The Wiz Broadway Reviews

Now “The Wiz” returns to Broadway in a revival directed by Schele Williams and an updated book by Amber Ruffin, with the aim of creating a take “through the Blackest of Black lenses.” This new production, which opened at the Marquis Theater o...

Now “The Wiz” returns to Broadway in a revival directed by Schele Williams and an updated book by Amber Ruffin, with the aim of creating a take “through the Blackest of Black lenses.” This new production, which opened at the Marquis Theater on Tuesday, showcases creative visuals and some standout performances, but stops short of bringing modern Blackness to Broadway.

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 Br...

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.

The closest the revival gets is during Dorothy’s big journey back to Kansas as she sings “Home.” There, thankfully, the focus stays on the performance: The backdrop shifts to a black sky punctuated by stars, and Williams has Lewis illuminated b...

The closest the revival gets is during Dorothy’s big journey back to Kansas as she sings “Home.” There, thankfully, the focus stays on the performance: The backdrop shifts to a black sky punctuated by stars, and Williams has Lewis illuminated by a spotlight belting her heart out from center stage. I felt my heart rising as Lewis sang, but even then the spell was incomplete. The Wiz’s sound design, which had been glitchy for much of the show, was askew, at least from my vantage point, and Lewis struggled to make herself heard above the orchestra. The effect was, as with so much of the revival, of missing out on a moment that could have been great, if only given more care and fine tuning.

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 hopef...

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.

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 ...

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.

This revival, directed by Schele Williams and with a book update by Amber Ruffin, toured the country before coming to Broadway, and will ease on back out there later this year. I first caught it in Chicago, when the production remained a bit of a mes...

This revival, directed by Schele Williams and with a book update by Amber Ruffin, toured the country before coming to Broadway, and will ease on back out there later this year. I first caught it in Chicago, when the production remained a bit of a mess, and can report that the Broadway version reflects a lot of good new work. An initially bizarre approach to “Brand New Day” has been visually retooled and, although JaQuel Knight’s choreography retains an eccentric dimension (and I say why not?), it’s now a bright detour into psychedelic “Hair” territory. The show is modestly scaled; the quirky set is from Hannah Beachler and the costumes, which are fun and referential, are by Sharen Davis. Wayne Brady has been added to the cast in a title role that’s more of a cameo, really. But The Wiz really has to be a face that audiences recognize, that’s just about as important as the quality of the performance, and Brady is well within his wheelhouse and perfectly fine. He does what needs to be done and is bathed in a warm responsive bath.

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 fro...

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.

But the maximalist revival that opened at the Marquis Theater on Broadway tonight, following a 13-city national tour, diminishes some of the show’s reliable pleasures with unmitigated, candy-colored exuberance. This family-friendly approach — bri...

But the maximalist revival that opened at the Marquis Theater on Broadway tonight, following a 13-city national tour, diminishes some of the show’s reliable pleasures with unmitigated, candy-colored exuberance. This family-friendly approach — bright, broad, unironic — aligns with the musical’s legacy as a VHS favorite, but even kids could use help knowing where to look. Dizzying visuals and overamplification too often swallow both actors and storytelling in a swirling sensory overload.

Promoted as “The Wiz” through the “Blackest of Black Lenses” in a New York Times feature, the new revival that just opened on Broadway is in touch with its legacy, delivering a pleasurable experience. But ultimately, this “Wiz” is adrift....

Promoted as “The Wiz” through the “Blackest of Black Lenses” in a New York Times feature, the new revival that just opened on Broadway is in touch with its legacy, delivering a pleasurable experience. But ultimately, this “Wiz” is adrift. The production is busied with creating entertainment and signposting Blackness, at the cost of a cohesive, artistic vision.

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 R...

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.”

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 Dor...

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.

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 A...

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.

The Wiz is all about feeling. It opens with the plaintive “The Feeling We Once Had,” about remembering the good times when things get bad. The musical is designed to uplift. Its cheery sentiment and its devotion to believing in oneself, to relyin...

The Wiz is all about feeling. It opens with the plaintive “The Feeling We Once Had,” about remembering the good times when things get bad. The musical is designed to uplift. Its cheery sentiment and its devotion to believing in oneself, to relying on one another, to easing on down the road of life and refusing to carry anything 'that might be a load' may seem simplistic. But in complex times, its simple message rings loud and clear — even with some minor sound issues. A

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 journe...

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.

I became hopeful on learning that the new Broadway revival, directed by Schele Williams, stars 24-four-year-old Nichelle Lewis, making her Broadway debut, and sure enough she more accurately conveys the innocence of adolescence, with big sad eyes bur...

