THE WIZ Reviews — Page 2

Oh man. This line in Variety made me snort with laughter: "She (LaChanze) invests real warmth into two of composer-lyricist Charlie Smalls' luscious ballads, "The Feeling We Once Had" and "Believe in Yourself," even if she's unaccountably got up as Erykah Badu at the Grammys for the latter."

I saw the matinee yesterday, and it was....interesting.The audience was just a mess. There were a lot of young children in school groups in attendance yesterday, and I don't think they were told that The Wiz is a musical. Every time a song started, people groaned.

Cute unscripted moment:
Tin Man: It's just...I don't have a heart.
Little Girl in the Audience: -HUGE GASP-

The stand-outs for me were Joshua Henry as the Tin Man, James Monroe Iglehart as the Lion, and the two lead vocalists in "Brand New Day" (John Eric Parker and Angela Grovey?).

The set was pretty forgettable. It was clear that we were supposed to focus on the performers and the spectacle of the costumes and the choreography as opposed to the set pieces, so the set didn't phase me that much. I absolutely LOVED the costumes. The choreography worked really well for the show. The flying tricks and the tornado sequence were kind of repetitive, but they were always impressive.

I was underwhelmed by Tichina Arnold and Dawnn Lewis. There was really nothing significantly memorable about their performances, which surprised me because both of their characters have some really fantastic songs. LaChanze sang beautifully, but she was severely underused, very much like Norm Lewis in Mermaid.

Orlando Jones' casting confused me initially, and after seeing the show, I still don't really know where that idea came from. After watching his entrance song, I was thankful that the Wiz doesn't have much of a singy-dancy role. His scenes were more enjoyable than his songs, but just barely.

Ashanti was pretty blah. Her voice sounded wonderful on some songs, but in others, it sounded tight and like she was pushing. Her acting was barely there. I was surprised at how she became lost in the show. I barely remember seeing her onstage, though I knew she was there somewhere. She was hidden behind the Tin Man and the Lion; both were far more captivating to watch.

The ensemble was absolutely fantastic. I don't know if I've ever seen dancers move so well. Of the ensemble, I couldn't think of any weak links. It's worth seeing the show for the ensemble alone.

"Brand New Day" was by far my favorite song. The entire energy both onstage and in the house was electrifying. The starting soloist (who I believe is John Eric Parker, but correct me if I'm wrong) had a gorgeous voice and his 'transformation' worked perfectly. Angela Grovey (I think :p) did some incredible riffs. They blew my mind.

Overall, I'd say the show is okay. It has its stand-out performers, but it isn't something I would tell my friends to see if they were in NYC. It definitely isn't ready for a transfer.

Updated On: 6/18/09 at 11:01 PM

I think that, to me, the show has transfer potential in how well it's being received by audiences.

If the two lead roles being billed above the title were re-cast (Dorothy and The Wiz,) this production would probably be received a lot more positively.

Particularly because of a lot of his word choice, I felt like Isherwood's review was largely outlining everything they needed to fix if they wanted the show to succeed, all of which seemed do-able.

That said, because the proper replacements for the key roles would probably not be mainstream "names," it's doubtful it could happen commercially.

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Updated On: 6/18/09 at 11:23 PM

I would settle for Beyonce, as long as LaChanze, Dawnn, & Tichina all stay then I am happy.

The only thing more unflatterring than Isherwood's review in the Times is that horrific picture that precedes it.

I mean, really...

"...a dance interpretation of “Extreme Home Makeover” as performed by the Solid Gold Dancers."

Updated On: 6/18/09 at 11:45 PM

Whitney Houston?

Oh, and someone should tell Ashanti you're not supposed to stare at your feet while you dance.

You can see her doing it in the rehearsal video and in that picture above the Times review. She did it throughout the entire show.

I agree with somethingwicked and defyinggravity, this show could be a successful transfer if you cut out Ashanti and replace them with say Tamyra Gray or Anika Noni Rose(both of whom auditioned for this role) and say BEN VEREEN(DUH!!!)

I'd say keep Dawnn, LaChanze, and Tichina because they are the life of the show, the lion, tinman, and scarecrow can stay too if they want. Although, I don't think Tichina could stay if she wanted because of Everybody Hates Chris.

I actually would like to see it transfer because of the fact that it was way better than I expected and it could be even better with a few tweeks here and there, mainly the 2 "stars" they have in the leads.

Cute unscripted moment:
Tin Man: It's just...I don't have a heart.
Little Girl in the Audience: -HUGE GASP-

Heh, that part was funny. And how about the school group in the back that kept trying to get people to start clapping along to the songs? (And I don't mean the one song where that's expected. There was a part at the end of the show, during a song that was clearly meant as a quiet piece, where a group all of a sudden started clapping to the music. Awkward!)

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so, would it be considered a transfer if they changed the actors and sets and etc.

cause it sounds that the kinks could be fixed, but maybe I'm wrong...

Right.

Which is why I said, because anyone they could replace Ashanti and Orlando Jones with would be of no "name" recognition, moving the show would be pointless.

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Updated On: 6/19/09 at 11:37 AM

"In order to get a Broadway show produced now, it has to have a "name" attached to it? A big movie or recording pop star is what makes theater happen? That's all that matters? 'Cause that's kinda what I'm hearing."

Yup. Sad but true. Not to threadjack, but if the opposite were happening, RUINED absolutely would have transferred.

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The New York Post is Mixed with **1/2 out of ****:

"FORGET about the hype: It's not R&B siren Ashanti, she of the wondrous '02 hit "Foolish," who's the major draw in the Encores! revival of "The Wiz" -- it's the music. More specifically, it's Harold Wheeler's original 1975 orchestrations. Oh man, do they kick funky butt!

Wheeler (now the equally inspired music director on "Dancing With the Stars") beams us back to a '70s wonderland of wacka-wacka guitars, explosive horns and Stevie Wonder-inspired keyboards. Energetically rendered by conductor Alex Lacamoire and a large orchestra, the score constantly lifts up the show.

Which is good, because this "Wiz" needs major support.

...

Luckily, the show ends with LaChanze's Glinda killing us softly with two songs. When she delivers the inspirational ballads "A Rested Body Is a Rested Mind" and "Believe in Yourself," we're home at last."


Full Review

Updated On: 6/19/09 at 12:40 PM