THE WIZ Makes It Way Back Home To Broadway — Review

As far as touring productions go – and the show currently stationed at the Marquis Theatre after months on the road, and ahead of many more, certainly qualifies – this iteration of The Wiz is pretty terrific. I suspect most people besotted with Broadway grew up, like I did, seeing its itinerant musicals at local performing arts centers and it was always the same: the gleam of what was likely top-notch in the big city, fractured through terrible sound design and with staging meant for more intimate houses.

This Wiz was – like a onetime Dorothy later sang – born in a trunk, and the production is accordingly economical. There are no massive sets (done here by Hannah Beachler) and its dayglo costumes (by Sharen Davis) seem machine-washable; all easy to pack up and move to the next stop. If these elements make it seem like it might pale in comparison to its neighboring Broadway extravaganzas, they shouldn’t. What this staging of the beloved 1974 musical (itself a Black updating of The Wizard of Oz) has in spades are some of the liveliest performances in New York right now, organized by a palpable, lifelong love for the material and helmed by Schele Williams’ egalitarian, back-of-the-house direction.

Nichelle Lewis turns in a winning performance as Dorothy, the teen who becomes doubly homesick when she’s whisked away from her recently-adopted Kansas home to the Land of Oz. As she eases down the yellow brick road to meet a Wiz who could send her home, she adopts three strays with similar dreams: a Scarecrow (Avery Wilson) in desperate need of brains; a Tinman (Phillip Johnson Richardson) who makes up for not having a heart by fuckboy-lite schmoozing; and a Lion (Kyle Ramar Freeman), whose sass masks a deep cowardice.

(I have to believe Amber Ruffin, the comedian who here updates William F. Brown’s original book, as she did with last season’s Some Like It Hot, meant for these characters to read as the three fun gays Dorothy meets on her way to meet their king. It’s always good to see musical theatre honor its queens.) Charlie Smalls’ score has been similarly refurbished, picking up a song from the film adaptation and adding back one cut from the original production.

Williams, aided by JaQuel Knight’s high-energy choreography, keeps things simple and moving. This approach trades intricacy for visibility, a trait which touring houses direly require. The real acrobatics are in the cast’s vocals, which come through beautifully via Jon Weston’s sound design. Deborah Cox makes the most of her time as Glinda the Good, and Melody A. Betts’ soulful take on the double role of Aunt Em and Evillene shines. Allyson Kaye Daniel, who briefly steps out of the ensemble as Addaperle the Good, delivers Ruffin’s humor with a knack for delivery most comedians could only dream to achieve.

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.

The Wiz is in performance through August 18, 2024 at the Marquis Theatre on West 46th Street in New York City. For tickets and more information, visit here.