They're going for a traditional Broadway-style show, so we will mainly see musical theatre performers. But I wouldn't be surprised to see some 'specialized' performers in the mix.
The one song everyone in America knows from THE WIZ isn't "Home, but "Everybody Rejoice! only because it was used in at least 2 national commercials. It became the go-to for upbeat for a while. It was on the Tonys, and is in the "Sit Down You're Rockin' the Boat" position in the show's second act. And worth noting: it was one of the added numbers, not written by Brown/Small but by the late great Luther Vandross. People forget that fact. It needs to take the proverbial roof off the TV version.
"I'm a comedian, but in my spare time, things bother me." Garry Shandling
Mildly OT: Upon listening to the original opening night audio, its sounds like the film did the stage version such a disservice. Mabel King totally kills it. I really, really, really hope NBC doesn't screw this up. I'm interested in which libretto they're gonna use for this. Do you think they'll use the La Jolla Version? Or an original? Or a combo of both? Also, I'm curious--did anyone see the infamous 1987 Marriott Lincolnshire "colorblind" production with Felicia Phillips? I'm interested to hear about that from anyone who saw it.
It would be interesting if they could get Felicia Rashad to be in this, as apparently she was a munchkin in the original production!
They've reportedly hired Harvey Fierstein to do a revised script, so my guess is that it won't take into consideration the revisions made for La Jolla. PETER PAN LIVE! had a lot of new material in it, so I suppose that it shouldn't come as a surprise if THE WIZ LIVE! has a lot of new material as well.
What made the 1987 production infamous, missthemountains?
“I knew who I was this morning, but I've changed a few times since then.”
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.
"I wonder if Ms. Ross would do a cameo appearance."
Ms. Ross never should have appeared in the first screen adaptation. I certainly don't care to see her in the second one. These NBC musicals already have a track record for bad acting, why throw Ross into the mix to extend that reputation any further?