The Overture Center opened the curtain on its 2026/2027 Broadway season on Oct. 6, with a dazzling — although at times lacking — performance of “The Wiz.”
Premiering on Broadway in 1975, “The Wiz” tells the story of the Wizard of Oz, but turns it on its head, transforming it from a picturesque, all-white American fantasy world into a celebration of Black excellence, music and dance.
“The Wiz” was a Broadway sensation. The show ran for four years and 1,672 performances and won seven Tony Awards, including Best Musical. Its importance as one of the first Broadway musicals with an all-Black cast and creative team cannot be overstated.
A 1978 film adaptation launched the performance to a global audience and starred Diana Ross, Michael Jackson and Nipsey Russell, among other Black icons.
“The Wiz” began an all-new North American tour in Springfield, Ohio, on Sept. 26, which will run until June 27, 2027. The show took a pit stop in Madison from Oct. 6 to Oct. 11.
On opening night of the tour, “The Wiz” performed in the exquisite Overture Hall.
Although the story opens with Dorothy (Gabby Samone) in Kansas, the magic world of “The Wiz” begins with “He’s the Wizard.” In a mix of changing lighting, sound and a mysterious mist, theatergoers were transported from the dull life of Kansas to the colorful celebration of culture that is Oz.
As Addaperle (Ary’ana N. Davis), the Good Witch of the North, preaches about the Wiz, the world of Oz is expanded. The ensemble cast echoed the words of Addaperle, dancing and singing seamlessly together.
Glinda (Toni Lorene Baker) is introduced, sending Dorothy down the Yellow Brick Road to reach the Wiz in the Emerald City.
On her way, Dorothy meets the Scarecrow (Jose E. Figueroa Jr.), the Tin Man (Jaelen Spellman) and the Lion (Asher Havon), who become a band of unlikely companions. Their journey together is set to the repeated catchy tune of “Ease on Down the Road.”
Their quest is momentarily halted when the Wicked Witch of the West, Evillene (April Renee Moye), distracts them with mystifying poppy flowers and attacks them with her team of Kalidahs.
Act I concludes with more singing, uplifting of the spirits and a message of friendship.
Act I’s reliance on world-building and characterization is backed up with an Act II showstopper.
The second half begins with “The Emerald City,” a celebration of Black culture, mixing a variety of contemporary dance, hip-hop, ballet and more. The ensemble filled the stage with their presence and talent, captivating the audience.
In “Meet the Wizard,” the Wiz (Bryan Demond) introduces himself in a Broadway-worthy spectacle, with backup singers flanking him. Another quest is decreed to the gang: kill Evillene, and the Wiz will give them all that they desire.
After some debate, the gang agrees, sneaking into Evillene’s lair, hearing her dazzling power ballad and eventually defeating her in a plume of smoke.
The show’s conclusion reveals the Wiz as a fraud who was masquerading as magical. The death of Evillene releases the gang from their curses, Glinda returns for one last glittering moment and Dorothy closes the curtain with a chills-envoking solo, clicking her heels three times and returning home.
The intrigue of “The Wiz” lies in its updated contemporary humor and rich celebration of Black culture, but this production’s success came from the immense and wide-ranging display of talent.
Baker’s moments on stage were brief, but her voice was rich, reverberating throughout the auditorium and shining as bright as her costume.
Although his moments were equally brief, Demond’s smooth vocals, charisma and showmanship brought additional humor to the story’s twist.
Ultimately, Spellman was the star of the show.
The audience first encounters Spellman in his solo, “Slide Some Oil to Me.” Spellman blends his vocals seamlessly with his movement, first creaking, then gliding across the stage.
His characterization was solid throughout the whole show, whether he was the focal point or off to the side. He was smooth, suave and brought an easy humor to his dialogue.
The chemistry of the core four characters was equally exceptional. Their relationship felt genuine instead of cheesy, and their vocal compatibility touched everyone’s heart during their final, slow rendition of “Ease on Down the Road.”
The show’s main struggle was in filling the stage. Touring productions typically require minimal set pieces due to money and travel constraints, which requires larger performances from cast members, a tall task unevenly met throughout the show. At times, dances and stage direction felt awkward instead of magnificent.
The lower production value accustomed to a touring show could be easily ignored with Dorothy’s hauntingly powerful closing performance of “Home,” an exceptional solo that filled the room with ease and closed the show on a high note.
After “The Wiz” concludes its run on Oct. 11, the Overture Center will continue its Broadway series with more Tony Award-winning Broadway shows, including “Hell’s Kitchen,” “The Outsiders,” “Jersey Boys,” “Six” and “Hadestown.” “Maybe Happy Ending” and “Death Becomes Her” will also pass through Madison, making their Wisconsin debuts.
A four-show ticket package is still available for theatergoers who want priority access and lower-priced tickets. UW-Madison students can also enjoy same-day rush tickets for a discounted price. All that’s required is a valid student ID.
Although UW-Madison students may have missed out on the spectacle of “The Wiz,” the Overture Center’s Broadway season is sure to keep audiences entertained throughout the year.
Liset Zacker is one of two arts editors. She enjoys writing movie reviews, artist profiles and covering local Madison events. You can find her on Letterboxd at @dailycardinal.
