Review Roundup: THE WIZ National Tour; What Are the Critics Saying?

The Wiz is now on tour! Check out the reviews here!

Conjuring up an Oz unlike anything ever seen before, the creative team is helmed by director Schele Williams (The Notebook, revival of Disney’s Aida) and includes choreographer JaQuel Knight (Beyonce’s “Single Ladies”), William F. Brown (book), Charlie Smalls (music & lyrics), Amber Ruffin (additional material), Joseph Joubert (music supervision, orchestrations, & music arrangements), Allen René Louis (vocal & music arrangements), Adam Blackstone and Terence Vaughn (dance music arrangements), and Paul Byssainthe Jr. (music direction). 

They are joined by Academy Award winner Hannah Beachler (scenic design), two-time Academy Award® nominee Sharen Davis (costumes), Emmy and Barrymore Award winner Ryan J. O’Gara (lighting), Jon Weston (sound), Daniel Brodie (video & projections), Drama Desk Award winner Charles G. LaPointe (wigs), and Kirk Cambridge-Del Pesche (makeup). 

Michael Rabice, BroadwayWorld: THE WIZ seems to rush through Act I quickly, with brief introductions to each character, and songs that do have a similar, nondescript tone. It takes a while to develop a sense of heart for these street smart versions of Dorothy's pals. Luckily the second Act allows the group to meld better. The reveal of the Wiz's trickery was just as disappointing as ever, only to be resolved by Glinda once again. By the time the cast sings "Everybody Rejoice" (aka "Can You Feel A Brand New Day" by Luther Vandross) we are thrown back into the the psychodelic land of the 1970's, with a paean as uplifting as "Let The Sun Shine In" from HAIR.

Peter Marks, Washington Post: The talent in this kid-friendly extravaganza is estimable, nevertheless, starting with a charming Nichelle Lewis as Dorothy: Her slippers may be made of silver rather than rubies, but she’s still wending her way to the Emerald City on the Yellow Brick Road in the company of the Scarecrow (Avery Wilson), Tinman (Phillip Johnson Richardson) and the Lion (Kyle Ramar Freeman). The vocal prowess abounds in this trio — and so at times does the hamminess.

Lynne Menefee, MD Theatre Guide: Despite a half hour delay due to a power outtage, the audience and the whole evening was full of joy and energy, extended applause, and standing ovations. Virginia native and Tik-Tok sensation, Nichelle Lewis was chosen among couple of thousand hopefuls to play Dorothy (she does having touring experience in “Hairspray” among others). She has a beautiful voice and incredible range, though at times, her character felt a little detached.

Mark G. Auerbach, Mass Live: “The Wiz,” currently at The Bushnell, sizzles on every level. Hannah Beachler’s psychedelic sets and Daniel Brodie’s incredible video and projections are mind-blowing. Ryan J. O’Gara’s lighting bedazzles, and Sharen Davis’ costumes are bright, bold and sassy. This high tech opulence makes this half-century musical look like it was born yesterday.

Mary Carole McCauley, The Baltimore Sun: Lewis, the 24-year-old Virginia native and one-time “American Idol” contestant whose TikTok videos led to her beating out more than 2,000 applicants to land the role of Dorothy in the first major revival of the iconic musical in 40 years, is the real deal. When she stands alone on the Hippodrome’s vast stage, her slender build and 5-foot, 4-inch frame emphasize the vulnerability of her teenage character. But her voice is huge; it can vault four octaves so quickly it seems spring-loaded.

Armando Urdiales, BroadwayWorld: As an avid fan of The Wiz, I can't help but feel that this recent adaptation of the beloved classic misses the mark in several significant ways. A misguided emphasis on humor overshadows the story's heart and soul and the score's richness. I sincerely hope that any upcoming revivals will take greater care in capturing the essence of the narrative and the musical's emotional depth rather than simply trying to elicit laughs at every turn.

