"The Wiz"
Fisher Theatre
Detroit, Mich.
June 17, 2025
“Wicked” may still be a dominant force in popular culture, but audiences should take note of another musical adaptation of “The Wizard of Oz” that’s making its way around the country. Broadway’s 2024 revival of “The Wiz” – its first Broadway revival since 1984 – is currently on national tour, and the production is spectacular.
The show features a Tony Award-winning score by Charlie Smalls and a book by William F. Brown, updated by Amber Ruffin. It has everything you want in a musical: powerhouse voices, impressive dance numbers, dazzling sets and colorful costumes that together leave you with a spring in your step and a smile on your face as you sing back to your car.
Originating on Broadway in 1975, “The Wiz” is a musical adaptation of “The Wizard of Oz” story, told through the lens of African American culture. It basically follows the same format: Young Dorothy in humdrum black-and-white Kansas is blown away by tornado to the colorful fantasyland of Oz. After her house accidentally lands on and kills the Wicked Witch of the East, Dorothy must avoid the Wicked Witch of the West as she journeys to the Emerald City to meet the governing Wizard to send her home. Along the way, she picks up the Scarecrow, Tinman and Lion also seeking the Wizard to grant their hearts’ desires.
I’d only seen a portion of the Michael Jackson/Diana Ross film version of “The Wiz” decades ago and can’t comment much on how closely the stage revival compares to either the film or original Broadway production. While its gospel/disco/R&B score and Black cultural references are the primary differences from “The Wizard of Oz” musical, a few others stand out to me. In “The Wiz,” the characters of Glinda and the Good Witch of the North are separate, and Dorothy’s magical shoes are silver – which are both accurate to the book. “The Wiz” also personifies the crows, poppies and even Yellow Brick Road with dancers, adding even more whimsy to the story. Poor Toto does not make the cut.
The most impressive aspect of “The Wiz” was the sheer collection of powerhouse vocalists. Leading the cast as Dorothy, Dana Cimone nailed every song from the opening number to the finale – even more impressive adding in all the dancing down the Yellow Brick Road – all while exuding the sweet, brave nature of the iconic American heroine. Kyla Jade as Aunt Em/Wicked Witch Evillene and Cal Mitchell as the Lion filled the theater with commanding, resonant voices. Jade’s Evillene is more fiery Queen of Hearts than terrifying green monster, and her villain song “Don’t Nobody Bring Me No Bad News” was amusingly ironic (given that it was delivered in gospel style). D. Jerome as Tinman sang with a soulful, velvety richness reminiscent of '90s R&B icons like Boyz II Men and All-4-One.
But really, it’s hard to pinpoint any singer as a standout, simply because every soloist in the cast was exceptional. Their power, range and vocal control blew me away. When they harmonized together, the effect was sublime.
The dance numbers were impressive as well. With choreography from JaQuel Knight – famous for his work Beyoncé’s “Single Ladies” – it blended traditional Broadway jazz with hip hop, Afrobeats, ballroom, and disco. The disco/hip hop Act II opener “The Emerald City” was a green showstopper. My favorite dance scene was the tornado transition. In billowing gray suits, the dancers spread their arms and brought the spinning tornado to life with beautiful turns, leaps and jumps paired with fog and simulated lightning.
I prefer traditional sets and effects to screens, but “The Wiz” used both effectively, with colorful background projections to set the scene, especially the vibrant Munchkinland, reimagined as New Orleans, plus plenty of fog and lighting effects.
Simply put: “The Wiz” is a ton of fun. If you’re looking for a big dazzling Broadway show, “Ease on Down the Road” to the tour stop near you.
