Photo by Jeremy Daniel
Just as Dorothy drops in on Oz, the national tour of “The Wiz” has blown into the Orpheum through Dec. 21. Whether your touchstone is the original 1975 Broadway production, the 1978 movie version featuring Diana Ross, Richard Pryor, and Michael Jackson, or the 2015 NBC Live event, most of us carry a version of this story in our minds. This production, however, is intent on leaving its own mark on a new generation. While there is a great respect for the versions that came before, this mounting feels remarkably fresh. With an updated script by Amber Ruffin (yes, the comedian) the dialogue is contemporary and punctuated with a healthy side of “shade.” It is the beloved source material by Frank L. Baum told through the essential lens of Black culture. The funky and soulful score by Charlie Smalls fills the room, successfully chasing away the ghost of “Phantom,” which recently occupied this stage.
Dorothy, played by Dana Cimone, and her trio of companions are perfectly suited to ease us down the yellow brick road. They sing, act, and dance with a level of talent that more than gets the job done. While the leads occasionally feel eclipsed by the sheer scale of the ensemble and the action around them, they truly shine in their solo moments. This is where we see the genuine depth they bring to these iconic roles.
Photo by Jeremy Daniel
The witches each command the stage during their respective turns, but I could watch Amitria Fanae all night. Her comic timing as Addaperle is a master class in taking command of a character; it felt more like a stand-up set than traditional musical theater. In the title role, Alan Mingo is a delicious blend of RuPaul bravado and Norma Desmond’s dramatic expressions. He is a Wiz determined to protect his people while ensuring he has a grand time doing so, and the production is better for his presence.
This may be one of the hardest working ensembles currently on tour. Beyond the staggering number of costume and character changes, these performers are dancers of the highest caliber. Expertly choreographed by JaQuel Knight, the movement is a highlight of the evening. Whether they are spinning in cyclonic unison or posing and twerking at the “No Sleep Club” under the Wiz’s watchful eye, the choreography serves as a brilliant retrospective of Black style and movement technique.
If there is a missed step, it is found in the scenic design. While the minimal sets allow the colorful, imaginative costumes by Sharen Davis to pop, the overall aesthetic feels somewhat disconnected. The production relies heavily on a large projection screen displaying cartoonish “screensavers” that never quite marry with the physical set pieces shadowed beneath them.
What made me smile as much as the action on stage was the audience itself. The opening-night crowd was one of the most diverse I have seen in the Twin Cities in recent years. “The Wiz” is a fantastic production for children 10 and older, particularly those who are fans of “The Wizard of Oz” or “Wicked.” It serves as a potent reminder of the value of representation on our major stages and the responsibility this cast carries so gracefully. This production is pure joy and jubilation, reminding us all of the enduring power of friendship, adventure, and the ultimate sanctuary of home.
Photo by Jeremy Daniel