Christine Howey, Scene: The undeniable strength of this production are the voices, led by TikTok sensation Nichelle Lewis in the linchpin role of Dorothy. The slight and even fragile-looking Lewis has a voice that is muscular, resonant and downright startling as it hops from octave to octave with ease. Although she can work on developing her physical stage presence along with capturing the emotional nuances of her character's longing for home, her voice is all that and a bag of chips.

Joey Guerra, Houston Chronicle: The most wonderful thing about this 'Wiz' is the cyclone of vocal energy that lifts it off the ground. Almost every song builds to a climactic power note. Dorothy, Tin Man, Scarecrow and Lion harmonize as if they've been singing together for years. The show's trio of witches each get moments to shine. It's in these voices that the show's true magic lies.

Roy Berko, BroadwayWorld: Outstanding performances were put in by the delightful Avery Wilson (Scarecrow) whose “You Can’t Win” was a smile-fest; stiff-limbed, charming, Phillip Johnson Richardson (Tinman) whose “Slide Some Oil to Me” was totally amusing; and Kyle Ramar Freeman (Lion) who, though no Bert Lahr, the Cowardly Lion of the original movie version of The Wizard Of Oz, was properly cuddly and charming as the Lion, especially during “Mean Ole Lion.”

D.L. Groover, Houston Press: The impressive cast belts like mad, almost Handelian in their three-notes for every syllable uttered. This gospel style of singing, Mahalia Jackson on steroids, wears one out after the first few numbers. Everybody wails as if on America’s Got Talent. They are all incredibly good singers, great singers, super singers, really; but eventually they all sound the same, and the style numbs us.

Joey Morona, Cleveland.com : A grand spectacle like “The Wiz” doesn’t work without a stellar cast. This time, producers have placed much of that responsibility upon the young but more than capable shoulders of Lewis. The decision may have started out as a risk but this Dorothy comes through with a stunning performance, displaying the kind of talent and stage presence that belie her plucked-from-TikTok origin story. She sings with a sweet, almost angelic tone in her voice, which somehow seemed to get stronger as the show went along. If her climactic performance of “Home” doesn’t move you to the brink of tears, you’re doing it wrong.

Ronelle Grier, The Detroit Jewish News: The cast is stacked with triple-threat performers who bring energy, heart, and humor to every scene—especially Dana Cimone as a spunky, vocally stunning Dorothy and Elijah Ahmed Lewis as a standout Scarecrow. Highlights like “Ease on Down the Road,” “Home,” and “Don’t Nobody Bring Me No Bad News” aren’t just nostalgic—they’re delivered with fresh, emotional power. Director Schele Williams and a top-notch creative team have crafted a production that’s not just a revival, but a reinvigoration, reminding us why The Wiz broke barriers in the first place—and why it’s still so necessary and joyous today.

Elliot Lanes, BroadwayWorld: Casting wise, Nichelle Lewis as Dorothy is a good find vocally, but she relies on riffs way too much. Her version of “Soon As I Get Home” is a prime example of a quiet story song gone bad with too many vocal embellishments. The score won a Tony Award. It does not need any “help”. Lewis’ acting also needs work. I did not get the sense of urgency in her wanting to get home at all. It’s also a bit disconcerting to me that her bio says she is thrilled to be making her Broadway debut in The Wiz before the show ever gets to Broadway. Anything could happen between now and March of 2024. Just saying.

Gary Graff, The Oakland Press: The good news is that this tale as old as (post-industrial) time still works, from the bullet-proof story itself to the original songs from Charlie Smalls and others. And it has a solid cast, from Simone’s Dorothy to the 14-member dance company, to deliver those goods with theater-filling charisma.

Nada Abdulaziz, The Pitt News: The Tony Award-winning musical took audiences on a soulful, gospel-infused adventure through a contemporary twist on L. Frank Baum’s classic “The Wizard of Oz.” The protagonist Dorothy, portrayed by Mariah Lyttle, took the audience on a journey through the whimsical Land of Oz to the Emerald City. Along her path, Dorothy makes friends, faces obstacles, overcomes personal doubts and learns the value of friendship and self-acceptance.

