is the rhythmic, joyful score with songs like Charlie Smalls' “Ease on Down the Road” and Luther Vandross' “Brand New Day.” Paul Tazewell's costumes were eye-popping, especially for the witches, yet appropriate for the Kansas farm sequences. Andy Blankenbuehler's (In the Heights) exuberant and creative choreography made witty use of costumes and props as well as sharp dance moves to move the story along the road. Whirling lithe dancers in black depicted the tornado in an exciting opener.

Thomas Kail's direction of The Wiz in sprint speed, however, was choppy and episodic. The stage overload was exacerbated when the persistent dancers began to feel like too much of a good thing. David Korin's imaginative set was spare and versatile with Ken Billington’s stunning lighting. His Emerald City, however, failed to dazzle. It was green, all right, but functional rather than magical.

Some performances shone. Christian Dante White was a comical Scarecrow, James Monroe Iglehart's needy Lion cried for comfort, and Joshua Henry was a quickly rusting Tinman, with a catchy tune, “Slide Some Oil to Me,” Dawnn Lewis portrayed a sassy Good Witch Addaperle, and Tichina Arnold, extravagant in scarlet, played Evillene, a deliciously devilish Wicked Witch relishing her delivery of “Don't Nobody Bring Me No Bad News.”

And, of course, Toto. No complaints about Nigel, who ran across the stage like a pro.

Outstanding was La Chanze who had short segments playing both Aunt Em and Glinda the Good Witch, capturing the essence of each. This is something that Ashanti, the lead in this play should have studied.

As Dorothy, Ashanti was a great disappointment. Even worse, her acting was as wooden as the frame farmhouse. A befuddled "Where am I?" expression was appropriate because she was lost on the crowded stage. This is not good when you are onstage for the entire show. Admittedly, Dorothy has her problems and it's easy to understand that she has moments of not knowing where to turn. But Kail apparently could not incite any other expression from Ashanti. She is a pretty girl and a good singer but she was over-miked and it was hard to distinguish her lyrics. Her final song, "Home," which should have swelled with emotion, mainly signified the end of the show.

One suggestion would be for Ashanti to study the wonderful LaChanze. A striking presence on stage, LaChanze delivered "A Rested Body is a Rested Mind" and the show's anthem, "Believe in Yourself" with the nuance and shading needed. Physically and vocally, she was Ashanti's master class in how to deliver a song.

Also unfortunate was the casting of Orlando Jones as the Wiz, (succeeded on June 29 by Colman Domingo). If the Emerald City is mesmerized by the wizard's omnipotence, the question is "Why Jones?" He sings and moves well, but charisma? Nada.

The Wiz ran at City Center from June 12 through July 5, 2009. Will it follow the Encores! Summer Stars productions of Gypsy and go to Broadway? With other leads, this is an energetic, glossy Broadway type production with upbeat music and well-loved "friends." That's always popular with visiting theatergoers, but even with a yellow brick road, it is not always easy to go home.

(Pictured: Christian White, Ashanti, Joshua Henry. Photo by Robert J. Saftersein)

Elizabeth Ahlfors
Cabaret Scenes
June 30, 2009
www.cabaretscenes.org



	The Wiz City Center Theater New York, NY
The Wiz, bright and inviting as that sunny brick road, offered some light-hearted, good-time delights with its driving rock/soul score and characters as familiar to most people as their own families. If you read, go to the movies or watch TV, you know L. Frank L. Baum's classic, The Wonderful Wizard of Oz. You've rooted for Dorothy to get home to Kansas and you've shivered in fear of those evil witches. So let's dispense with the plot and talk about this 2009 version of Encores! Summer Stars revival of the all-black musical interpretation. In 1975, The Wiz was a hit Broadway show for four years and in 1978, it became a forgettable film starring Diana Ross. A Broadway revival in 1984 did not fare well. This time around, librettist William F. Brown updated the book, leaving the show alive with sassy street talk and numerous distinctive characters. Alex Lacamoire's onstage orchestra rocked with Harold Wheeler's (Dancing With the Stars) original 1970s arrangements. Still energizing is the rhythmic, joyful score with songs like Charlie Smalls' “Ease on Down the Road” and Luther Vandross' “Brand New Day.” Paul Tazewell's costumes were eye-popping, especially for the witches, yet appropriate for the Kansas farm sequences. Andy Blankenbuehler's (In the Heights) exuberant and creative choreography made witty use of costumes and props as well as sharp dance moves to move the story along the road. Whirling lithe dancers in black depicted the tornado in an exciting opener. Thomas Kail's direction of The Wiz in sprint speed, however, was choppy and episodic. The stage overload was exacerbated when the persistent dancers began to feel like too much of a good thing. David Korin's imaginative set was spare and versatile with Ken Billington’s stunning lighting. His Emerald City, however, failed to dazzle. It was green, all right, but functional rather than magical. Some performances shone. Christian Dante White was a comical Scarecrow, James Monroe Iglehart's needy Lion cried for comfort, and Joshua Henry was a quickly rusting Tinman, with a catchy tune, “Slide Some Oil to Me,” Dawnn Lewis portrayed a sassy Good Witch Addaperle, and Tichina Arnold, extravagant in scarlet, played Evillene, a deliciously devilish Wicked Witch relishing her delivery of “Don't Nobody Bring Me No Bad News.” And, of course, Toto. No complaints about Nigel, who ran across the stage like a pro. Outstanding was La Chanze who had short segments playing both Aunt Em and Glinda the Good Witch, capturing the essence of each. This is something that Ashanti, the lead in this play should have studied. As Dorothy, Ashanti was a great disappointment. Even worse, her acting was as wooden as the frame farmhouse. A befuddled "Where am I?" expression was appropriate because she was lost on the crowded stage. This is not good when you are onstage for the entire show. Admittedly, Dorothy has her problems and it's easy to understand that she has moments of not knowing where to turn. But Kail apparently could not incite any other expression from Ashanti. She is a pretty girl and a good singer but she was over-miked and it was hard to distinguish her lyrics. Her final song, "Home," which should have swelled with emotion, mainly signified the end of the show. One suggestion would be for Ashanti to study the wonderful LaChanze. A striking presence on stage, LaChanze delivered "A Rested Body is a Rested Mind" and the show's anthem, "Believe in Yourself" with the nuance and shading needed. Physically and vocally, she was Ashanti's master class in how to deliver a song. Also unfortunate was the casting of Orlando Jones as the Wiz, (succeeded on June 29 by Colman Domingo). If the Emerald City is mesmerized by the wizard's omnipotence, the question is "Why Jones?" He sings and moves well, but charisma? Nada. The Wiz ran at City Center from June 12 through July 5, 2009. Will it follow the Encores! Summer Stars productions of Gypsy and go to Broadway? With other leads, this is an energetic, glossy Broadway type production with upbeat music and well-loved "friends." That's always popular with visiting theatergoers, but even with a yellow brick road, it is not always easy to go home. (Pictured: Christian White, Ashanti, Joshua Henry. Photo by Robert J. Saftersein) Elizabeth Ahlfors Cabaret Scenes June 30, 2009 www.cabaretscenes.org

The Wiz

City Center Theater New York, NY

City Center Theater
New York, NY