Virginia Stage Company and Norfolk State offer big fun, big voices in a big show, "The Wiz"
By Mal Vincent
April 20, 2017
The Wells Theatre, home of Virginia Stage Company, is a place to have some fun.
βThe Wizβ is the βreally big showβ that Stage Company subscribers have been waiting for β a long time. Itβs all singing, all dancing, all sassy wit in a way that feels more spontaneous than rehearsed, which is refreshing.
With a cast of 50, this may be the nearest thing to a spectacular on this stage since the original βBen-Hurβ film ran the chariot race with two live horses here in the 1920s.
The energy is great. The singers are belters supreme. The dancers are lithe and fully capable of suggesting a tornado. The band (10 strong) lays down a funky beat and is gloriously loud, though sometimes it sounds a little more like a marching band than an orchestra-pit ensemble.
This lively show is a delightful antidote to the traumas and social messages weβve had on this stage in the past 10 seasons: Racism, local politics, terrorists, this-ism and that-ism β often played by casts of one, two or four. Four is apparently a huge cast when you consider the bills associated with Actorsβ Equity Association rules, plus the fact that New York actors have to be fed and housed (they seem to require such luxuries). With an admirable record of critically praised outings (praised right here), VSC is well overdue for consideration for the regional Tony Award. However, while apparently blessed with wealthy and generous donors, the company still has to put fannies in the seats. Or else.
This seasonβs use of high school and college performers can be seen as community engagement or cost cutting. Maybe both.
The ticket buyers donβt know Equity from beans. After all, the New York imports are not big-name draws like a Bernadette Peters.
With the exception of some three New York imports, the cast of βThe Wizβ is made up of students from Norfolk State Universityβs theater program under the direction of Anthony Stockard. Earlier this season, the cast of βOliver Twistβ was made up largely of talent from the Governorβs School βs performing arts program. Those who toiled for decades to establish the areaβs first fully professional Equity company may ask where the company is going in this trend.
How do you present a big show in this way and not make it look as if youβre putting on a school play? The answer, amply provided, is what we see on this stage through April 30.
These performers donβt look like βkidsβ until, maybe, the final curtain call when their thrill in just being on a stage pours out. They look professional. They perform like professionals. This is, by any account, the most well-rounded musical production yet done in this companyβs history (and yes, Iβve seen them all).
The fact that the score itself doesnβt deserve any real reverence only emphasizes the quality of the performances. The joy comes somewhat against the odds. βThe Wizβ won the Tony Award as best musical in 1975, but the movie version in 1978 was a flop. The casting of Diana Ross, then 33, as Dorothy did not go over well.
Starring in "The Wiz" are: from left, Matthew Jackson as Scarecrow, Alana Houston as Dorothy, Jonathan Cooper as Tin Man and Darius Nelson as Lion. (photo by Samuel W. Flint)
But as played here, this musical is fun. There are new, irreverent ad libs such as the Lionβs references to βCatsβ and βThe Lion King.β (Did someone go uncredited for the near-rewrite?) The Lion, as played by Darius Nelson, is a hoot. The part is always the scene-stealer, but he brings to it little asides that suggest he is cooler than the show itself. Dorothy, to him, is βLittle Mamaβ as he bemoans the fact that βI donβt see no other cat begging for this gig.β When threatened, he defends himself by declaring that he is βan endangered species.β We hope not.
Another favorite is Adaperle, a witch who is something of a bag lady and who describes herself as βa good-time girlβ even though most of her magic doesnβt work. βI ainβt much into disappearing lately. I been taking the bus.β She is played, with wonderful humor, by Meredith Noel. The Tin Man is a lively tap dancer, Jonathan Cooper, who has a voice too. Matthew Jackson brings a fine hint of sympathy and poignancy to the victimized Scarecrow.
Meredith Noel as Addaperle, left, and Alana Houston as Dorothy in "The Wiz"
The belter Divas, Glinda, the Wiz and Evillene, some of them professionals from New York, tend to melt together in their belting. Their voices deserve better songs.
The standout is Evillene, suggested with campy hatefulness by Laiona Michelle when she sings βDonβt Nobody Bring Me No Bad News.β She calls herself a βliberated womanβ as she has her minions kiss her foot. The only bad thing is that she has only one big number. Eventually, her Evillene becomes a βliquidated woman.β You know the plot.
Laiona Michelle plays Evillene in "The Wiz" (photo by Crystal Tuxhorn)
Nicole Powell is miscast as what should be a matronly Auntie Em, but fares well as Glinda and delivers the showβs anthem, βBelieve in Yourself.β (But who can ever forget the inimitable Lena Horne styling it in the otherwise awful movie version? )
Alana Houston is pleasantly sweet and in full voice, as compared to the often overdone Dorothy of some lesser productions. Done up in overalls, she sports silver pumps. (Red, apparently, is so yesterday.) Her big moment is the finale, in which she proves sheβs got the voice. She makes Dorothy likable, which is job enough. (Why would any girl want to go back to a farm in Kansas when she has Oz? Iβve wondered that since I was a little thing at the movies. Not all that long ago.)
The flying monkeys get out into the audience, which is enough to make you feel defensive. The tornado is suggested by dancers, led by a fine troupe choreographed by Kavin Grant. The directors, both Stockard and VSCβs Patrick Mullins, have a fine knack of providing something visual to go with each vocal solo β dancing crows with the Scarecrow, a trio of Yellow Brick Road dancers. Toto, seen only in a dash β apparently chasing a treat backstage β was played at the performance I saw by a cockapoo named Ava.
Korey Washingtonβs scenic designs are both imaginative and practical, from the Wizβs neon look to the Scarecrowβs cornfield. Jeni Schaeferβs costumes are knockouts (making us think how big her budget was). The sound by Danny Erdberg is flawless, right down to crickets heard in rural Kansas.
All in all, this show is one to see β although we suspect such βguest companyβ bookings are more a stunt than a regular thing. After seasons of commendable deep thought, no one is going to complain about something being overdone and overly fun.
In the words of Mae West: βToo much of a good thing can be wonderful.β