Musical Spotlight: The Wiz

Imagine Oz as a colorful city filled with rhythm. The music is lively, and the costumes are bold. The Wiz is not just a retelling of a story; it focuses on Black music, style, and joy. The show invites everyone to walk along its magical path. Even now, its spirit shines bright after recent Broadway productions that brought new excitement (Playbill).

Here's the basic plot: Dorothy is whisked away from Kansas to Oz. She meets a Scarecrow who wishes for a brain, a Tinman who desires a heart, and a Lion searching for courage. Together, they journey to the Emerald City, confront Evillene, the Wicked Witch, and discover that the strength they need was inside them all along. Dorothy's powerful song reminds us all of our inner strength (Wikipedia).

The creative team behind this show gave it a distinct voice. The music and lyrics were crafted by Charlie Smalls, while William F. Brown wrote the book. Producer Ken Harper passionately supported this project. On Broadway, Geoffrey Holder directed and designed costumes, while George Faison choreographed. Their combined vision brought a new language of movement to Oz, making the dance an essential part of the storytelling (Tony Awards); (NYT).

The Wiz opened on Broadway in 1975 and ran for about four years. It won seven Tony Awards, including Best Musical and Best Score. These accolades were a significant moment for Broadway, showcasing its potential to celebrate diverse voices and sounds (Tony Awards); (IBDB); (Wikipedia).

Signature songs of the show contribute greatly to its success. “Ease on Down the Road” has a lively beat, while “Home” is a powerful ballad sung by Dorothy. “Be a Lion” offers hope and encouragement, whereas “No Bad News” features Evillene in a memorable, comedic turn. “Everybody Rejoice (A Brand New Day)” by Luther Vandross is a joyful celebration that energizes the stage. These songs are often performed in schools and community programs because they unite people in song and story (Concord Theatricals); (Tony Awards).

Staging was innovative and striking. Holder’s Afrocentric costumes brought color and height to Oz, while Faison’s choreography borrowed from social dance and gospel movement. The tornado in the show felt like a living force, and the Emerald City resembled a fashion runway. This was not just a fresh design but a new way to see Oz through Black creativity (NYT); (Tony Awards). Recently, we discussed how puppetry plays a key role in The Lion King. However, in The Wiz, the dancers and costumes are the stars, creating a vibrant stage picture (Playbill).

The Wiz has also made the leap from stage to screen. The 1978 film featuring Diana Ross and Michael Jackson pushed the songs into popular culture, with “Ease on Down the Road” even becoming a hit on the Billboard charts (Billboard). In 2015, NBC aired The Wiz Live!, which attracted about 11.5 million viewers and created a new interest for schools and community performances (The Hollywood Reporter). Analyzing those televised performances shows how camera work enhanced the choreography (NBC).

The recent Broadway revival breathed new life into the show. Directed by Schele Williams with choreography by JaQuel Knight and new material from Amber Ruffin, the revival honored the classic score while introducing a modern feel and fine-tuning the humor. This appealed to new audiences and provided a strong model for educators and directors who want to make updates while respecting the original (Playbill).

The cultural impact of The Wiz is significant. Geoffrey Holder made history as the first Black man to win the Tony Award for Best Direction of a Musical, and he also received a Tony for Costume Design. These milestones highlight how visual artistry can tell important stories and open doors for future artists (NYT); (Tony Awards).

For performers and educators preparing now, there are lessons to learn from the score. Keep a steady beat in songs with ensembles. Focus on clear lyrics, especially in “Ease on Down the Road” and “Everybody Rejoice.” In the ballad “Home,” support warm vocals and allow phrases to flow. Songs like “Slide Some Oil to Me” and “Be a Lion” need precise articulation and style. For auditions, prefer songs from the stage version, like “I Was Born on the Day Before Yesterday.” Publishers can help find appropriate song lists and keys (Concord Theatricals).

If you’re planning a production or lesson plan, observe the many ways the show moves. Watch clips from award shows to see how the original staging resonated with live audiences. Then, view interviews to understand how today's designers continue to express character through fashion and movement (Tony Awards); (Playbill). Whether in a professional theater or a school gymnasium, the message is clear: style, story, and community can dance together.

In summary, The Wiz serves as a vibrant blueprint. It shows us that familiar stories can reveal fresh truths when viewed through diverse perspectives. The music lifts us, the design ignites our imagination, and the message is powerful: we are enough, and we can always find our way home.