Regardless of whether you’re unfamiliar with Charlie Smalls and William F. Brown’s The Wiz or if you think you already know it, prepare to be blown away. Either way, this electrifying revival at Hope Mill Theatre, with stunning new orchestrations by Sean Green, is going to come as a complete revelation.
It’s hard to think of a time more ripe for a retelling of this celebration of Black culture although, globally, revivals of the work over the decades have met with mixed responses. Bringing the work back to the professional stage now, for the first time in 10 years, is both a challenge and a responsibility, and this team under the direction of Matthew Xia have risen to the occasion with spectacular success.
As with the 2011 Birmingham Rep production, the action has been re-set in an urban landscape, but the addition of both choreography and musical arrangements that swathe it in layers of contemporary influence brings a new urgency and energy, making the original feel like a rather laid-back show.
The central group in the story are played by the wonderful quartet of Cherelle Williams as Dorothy, Jonathan Andre, the Lion, Tarik Frimpong, the Scarecrow and Llewellyn Graham, the Tin Man. All four produce beautifully rounded characterisations, each bringing something very individual to their parts but, overall, remaining very much an ensemble. While there are moments when Frimpong or Andre could easily become scene-stealers, the friendship of the foursome ensures that this doesn’t upset the emotional balance.
But they are surrounded by a tremendous cast, with highlights from Bree Smith’s Aunt Em/Glinda, Ashh Blackwood’s Evillene, Anelisa Lamola’s Addaperle and Cameron Bernard Jones’ almost show-stopping Wiz.
Simon Kenny’s graffiti-esque design (filled with rich colour by Simsola Majekodunmi’s sumptuous lighting) leaves maximum space on Hope Mill’s stage for Leah Hill’s dazzling choreography. Musical director Ehsaan Shivarani and his 8 piece band deliver Green’s new arrangements with real verve, and, if there are occasional moments where the score slightly overwhelms the voices in some ensemble numbers, this is made up for by the sheer power of the overall sound. There are outstanding solo vocals from all the leads, but The Wiz is an ensemble piece in spirit, and it is the in the company numbers, culminating in Act II’s climax of ‘Everybody Rejoice / Brand New Day)’, that the show’s heart really swells.
Both the show itself and Xia’s production pack a lot powerful messages, delivered with absolute joy. It is a celebration that needs to be seen to be believed. If this production doesn’t go on to be The Wiz’s first outing in London’s West End there is no justice in the world. (And please can we have a cast album?)
The Wiz is produced by Hope Mill Theatre in association with Ameena Hamid Productions and Chuchu Nwagu Productions, and it continues at Hope Mill Theatre, Manchester until 16th January.
Star Rating: five stars ★★★★★
 |
| Tarik Frimpong, Cherelle Williams, Jonathan Andre & Llewellyn Graham - all images © Pamela Raith |
 |
| The Wiz Ensemble Company |
This review was originally written for and published by Musical Theatre Review
Comments
Post a Comment