I became hopeful on learning that the new Broadway revival, directed by Schele Williams, stars 24-four-year-old Nichelle Lewis, making her Broadway debut, and sure enough she more accurately conveys the innocence of adolescence, with big sad eyes burrowing into the audience at odd moments. The earnest Lewis can also sing like an angel, though at times her Dorothy is so lost that she tends to become a cog in the aggressively flashy happenings around her.

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 jubila...

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 .

It could be argued that “The Wiz” is, in its humble way, a message musical — the message being that while there’s no place like home, the key lies in establishing a sense of community wherever we are. Then again, if you’re just up for a goo...

It could be argued that “The Wiz” is, in its humble way, a message musical — the message being that while there’s no place like home, the key lies in establishing a sense of community wherever we are. Then again, if you’re just up for a good time, you can ease on down here in comfort and confidence.

This rendition of “The Wiz,” which arrives on Broadway following short engagements in multiple cities and is directed by Schele Williams (“The Notebook”), has the look and feel of a second-rate, low-budget touring production, with tacky, Hall...

This rendition of “The Wiz,” which arrives on Broadway following short engagements in multiple cities and is directed by Schele Williams (“The Notebook”), has the look and feel of a second-rate, low-budget touring production, with tacky, Halloween-quality costumes, limited scenic design (relying heavily on projections), and surprisingly uninspired and generic dance choreography. More thought seems to have gone into the alcoholic drinks available at intermission, including a green-colored frozen margarita.

“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...

“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.

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 cu...

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.

With all the show-stopping singing and dancing and voluptuous acting — from most prominently Lewis, Freeman, Richardson, and Wilson — it could be said that The Wiz gives the enthusiastic audience its money’s worth. True and not so true. What ab...

With all the show-stopping singing and dancing and voluptuous acting — from most prominently Lewis, Freeman, Richardson, and Wilson — it could be said that The Wiz gives the enthusiastic audience its money’s worth. True and not so true. What about giving the audience more than its money’s worth? What about giving the ticket buyers a better tale than this backwards glance is currently providing? Or is this version of The Wiz not so much a backward glance as a flash forward? As a matter of disappointing fact, what’s on view now is not entirely Williams’ book.

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 change...

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.

Under Schele Williams’ direction, the story is perfunctory, just a series of disconnected scenes. Moment by moment there is little character reality to play: Dorothy’s need to get home is never felt, and there’s no urgency in her journey. Songs...

Under Schele Williams’ direction, the story is perfunctory, just a series of disconnected scenes. Moment by moment there is little character reality to play: Dorothy’s need to get home is never felt, and there’s no urgency in her journey. Songs and dances don’t arise naturally from the action, just one big variety show. I lost count of the number of songs that shoot up to a high note designed (successfully) to elicit spontaneous applause. Of the cast, Richardson comes off best because he’s allowed most of the time to speak like a normal person. Betts is a warm, nurturing Aunt Em anyone would click their heels to come home to, but with everyone shouting like crazy, her Evillene never becomes scary. She’s just one more yeller.

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 t...

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.

What I mean is: The cast as a whole can sing to the rafters and dance like the dickens, but their belting started to feel like an American Idol competition, and some of the dance numbers seemed so frenzied that at times they gave off an aura of desp...

What I mean is: The cast as a whole can sing to the rafters and dance like the dickens, but their belting started to feel like an American Idol competition, and some of the dance numbers seemed so frenzied that at times they gave off an aura of desperation. This unmodulated, artificial-feeling fervor made me wonder whether there were too many cities on their 13-city pre-Broadway tour, leading the cast to overcompensate in order to stave off fatigue. Or had director Schele Williams simply decided that entertainment is best served with an overdose of adrenaline?

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 goin...

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.

Dorothy’s back on Broadway in a reimagined revival of The Wiz. Does the fresh take with new material by Amber Ruffin and movement by Beyonce’s “Single Ladies” choreographer JaQuel Knight ease on down the road? For the most part, with a few st...

Dorothy’s back on Broadway in a reimagined revival of The Wiz. Does the fresh take with new material by Amber Ruffin and movement by Beyonce’s “Single Ladies” choreographer JaQuel Knight ease on down the road? For the most part, with a few stumbles along the way.

The first musical by a Black composer to win Tony Awards for best musical and best score, this well-loved show turns 50 next year. If Schele Williams’s simplistic and sometimes bewildering staging doesn’t itself demonstrate how the show has held ...

The first musical by a Black composer to win Tony Awards for best musical and best score, this well-loved show turns 50 next year. If Schele Williams’s simplistic and sometimes bewildering staging doesn’t itself demonstrate how the show has held up across those decades, she wisely steers all attention toward the main event: the stunning vocal performances from her cast. And since the show’s underwhelming visuals feel like less of a distraction than an afterthought, it’s easy enough to put the “hard stuff” to one side and just relish the aural euphoria.

