OKLAHOMA CITY – Live theatre holds the power to transport audiences into worlds far from their own, providing showgoers a ticket out of the mundane and into the technicolor world of Broadway musicals, and OKC Broadway’s newest production is here to give us the feeling that we’re not in Oklahoma anymore.
Theatre-goers Tuesday “eased on down the road” for the whirlwind opening night of the touring revival of 70s cult classic “The Wiz,” which is set to run at OKC’s Civic Center from now until May 24th.
“The Wiz” is William F. Brown’s legendary 1974 adaptation of L. Frank Baum’s children’s novel, “The Wonderful Wizard of Oz,” retelling the timeless story through the lens of African American culture, providing elements of R&B, soul, gospel, and 70’s funk to the music that drives the show along.
The original production’s music was forever elevated by Sidney Lumet’s 1978 film, which saw Motown legends like Diana Ross as Dorothy and a young Michael Jackson as the Scarecrow, all with music supervision by the legendary producer Quincy Jones, who forever instilled the unmistakable “Motown Sound” into the show.
Nearly 50 years later, the show is still as fresh as ever, and comedian Amber Ruffin’s 2023 rewrite for the current touring revival carefully creats a modernization that adds to the production without losing the show’s distinctive character.
“The Wiz” follows the story of a young girl named Dorothy, (played by the incredible Phoenix Assata LaFreniere) who has just recently moved onto the farm of her beloved Aunt Em (played by Kyla Jade) just after the death of her mother.
Music supervisors Joseph Joubert, and Music Coordinator Michael Aarons not only did justice to Charlie Smalls’ classic score but they incorporated moments of modern hip-hop into dance breaks and transitional sequences, providing diegetic music to Oz, creating an effect that could be likened to hearing Jazz in New Orleans.
Rejected from her new environment by the unwelcoming students at her new school, she confides in the comfort of her aunt, comfort that is received but short-lived, due to a gracious tornado which transports both Dorothy and her farmhouse to the strange Land of Oz.
Upon her arrival, Dorothy is welcomed by the charismatic Good Witch of the North, Addaperle (played by Amitria Fanae’) and her slew of gleeful Ozians, who humorously rejoice after discovering the newly deceased Evermean (the Wicked Witch of the East) who was accidentally crushed by Dorothy’s house.
As a reward for freeing both herself and her people of her wicked sister, Addaperle calls upon her good sister Glenda (played by the angelic Sheherazade) to help Dorothy get home, providing her with magical silver slippers as well as a yellow brick road, leading her to The Emerald City as it is there that she’ll meet and be helped by The Wiz (played by the charismatic Alan Mingo Jr.).
On her journey she befriends a hyperactive Scarecrow (a brilliantly funny Elijah Ahmad Lewis) a smooth talking Tinman, (the soulful D. Jerome) and a confident yet cowardly Lion (the golden-voiced Cal Mitchell) all on their way to meet The Wiz in hopes of retrieving parts of themselves that were taken away by the Wicked Witch of The West, Evilline (also played by the fiery Kyla Jade).
“Powerhouse” does not begin to describe the cast as each player has the potential to rip the roof off the house harder than a twister ever could. Each note belted by Lafreniere and her costars could reach Kansas from Oz, filling the entire room with their sheer emotion, blowing the audience away song by song.
The relationship between Lafreniere and her three friends is unquestionably tight, but it was Lafreniere’s relationship with Jade in her portrayal as both Dorothy‘s Aunt Em and her rival, Evilline, that felt all too real. Despite the dichotomy between her two characters, Jade brought a superstar quality as well as likability to both of her roles, making you want more of her whenever she wasn’t on stage.
This makes all the more sense when you discover that Jade was a top finalist on season 14 of NBC’s “The Voice,” as well as an accomplished solo artist in her own right.
Great direction often leads to great performances and luckily for the cast and crew Director Schele Williams is an undeniable master of her craft. Throughout the show’s duration, there was not a singular moment that lacked care or attention to detail.
That attention was not lost on Emmy-winning costume designer Sharen Davis, as each character’s costume elevated both their personality and the character’s history. From the Tin Man’s petrified club wear made permanent by the witches’ curse to Evillene’s blazing dress of fire, you knew who the characters were before they even told you.
All of those beloved characters could not exist without their magical setting, a world that was beautifully crafted by Academy Award-winning scenic designer Hannah Beachler. She created Oz through a multimedia process, combining digital backdrops with practical effects, such as fog, stage props, flyrigs, and clever scenery wagons, which gave the illusion of a dream being manifested on stage.
The original music was in the intensive care of music director Patrick-Tice Carrol and vocal arranger Allen René Louis. The pair did a remarkable job as the relationship between the performers and the pit musicians couldn’t have been any tighter.
Jaquel Knight’s intense choreography greatly complements the music, bringing life to not only the leading characters but also personifying roles such as the Tornado and the Yellow Brick Road, bringing life to even the inanimate.
Through both the energetic dancing and the pitch-perfect music the show strikes hard at its most notable tunes, with gleeful classics such as the travel anthem “Ease On Down The Road #1”, The Scarecrow’s funky rendition of “You Can’t Win” and of course the explosive group number “Everybody Rejoice.”
But there are also some sleepers that will pull at your heartstrings, from tracks such as LaFreniere’s tour de force performance of “Home” to the passionate cry found in D. Jerome’s “What Would I Do If I Could Feel,” these numbers along with so many others are sure to give the whole auditorium chills.
Be aware, though, some elements in this show may appear frightening to younger viewers, although children seven and up will love their journey they take with Dorothy and her friends.
Scene by scene, song by song, “The Wiz” will keep you hooked until the end of the yellow brick road.
“The Wiz” runs at the Civic Center Music Hall now through Sunday, May 24th, presented by OKC Broadway.
For showtimes, tickets, and more, visit okcbroadway.com and okcciviccenter.com.
Gavin Taylor is a writer who explores the lives, work, and events of the people of Oklahoma. He draws his inspiration from engaging directly with the community.
Outside of writing, he is a visual artist, filmmaker, and energetic rock and roll frontman known professionally as The Muffled Siren.
