The "big" song from The Wiz was Ease on Down the Road. It saved the production. It was featured in the commercial and then was recorded by some group whose version hit the Billboard top 10 or top 20. Every disco in New York, the Pines and Cherry Grove was playing either the Billboard version or the OBC version. I saw the show midweek four weeks after it opened and the theater was less than half full. Like the original Chicago, it was a big production that needed to nearly sell out every performance to make its nut and it really struggled the first few months. It almost closed. But Ease on Down the Road brought in audiences and after it won a slew of Tonys, including Best Musical, it started selling out and became the monster hit people remember.
It opened to mixed reviews, justifiably so. The production numbers were fantastic but the book scenes really dragged and you sat there saying to yourself "Just shut up and sing." I suspect the problem was director Geoffrey Holder, who had replaced Gilbert Moses out-of-town, because the wonderful Timbuktu, an all black revisal of Kismet with Eartha Kitt, also directed by Holder, had exactly the same problem. He was an enormously talented man but he couldn't direct a book scene to save his life.
I'm surprised to find out that Mills was seventeen or eighteen as she was made up, dressed, acted, and looked as if she were an adolescent. Like the rest of the cast, she was nothing short of terrific.
Updated On: 6/30/15 at 04:20 AM