The Wiz returning to Bway in 2023 after National Tour — Page 5

Interesting that it’s Evilline/Aunt Em being doubled up instead of the more thematic combo of Glinda/Em.

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.

We shall see!

ErmengardeStopSniveling said: "Interesting that it’s Evilline/Aunt Em being doubled up instead of the more thematic combo of Glinda/Em."

"Interesting" is one description. "Deeply and irrevocably wrong" is another. *sigh*

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.

Updated On: 6/13/23 at 12:38 PM

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.

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:

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 think you are probably right!

(By the way, how do you show your avatar?)

Updated On: 6/15/23 at 05:01 PM

That was interesting …

Robbie2 said: "Sonia Friedman will probably plop this into the St. James next March-April for a limited 8 -12 week run after LA."

https://wizmusical.com/tour-dates/

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?

Updated On: 7/11/23 at 10:53 AM

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.

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?