As a lifelong fan of ‘The Wiz,’ I was ecstatic to hear about its return to Broadway and its journey across the country. My fondness for the show goes back to my childhood, and I even shared this passion with my students at the Boys and Girls Club in Northeast Mississippi, introducing them to a film they had never seen or heard of. Their mesmerized reactions mirrored my own. So, when ‘The Wiz’ announced its stop in Chicago, it was a given that I would be there, bringing along my family and friends for what promised to be a memorable experience.
The timeless charm of ‘The Wiz,’ a 1975 Broadway gem, is rekindled at Chicago’s Cadillac Palace Theatre with a new production that brings a fresh perspective while staying true to its roots. This beloved musical, originally graced by Charlie Smalls’ and others’ music and lyrics, along with William F. Brown’s book, resonates particularly with the mainstream Black audience, having left an indelible mark in theater history.
The current revival in Chicago, destined for Broadway, includes creative additions by Amber Ruffin, enhancing the story for modern audiences while acknowledging the original work’s cultural sensitivities. The show’s long-standing goodwill was palpable at the Cadillac Palace Theatre, where the audience’s enthusiasm and support were evident.
This production, a pre-Broadway trial, prepares for a national tour, with Broadway star Wayne Brady set to join in San Francisco. Alan Mingo Jr.’s current portrayal of The Wiz is commendable, though Brady’s upcoming participation adds to the anticipation.
Director Schele Williams has skillfully assembled a cast that includes Deborah Cox’s powerful performance as Glinda (who was not present for the showing I attended, though her alternate the wonderful Christina Rae was OUTSTANDING) and Phillip Johnson Richardson’s captivating Tin Man. The show’s design by Hannah Beachler and choreography by JaQuel Knight contribute to its modern appeal, while Sharen Davis’s vibrant costumes enhance the visual experience.
However, the production faces challenges in directing, pacing, and transitions, particularly from Kansas to Oz. Nichelle Lewis, as Dorothy, although vocally talented, struggles to fully convey the emotional depth of her character.
The show’s strength lies in engaging its audience, something Melody A. Betts, as Aunt Em/Evillene, demonstrates effectively. Yet, there’s inconsistency in this engagement throughout the performance. The actors, including Avery Wilson and Kyle Ramar Freeman as Scarecrow and Lion, bring warmth and energy but need to be more central to the narrative.
The production stands at a crossroads regarding its contemporary relevance. Embracing a cool, retro modernity could attract a wider audience, integrating JaQuel Knight’s choreography and Ruffin’s humor while honoring the show’s rich history.
This iteration of ‘The Wiz’ at the Cadillac Palace Theatre in Chicago is a promising reimagining of a classic, poised to captivate both long-time fans and new audiences with its blend of nostalgia, innovation, and the enduring themes of home, community, and friendship.
