Ease On Down the Road

The Wiz 

“Everybody Rejoice” because one of the finest, most contagious, high-spirited and heartwarming musicals of the past 48 years is heading back to Broadway. And fortunately for Chicago audiences, “The Wiz” has “Eased on Down the Road” to spend two glorious weeks in the Windy City before heading off to Iowa, Arizona and California. Right now, the show is scheduled to open in New York next March, but through December 10 theatergoers of all ages can delight in this exciting, hilarious and often surprising marvel of a musical that updates the tale of The Wonderful Wizard of Oz for the 21st century. It’s quite simply a glorious and exciting evening of theatre!

In early 1975, playwright William F. Brown’s adaptation of L. Frank Baum’s classic children’s story, with music and lyrics composed primarily by Charlie Smalls, opened on Broadway. It was revolutionary for its time because the show reimagined Dorothy’s familiar journey to the Emerald City in the context of America’s African-American culture. Only two previous musicals, “Purlie” and “Raisin,” had featured a black cast and become popular with Broadway audiences during the 1970’s. But “The Wiz” was groundbreaking because it was a show based upon a well-known, beloved story that could be enjoyed by theatergoers of all ages, genders and races. It also laid the groundwork for several future excellent mainstream African-American musicals, such as “Duke Ellington’s Sophisticated Ladies” and the sensational “Dreamgirls.”  The original production of “The Wiz” went on to win 7 Tony Awards, including the coveted accolade for Best Musical of 1975. It would spawn several National and International Tours, as well as multitudes of local productions, a popular film version and a live television production.

After having my mind blown by last night’s press opening of the revival of “The Wiz,” featuring additional materials created by Amber Ruffin (co-writer of the recent Tony Award-winner, “Some Like It Hot”), I’m sure that even more accolades lay in store for this incredible show. The production is beautifully guided and shaped by Schele Williams. Her name may sound familiar because Ms. Williams also co-directed the Broadway-bound musical, “The Notebook,” a show that took Chicago by storm in its run at Chicago Shakespeare Theatre. Schele Williams, who’s “committed to cultivating authentic representation on stage and off,” has brought her same magic to this musical. She previously contributed her expertise to Broadway productions like “Aida,” “Rent” and “Motown: The Musical.” In this new revitalization of “The Wiz,” Broadway audiences will soon be able to “Ease On Down the Road” to savor more soulful, hip hop musical adventures of Dorothy and her friends.

I can’t imagine there’s anyone who needs to be reminded of the plot of Baum’s beloved children’s book. But in this contemporary conception, Dorothy is a heartbroken teenager who, after her mother’s passing, has gone to live on the gray-and-white Kansas plains with her dear Auntie Em. Despite feeling loved by her mother’s sister (told through Melody Betts’ soulful, “The Feeling We Once Had”) Dorothy feels that she just doesn’t belong here. The girl longs to be someplace where she has friends and life offers a little more adventure. 

As we all know, a tornado suddenly sweeps the youngster off to the magical Land of Oz, whereupon her house lands on and kills one of two wicked witches who plague the land. Dorothy is hailed as a hero, and is rewarded with the witch’s magical silver slippers. But amidst all the hoopla, she simply wants to return to the love and safety of her home. In order to achieve this, however, two good, kindly witches, Addaperle and Glinda, tell Dorothy she must journey to the Emerald City and ask the Wiz for his help. Along the way she meets the Scarecrow, the Tinman and the Cowardly Lion, who also have their own wishes they’d like the Wizard to grant. Of course, in order to make them come true, the Wiz makes Dorothy promise to kill Evillene, the remaining wicked witch, so that everyone in Oz will finally be free. After a day filled with adventures, a much-changed Dorothy is finally able to return home, at last.

This multitalented cast is absolutely sensational. Thanks to gifted choreographer Jaquel Knight, all 27 company members seem to be in constant motion. The dances are athletic, artistic, and practically nonstop. Top-notch musical direction is provided by Paul Byssainthe, Jr., who also plays keyboard while conducting the robust and talented orchestra. The score, which boasts brand new musical and vocal arrangements by Joseph Joubert and Allen Rene Louis, features a score of 28 songs. They include the hit, “Ease On Down the Road,” and features such songs as “Be a Lion,” “What Would I Do If I Could Feel,” the rousing “No Bad News” (passionately sung with soul by Chicago’s own gifted and versatile Melody Betts, who also plays Evillene), the jubilant “Everybody Rejoice,” “Believe in Yourself” and Dorothy’s heartfelt finale, “Home.”

The astonishing and awesome Nichelle Lewis makes her Broadway debut as Dorothy. This talented young actress has been seen in National Tours of “Hairspray” and “Little Shop of Horrors,” but this role is destined to make Ms. Lewis a star. She’s incredible, lovely, charismatic and with the voice of an angel. As mentioned earlier, she’s supported by the astounding Melody Betts, both as Auntie Em and Evillene; Broadway diva Deborah Cox, as beautiful Glinda; Alan Mingo, Jr., as the Wiz— the sensational award-winning actor known for his role as Lola in “Kinky Boots;” and Allyson Kaye Daniel, who provides a lot of laughs as the daffy good witch, Addaperle.

Dorothy’s friends are wonderful and winsome. They include the lithe and lovable Avery Wilson as the Scarecrow. He charms Dorothy and the Crows with his dispirited ditty, “You Can’t Win.” The likable Phillip Johnson Richardson, who was seen in Chicago’s production of “Hamilton,” is smooth and shiny as the Tinman. He rocks out “Slide Some Oil to Me” in a plea to cure his rustiness. And cuddly Kyle Ramar Freeman, seen both on Broadway and the West End in “A Strange Loop,” is absolutely amazing as the sweetest Cowardly Lion you could ever imagine. Freeman hilariously struts about and sweet talks everyone that he’s “A Mean Ole Lion.” All three performers add their own special joyful touches to each character.

But a review of this show wouldn’t be complete if I didn’t mention the brilliant technical artistry and majesty of this production. If Hannah Beachler’s incredible, jaw-dropping scenic design, enhanced by the marvelous moving projections by Daniel Brodie and some scintillating lighting by Ryan J. O’Gara, doesn’t astound you, Sharem Davis’ stunning and wild costumes certainly will. They’re coupled with the unbelievable hair and wig designs by Charles G. LaPointe and Kirk Cambridge-Del Pesche’s beautiful, expressive makeup creations.

Taken alone, the work contributed by all these gifted theatre artists is alone worth the experience of attending this revival; but combined with a beloved story and its heartfelt theme, the skillful direction, choreography, gorgeous music and all the glorious performances that bring this story to life, no one in Chicago should miss easing on down the road to see this marvelous, magical pre-Broadway musical.  

Highly Recommended

Reviewed by Colin Douglas

Presented November 28-December 10 by Broadway in Chicago at the Cadillac Palace, 151 W. Randolph, Chicago.

Tickets are available at all BIC box offices, at all Ticketmaster retail locations, by calling the Broadway in Chicago Ticket Line at 800-775-2000 or by going to www.BroadwayInChicago.com

Additional information about this and other area productions can be found at www.theatreinchicago.com