The Wiz at the Peace Center
Before it heads to Broadway in late March to celebrate its 50th anniversary, a new production of The Wiz is making its way across Oz the nation, including a stop at the Peace Center.
Having zero history with the book by William F. Brown, music and lyrics from Charlie Smalls, or Sidney Lumet’s 1978 film version with Diana Ross, Michael Jackson, and Richard Pryor, this writer is ill-equipped to comment on fidelity to past editions or what updates have been made by Amber Ruffin (beyond a few obvious modern touches). But without that nostalgic connection, it’s tough to imagine many theatergoers getting much out of the show beyond its important representation, exquisite production design, and a few energetic performances.
A generally faithful adaptation of the film adaptation of The Wizard of Oz on a basic character and plot level, The Wiz otherwise takes enormous liberties — some of which pay off and some of which land with a resounding thud.
In the eternally thankless role of Dorothy, Nichelle Lewis occasionally rises to the exiting theatrical levels of Scarecrow (Avery Wilson), Lion (Kyle Ramar Freeman), Evillene aka The Wicked Witch of the West (Melody A. Bettes), her good sister Addaperle (Allyson Kaye Daniel), and The Wiz himself (Alan Mingo, Jr.) through a handful of impressive power ballads. But her dialogue and development are otherwise as forgettable as Smalls’ songs, which nevertheless receive spirited instrumental accompaniment from the tight pit orchestra under the leadership of conductor/keyboardist Paul Byssainthe, Jr. — particularly Ian Bracchitta’s bass guitar work.
Far more impactful is the interplay between Hannah Beachler’s scenic design and the projections from Daniel Brodie. Similar to the way Anastasia brings early 20th-century Russia to vivid life, the shifting digital backgrounds convey a range of urban and rural landscapes, bringing us from Kansas to Oz and back again, working in tandem with the tactile components on stage. With its elevated train and innovative architecture, The Emerald City proves particularly entrancing and resembles a green-tinged Wakanda in its Afrofuturistic creations.
It takes more than pretty imagery, however, to make a successful production, and The Wiz falls just outside of recommended territory. Results may vary, and those already under its spell are bound to have a great time, but newcomers may feel a bit like a house has been dropped on them.
The Wiz runs through Nov. 26 at the Peace Center. For details and tickets, visit peacecenter.org.
(Photo by Jeremy Daniel)