Alan Portner, BroadwayWorld: What I saw in THE WIZ was an incredibly tight, professional, and slick rendering of the L. Frank Baum tale with an all African American cast. The use of dance with an unusually large ensemble very much added to the continuity of the show. Each of the singing leads was excellent.

Rick Mauch, Star Telegram: Ruffin’s update of the material makes the show feel more timeless, whereas William F. Brown’s script from the 1970s can clearly be connected to that time period. In fact, she reworked over 50% of his original script.

Vickie Evans, BroadwayWorld: It is unheard of for me to walk away from a production without one ounce of criticism. Yet, it is true in this case. I LOVED everything about this performance. I felt like I did when I saw The Color Purple on Broadway the first time - pure jubilance. The entire cast is phenomenal! I definitely must acknowledge one of my all-time favorite singers, Deborah Cox, as Glinda, The Good Witch. I count her amongst the greatest singers of all time…comparable to the best to ever do it, Whitney Houston, The Voice, who she performed with and also paid tribute to as the lead role in The Bodyguard, a 2012 stage musical. I really enjoyed her in this performance as Glinda .

Jeffrey Kare, BroadwayWorld: The whole cast is so incredibly talented in their roles. Dana Cimone gives a very winning performance as Dorothy. She’s relatable, heartfelt, and also has quite a set of pipes. Elijah Ahmad Lewis’ Scarecrow has to be the first portrayal I've seen in any incarnation of The Wizard of Oz where the character literally feels like he’s in need of a brain, resulting in memorable work. D. Jerome is solid as Tinman, who is, of course, in need of a heart. Cal Mitchell is hilarious as the Cowardly Lion. As The Wizard of Oz himself, Alan Mingo, Jr. is so delightfully over the top. Although Sheherazade literally brings the house down with her singing as Glinda the Good while Kyla Jade gives such a scenery chewing performance as Evillene, the Wicked Witch of the West.

Madeline Holly-Carothers, Q City Metro: “The Wiz” is a revival of a classic that is well worth seeing. It does a good job of calling back to the iconic film and bringing the story of the original Broadway show while still making space for its own flavor. The voices, the dancers, the set and the story all culminate in a show that emphasizes Blackness in the most beautiful way. “The Wiz” is it.

Curt Yeomans, Morgan County Citizen: In all, “The Wiz” is definitely a show to take the kids to. The jokes don’t fly over anyone’s heads and the action doesn’t go over the top. It’s a fun night at the theater for the entire family and a must see installment in the Fox’s current theater season.

Cape Cod Times, Cape Cod Times: See it or not? If you’ve only seen the popular, but less-than-satisfying 1978 movie starring Diana Ross, give “The Wiz” another look. Despite some missteps, this live version is superior in its thoughtful storytelling, outstanding performances, comedic tone, and dynamic staging, and is filled with color, heart, and the exuberance of (Beyonce video alum) JaQuel Knight’s choreography. Technical issues, unfortunately, bring the production down, including muddy sound that makes many lyrics and lines unintelligible — particularly for Cimone’s pull-out-all-the-stops solos in her impressive professional debut, and for sly witch Addaperle’s (Amitria Fanae) clever running quips.

Terry Byrne, Boston Globe: The real star of the show, however, is choreographer Knight, whose endlessly imaginative routines include a tornado illustrated by dancers spinning in swirling fabric; a New Orleans style Second Line parade, complete with brightly colored handkerchiefs waved with precision; and Evillene’s downtrodden workers who dance with bright red buckets meant to keep the rain from dripping into her lair.

Sheri Gross, Cleveland Jewish News
: The magic of this production is front and center within the spectacular voices that color the many genres of music found in the iconic score, including rock, pop, gospel, soul and ‘70s funk, with updated arrangements to align with the script changes in order to make the show more current. Each actor stands out as a superb individual vocalist, and together, they take the already stunning complex harmonies, and somehow make them even more beautiful.