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 Willia...

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.

Sadly, don’t expect to hear the same kind of exuberance for director Schele Williams’ current production of “The Wiz” at the Marquis Theatre – at least from me. Yes, the show remains a crowd-pleaser, with its catchy Charlie Smalls songs (I�...

Sadly, don’t expect to hear the same kind of exuberance for director Schele Williams’ current production of “The Wiz” at the Marquis Theatre – at least from me. Yes, the show remains a crowd-pleaser, with its catchy Charlie Smalls songs (I’m still humming “Ease on Down the Road”) and clever-enough, fairly faithful book by William F. Brown (here punched up with some contemporary jokes by Amber Ruffin) to keep us entertained for 2 ½ hours. Still Broadway audiences deserve something far better than this middling national-tour production that has been dropped into the Marquis for a limited run the same way Dorothy’s house was dropped into Oz after a tornado. True, no fatality occurs, just a sadly missed opportunity to introduce the show to new audiences (as well as delight older ones) with a first-rate reimagining of this beloved material.

“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 p...

“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.

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 talen...

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.

There’s a lot to enjoy in the revival of The Wiz, the “super soul musical” retelling of The Wonderful Wizard of Oz first staged on Broadway in 1975. There are sparkling costumes by Sharen Davis, additional book material by Amber Ruffin, and a c...

There’s a lot to enjoy in the revival of The Wiz, the “super soul musical” retelling of The Wonderful Wizard of Oz first staged on Broadway in 1975. There are sparkling costumes by Sharen Davis, additional book material by Amber Ruffin, and a charming ensemble including Avery Wilson (Scarecrow), Phillip Johnson Richardons (Tinman), Kyle Ramar Freeman (Lion), and newcomer Nichelle Lewis (Dorothy). But the subtext is most compelling about this revival. .

In other words, the actors and dancers in this “Wiz” carry the show magnificently, with Kyle Ramar Freeman’s Lion, Phillip Johnson Richardson’s Tin Man and Avery Wilson’s Scarecrow the funniest trio of misfits ever to take us on this trip t...

In other words, the actors and dancers in this “Wiz” carry the show magnificently, with Kyle Ramar Freeman’s Lion, Phillip Johnson Richardson’s Tin Man and Avery Wilson’s Scarecrow the funniest trio of misfits ever to take us on this trip to Oz. Watching these three actors outperform each other is a friendly competition not to be missed. This kind of ensemble doesn’t come out of nowhere and credit must go to director Schele Williams. But the secret sauce here is Amber Ruffin, who’s credited with “additional material for this production.” No way did William F. Brown’s book for the original 1974 Broadway production of “The Wiz” offer this many inspired one-liners. Ruffin provides a lot of great stand-up, put-down humor for Melody A. Betts’ wonderful Evilene (a Wicked Witch) and Allyson Kaye Daniel’s equally terrific Addaperle (a Good Witch). Leading the Munchkins, Daniel sets the stage afire until Wilson, Richardson and Freeman come aboard to burn it down completely.

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 t...

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.

Now, they’re playing on Broadway for the first time since its original production in an energetic, charming new staging from director Schele Williams. Cheers erupt. Charlie Smalls’ score is packed with infectious grooves and the cast delivers som...

Now, they’re playing on Broadway for the first time since its original production in an energetic, charming new staging from director Schele Williams. Cheers erupt. Charlie Smalls’ score is packed with infectious grooves and the cast delivers some fine singing. JaQuel Knight’s choreography physicalises the music and the show ascends when the full ensemble is in motion.

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 th...

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.

Surprisingly, it’s Wayne Brady as The Wiz who underwhelms; his entrance is surprisingly lowkey, and though his voice is serviceably charming, it’s leagues behind his co-stars. His shoddy throne throws a glaring light on the production’s prudenc...

Surprisingly, it’s Wayne Brady as The Wiz who underwhelms; his entrance is surprisingly lowkey, and though his voice is serviceably charming, it’s leagues behind his co-stars. His shoddy throne throws a glaring light on the production’s prudence of grandeur. The real riches are in the cast’s connection to each other, and to the material. Its young leads, as well as their more experienced counterparts, are having the time of their lives and making the most of their roles, singing with an infectious joy typically missing from oft-retread properties. The road to success might have a few bricks missing, but it’s a golden one nonetheless.

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 t...

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.

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 me...

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.

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 i...

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.

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, an...

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.

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 unifor...

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.

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 lig...

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.

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 Dor...

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.

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 conjur...

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.