Interesting that they are combining the roles of Aunt Em and Evilene. I believe at some point during the original run of the show, the relatively small roles of Glinda and Aunt Em were combined to create a more compelling featured track. Evilene has always been a showstopper unto it self, though I suppose combining the character with Aunt Am creates some interesting subtext. Dee Dee Bridgewater won a Tony for what, I believe, is the shortest performance ever to win a Tony -- something like 5 minutes of stage time. I wonder if they will find a way to give Deborah Cox more to do, since she is going to be one of their big selling points.
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QueenAlice said: "Interesting that they are combining the roles of Aunt Em and Evilene. I believe at some point during the original run of the show, the relatively small roles of Glinda and Aunt Em were combined to create a more compelling featured track. Evilene has always been a showstopper unto it self, though I suppose combining the character with Aunt Am creates some interesting subtext. Dee Dee Bridgewater won a Tony for what, I believe, is the shortest performance ever to win a Tony -- something like 5 minutes of stage time. I wonder if they will find a way to give Deborah Cox more to do, since she is going to be one of their big selling points."
This is where I scratch my head too. Maybe Glinda becomes more of a presence in act 1.....or maybe Cox prefers to arrive at intermission every night, sing her 1-2 songs, collect a check, and go home?
Combining Addapearle and Glinda would also be an option, but those characters have such wildly different energies. But Evilline/Em just doesn't make thematic sense combined.
I really hope Schele Williams doesn't blunder both this and AIDA.
A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.
ACL2006 said: "I really hope Schele Williams doesn't blunder both this and AIDA."
I'll give her benefit of the doubt until I see it.
This creative team is kind of a shotgun marriage of people who haven't worked together before, and people who are new to Broadway in their respective fields: Williams (director); JaQuel Knight (choreographer who is of the music video/concert worlds); Hannah Beachler and Sharen Davis (best known as film production & costume designers). That could lead to magic, and it's great that these Black artists are stretching themselves on Broadway.....or it could be kind of chaotic especially if all the personalities don't gel. There are probably seasoned associates in all those departments with Broadway creds, but that doesn't solve all problems.
It is a bit strange that the show has four different female characters that each have a big solo, but hardly appear in the show otherwise. I'd almost be interested in seeing a production where one actress plays all four parts.
The Wiz is in my top five favorite musicals, and I was very surprised to learn it was Sondheim's top favorite!:
The Wiz wound up becoming a Broadway smash and winning seven Tonys, including one for Best Musical and one for Bridgewater (making her the only Glinda to win the prize). And when The Wiz closed four years later, it was the 11th longest-running musical in Broadway history.
Arguably more impressive is Stephen Sondheim’s opinion. Whenever he’s asked for a favorite show that he didn’t write, he immediately says The Wiz.
What?! With all its false rhymes?! “Because,” he always says, “it’s the one show which makes you feel better when you come out of it than you did when you walked in.”
Rentaholic2 said: "It is a bit strange that the show has four different female characters that each have a big solo, but hardly appear in the show otherwise. I'd almost be interested in seeing a production where one actress plays all four parts."
Well, I really like that the show follows the episodic nature of the original book, which is what leads to that formulation. I'd kinda hate to see one actress play them all because that would impose a pattern and subtext where there isn't one.
I'm most concerned about the choreography. A big part of what made the original production work, and which no revival seems to have managed to equal, is George Faison's choreography. The dancers representing the Yellow Brick Road and the "Ease on Down" shuffle that conveyed a sense of movement through Oz (while acting as a funky visual counterpoint to the iconic image from the 1939 film of Judy Garland & Co. skipping down the road) is a masterpiece. Honestly, I can't imagine anything to improve upon this:
The minute this production was announced, I thought “Deborah cox is going to be in this isn’t she.” Remaining hopeful, but my interest in this production is dwindling.
At a bare minimum the 5 actors announced all have killer voices. So hopefully if we at least close our eyes, it’ll be a great evening…
I like the Sondheim quote about THE WIZ because it’s so clearly a show he never could/would write. I think that’s one of the things that endeared LMM to some of the old greats early on: he’s steeped in the classics, but writing in a style they would never touch. It’s like Kubrick loving ALL THAT JAZZ or Spielberg giving BLUE IS THE WARMEST COLOR the Cannes Palme D’or.
ErmengardeStopSniveling said: "I like the Sondheim quote about THE WIZ because it’s so clearly a show he never could/would write. I think that’s one of the things that endeared LMM to some of the old greats early on: he’s steeped in the classics, but writing in a style they would never touch. It’s like Kubrick loving ALL THAT JAZZ or Spielberg giving BLUE IS THE WARMEST COLOR the Cannes Palme D’or."
I bet they get a couple of weeks off before getting this ready for Broadway after LA!
I predict early April and as said in my last post - I bet, the St. James! Since it's a limited engagement after a tour and not an open end run can it be nominated for revival?
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I feel like many of the "big" theatres will be in play for this revival. With the August Wilson now off the table for CABARET, that likely leaves the St. James, Shubert and the Imperial, since the former two are likely going to be vacant this time next year.
I would've also thought the Majestic was a possibility but I think it's closed for extended renovations.
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I can almost guarantee this will run through the summer of next year. It was capitalized for $17 million and will not recoup in 21 weeks on tour. I can totally see this "limited run" extending further. That is if it's financially successful.
One thing I am curious about is that, should the Writer's Strike end and "Let's Make A Deal" (which uses writers for the variety-style bits and prize announcements) goes back into production, how will that affect Wayne Brady's contractual obligation for the Broadway run?
I know usually the new season of LMAD starts filming in July but I'm not sure if it has a similar filming schedule to The Price Is Right in that it films new episodes through the end of May.
Brady did previously join KINKY BOOTS in March a few years back (I think 2018), so I think that he's already planned for such a contingency
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Yes, Let's Make A Deal typically films their season from June-Sept. Maybe CBS gets a temporary host to fill-in for Brady? Or Brady ends up dropping out of The Wiz?
A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.