Michael Woody, Dayton Local: es, I know it’s more hip to like Wicked rather than Wizard of Oz, but I’m old fashioned. Plus nobody has ever called me hip. As someone who has a collection of Wizard of Oz figures in several different styles and other types of collectibles, the highest compliment I can give the cast and crew of ‘The Wiz’ is, I’m no longer sad this wasn’t yet another production of the ‘Wizard of Oz’ but have gained a new found appreciation for ‘The Wiz’ and the version it represents. All yellow brick roads lead to the Emerald City, and I’ll gladly ease on down or follow one.

Rachel Weinberg, BroadwayWorld: It’s a “brand new day” for THE WIZ with new material from Amber Ruffin in this Broadway-bound engagement, but the production is well-trod territory. While I don’t take issue with the 1974 musical’s source material (Broadway is no stranger to riffs on THE WIZARD OF OZ), but the production choices — and the new additions to the book — don’t make this a unique or refreshed interpretation. From the gray tones of Kansas to the technicolor fairy-tale transformation into Oz (set by Hannah Beachler and costumes by Sharen Davis), this WIZ follows a well-worn path. That’s not to say the production isn’t enjoyable, but this Yellow Brick Road isn’t taking audiences on a novel adventure.

Zaria Mac, The St. Louis American: With such dynamic choreography and rich musicality, strong vocals were essential—and the cast delivered. Every performer offered clear, powerful, professional singing. Among the standouts was Kyla Jade, who took on dual roles as Aunt Em and Evillene. As Aunt Em, her voice was gentle and warm. As Evillene, she unleashed grit and gospel-soaked resonance—especially during her show-stopping “Don’t Nobody Bring Me No Bad News.”

Chris Jones, Chicago Tribune: In the end, this is Dorothy’s quest and, as everyone else stands aside for the crucial Act 2 11 o’clock show-stopper “Home,” Lewis simply has to command the entire theater with the force of her spirit and the depth of her heart. That’s going to take a lot more work. Yet “The Wiz” won’t work without that payoff in place.

Mark Horning, DC Theater Arts: You could feel the circus-like atmosphere and the excitement of the crowd in the National Theatre lobby before the opening curtain of The Wiz. The touring production more than delivered, and it showed the audience a “brand new day.” Schele Williams directed standout performances of the Tony Award–winning musical with its mix of rock, ’70s funk, gospel, soul, and a dash of hip-hop. The Wiz is what a musical is supposed to be.

Ed Tracy, PicksInSix: “The Wiz” is ingeniously directed by Schele Williams with some clever choreography by JaQuel Knight that amplifies a superb company large in number and steeped with talent running through their paces at a size and scope rarely seen in a touring production. The show premiered in Baltimore in late September and is making a multi-city tour in advance of its scheduled debut on Broadway in March 2024 with a lot of professional steam behind the William F. Brown book with music and lyrics by Charlie Smalls.

Chuck Duncan, Hotchka: Director Schele Williams obviously has a lot of love for The Wiz, and she and her team have really given us a production that honors the original but is also its own thing at the same time. Even with all of the visual pizazz, The Wiz begs for a talented cast to deliver those songs and who can stand out from the visual feast around them. That is where Williams has succeeded the most.

Rachel Weinberg, BroadwayWorld: It’s a “brand new day” for THE WIZ with new material from Amber Ruffin in this Broadway-bound engagement, but the production is well-trod territory. While I don’t take issue with the 1974 musical’s source material (Broadway is no stranger to riffs on THE WIZARD OF OZ), but the production choices — and the new additions to the book — don’t make this a unique or refreshed interpretation. From the gray tones of Kansas to the technicolor fairy-tale transformation into Oz (set by Hannah Beachler and costumes by Sharen Davis), this WIZ follows a well-worn path. That’s not to say the production isn’t enjoyable, but this Yellow Brick Road isn’t taking audiences on a novel adventure.

Dennis Polkow, New City Stage: The Broadway-bound fiftieth-anniversary revival of “The Wiz” gets to the heart of what made “The Wiz” so special: song and dance. In this case, make sure that every member of the cast can sing like they are leading a revival meeting, as if their lives depended on it with maximum vocal virtuosity and intensity. Surround them with an onstage congregation of life-affirming dancers who can shake up—and literally dance up—a storm and can sing praiseworthy affirmative amens. Clothe everyone in dazzling otherworldly attire of bright bursts of color and textures that manage to look organic and stylish. Combine the best of imaginative physical sets with bright digital backgrounds and music arrangements that preserve elements of the seventies while always managing to feel contemporary. This is a dazzling production that is a feast for the eyes and ears.

DC Felton, BroadwayWorld: Visually this is an exciting show to watch. The scenic design by Hannah Beachler and projection design by Daniel Brodie beautifully work together to take the audience to all the fantastic places we get to visit through the show. The way they meld together allowed scenes like the tornado to elicit gasps from multiple people in the audience. The sets and projections, along with costume design by Sharen Davis, take us on a colorful journey while giving nods to different elements from past iterations of the story.

Jared Fessler, BroadwayWorld: The production unfolded with a visual feast, thanks to the creative talents behind the scenes. Sharen Davis's vibrant and imaginative costume designs, coupled with Hannah Beachler's scenic artistry, set the stage aglow. The auditory experience was meticulously crafted, with Jon Weston at the helm of sound, while Ryan J. O'Gara's lighting design added a layer of enchantment throughout the entire show.

Herbert Paine, BroadwayWorld: As directed by Schele Williams, this is an adrenaline-fueled, high-energy version of THE WIZ that refuses to quit. Everything, both visually and orally, is loud. Occasionally, the acoustics in the theatre worked against the production, often making it difficult to hear what was being said or sung. But with exaggerated body movements, over-the-top facial expressions, and dialog delivered in big, brassy, broad strokes, audiences are practically prompted when to laugh, whether they correctly heard the line or not.

ErinMarie Reiter, BroadwayWorld: The show is vibrant, ultra-fantastical, very funny, and musically glorious as a whole. The scenic design by Hannah Beachler works with the digital projections by Daniel Brodi, and the lighting design by Ryan J. O’Gara to create an eye-catching, and vivid place. The costumes by Sharen Davis are equally character-building and striking - Dorthy’s signature pinafore and check are brought fashionably more modern, and each witch is distinct, colorful, and full of personality. The Wiz is beautifully slick, and streamlined as befits his status, but also allows for a quick costume change for a getaway.

Karen D'Souza, Mercury News: As it is, the charm is fitful as the Emerald City dance party feels never-ending and the wonderfully funky diva poppies don’t live up to their promise. That’s a pity because JaQuel Knight’s choreography is mesmerizing and the dancers are uniformly impressive, flying from one lithe pose to the next, but the movement doesn’t feel connected to the momentum of the show.

Lily Janiak, San Francisco Chronicle: Its current incarnation, with comedian and writer Amber Ruffin (also in the city to participate in this year’s SF Sketchfest) updating Brown’s book, unfurls a promenade for Black talent. Lewis’ Dorothy has the vocal power and precision of a lightsaber. After Phillip Johnson Richardson’s Tinman gets his rusty jaw slicked with oil, his very singing in “Slide Some Oil to Me” has emollient qualities. His vocal slides practically moisturize your ears.

Charles McNulty, LA Times: Subtlety is not a prevailing virtue, particularly when comedy and villainy collide. Melody A. Betts is affectingly human as Aunt Em, bringing out the gorgeous emotional color of her number “The Feeling We Once Had,” which she sings to restore Dorothy‘s spirit after a run-in with school bullies. But when Betts plays Evillene, the Wicked Witch of the West, she turns into a Saturday morning children’s TV baddie. The performance is so scenery-chewing that Tyler Perry might even object.

Charles McNulty, Los Angeles Times: The revival’s tacky side can’t be glossed over. The built-to-travel scenic design by Hannah Beachler has some set pieces that look like misshapen items I might have assembled, substituting glue for screws. Projection designer Daniel Brodie conjures enchantment with an impish wink, but visually the show is nothing to look at.

Average Rating: 77.6%