Review: Theatre Arlington's THE WIZ is a dazzling, soulful journey down the yellow brick road

The Wiz

Book by: William F. Brown

Music & Lyrics by: Charlie Smalls

Directed by: Sasha Maya Ada

Music Directed by: Joe Rogers

Produced by: Theatre Arlington

Audience Rating: PG

Running Time: 2 hours, 5 minutes, including one 15-minute intermission

Accessible Seating: Available

Hearing Devices: Available

Sensory Friendly Showing: Not Available

ASL Showing: Not Available

Sound Level: Loud at Times

Audio/Visuals to prepare for: Suggestive Adult Themes

Reviewed by Troy D. Murray

Theatre Arlington’s production of The Wiz stands as a magnificent celebration of the rich, prominent presence of the many wonderfully gifted POC actors working throughout the DFW area today. Rather than settling for standard genre conventions, this exceptional production bursts with a fresh, contemporary energy that keeps the entire audience completely spellbound. The show is thoroughly hilarious and utterly captivating, overflowing with a vibrant, soulful spirit and sharp comedic timing that enlivens the entire stage. By bringing the extraordinary depth of local talent to the forefront, this production establishes itself as an essential, deeply impactful dramatic experience that audiences truly cannot miss for any reason.

This cleverly crafted production utilizes an inventive stage layout to build a highly engaging atmosphere. Under the visionary guidance of Sasha Maya Ada (Director), the production establishes a clear, unified artistic vision, shaping the dramatic pacing and molding the performances to give the narrative its profound emotional weight. Working in close synchronization behind the scenes, Rayven Harris (Stage Manager) and Maria Leon Hickox (Assistant Stage Manager) anchor the entire operation, expertly coordinating the technical backstage logistics, managing the complex cueing, and maintaining the structural integrity of the performance from start to finish.

Collaborating seamlessly with this leadership team, Avery-Jai Andrews (Choreographer) and Willow DuBose (Assistant Choreographer) design expressive physical staging that serves as a brilliant showcase for the cast's athletic agility. Their choreography expertly caters to the individual maneuverability strengths of the performers, notably tailoring the distinct physical demands of the character tracks. This tailored approach shines brightly during the specialized solo numbers, highlighting the Scarecrow's loose-limbed dexterity and the Tinman's crisp, rhythmic isolation movements.

On the musical front, Joe Rogers (Music Director) shapes the vocal numbers with stylistic precision, drawing rich, resonant harmonies from the cast. Furthermore, the band orchestration was beautifully put together. The instrumental makeup was meticulously balanced, sparking a wave of pure, soulful energy that completely enveloped the audience in attendance.

The physical elements of the production enrich the storytelling with great artistic depth. Credit for this achievement belongs heavily to the technical crew, whose flawless operation of a moving turn table stage keeps the physical transitions fluid and dynamic. Bryan Stevenson (Tech Director, Scenic & Lighting Design) and Sydney Dormire (Scenic Artist) craft an immersive environment, incorporating shimmering LED arches and uplit tree silhouettes that beautifully establish the textures of the everchanging scenery throughout. Their design for the grand Wiz facade frames the stage beautifully, adding an imposing architectural element to the setting.

Hope Cox (Costume Design) delivers imaginative, character-defining garments for the mystical figures. Her vivid costume caricatures for the Wiz, the Cowardly Lion, and the stylized citizens of Oz showcase a superb design integration, while the detailed wardrobe elements for Addaperle and Evilene effortlessly anchor their magical presence. The physical construction of the Lion's costume features an intricately designed tail piece that stands out as a wonderfully fun and playful wardrobe addition. Furthermore, incorporating the rainbow flag colors into the ensemble's wardrobe provides a delightful aesthetic touch that beautifully honors Pride Month.

Robin Dotson (Prop Design) supplies a wonderful array of accessories that feel entirely unique to this setting. Her prop elements are whimsical and ironic in equal parts, showing off a clever implementation that is beautifully integrated into the scenes to help this cohesive and visually striking environment unfold naturally.

Kayla Haskins (Dorothy) anchors the narrative journey with profound grace, carrying the emotional core of the production with exceptional vocal control and nuanced acting. A bright smile hides a mighty, powerful voice that commands the room. Her vocals take center stage during a magnificent rendition of "Be a Lion" and her poignant performance of "Home." This seamless incorporation of youth, innocence, and care makes Haskins the perfect protagonist for the journey.

Her companions on the road offer a brilliant combination of comedic timing and physical agility. Christion Dior Draper (The Lion) delivers a remarkably humorous performance, portraying a cautious companion whose expressive cowardice is executed with great theatrical flair and charming comedic precision. What Draper lacks in raw courage, he fully makes up for in pure theatrical presence, proving to the audience that the only thing with more "mane" character energy than him is the spectacular hair styled on his head. Beside him, Maxton Rhys Sims (Scarecrow) displays impressive physical dexterity, bringing a nimble, endearing charisma to his track. His performance of "I Was Born on the Day Before Yesterday" allows patrons to witness an acrobatic prowess on grand display. Zachary J. Willis (The Tinman) completes the trio with an equally memorable performance, incorporating crisp, rhythmic movement into his characterization. His tin tap rendition of "Slide Some Oil on Me," which is my absolute favorite number of the entire show, is a certified barn burner, as Willis does it righteous justice with a stylized depiction that makes the audience fall in love with the classic number all over again.

The surrounding characters provide excellent dramatic support, elevating the narrative stakes at every turn. Jayden Myckala Russell (The Wiz) projects a fascinating, larger-than-life presence, executing "Believe in Yourself" with a bold, brash authority that brings the house down and demands to be beheld in all its glory. Janette Robinson (Glinda) provides a beautiful narrative resolution, imbuing the reprise of "Believe in Yourself" with an elegant, pristine, and serene majesty that captivates the audience and puts a genuine sense of awe into Oz. The production gains substantial emotional weight from Kris Black Jasper (Aunt Em), Noelle Saul (Addaperle), and Theresa Shenell Stuckey (Evilene). Jasper opens the story with a deeply heartfelt, sultry delivery of "The Feeling We Once Had," where her powerhouse belt notes soar as high as the house taken by the twister. Saul displays an incredible theatrical versatility, showcasing a stupendous emotional range and delivery that brings a mystifying, whimsical charm to a rendition of "He's the Wiz" that sends shivers down the spine. Stuckey delivers an exceptionally sharp, imposing performance as the malicious antagonist, commanding the stage with a glorious, formidable presence that strikes genuine fear into the hearts of everyone in attendance. She proves to be just as mean and sharp in her character demeanor as she is when fiercely playing a tambourine, and the only bad news I could ever dare give Stuckey is that I am deeply sorry for not discovering her extraordinary talent sooner.

The ensemble further strengthens the performance, showcasing the versatility of an accomplished group of performers. It is baffling and deeply impressive to witness how many leads seamlessly double as the ensemble, matching the relentless, high-octane pace of the core background performers. The choreographic vision effortlessly weaves these groups together, demanding sharp precision during the complex tornado ballet sequence, which allows the cast to show off how naturally they handle intense, fluid movement. This incredible momentum is anchored by the dedicated ensemble work of Landry Beckley, Gavin Bailey, Mia Jacob, Tasia Massinburg, Eriana Ozan, and Keelyn Singleton, who command the stage with an infectious energy that binds the production together and brings the world around them vividly to life.

Theatre Arlington gives you every reason to believe in the magic of live theater, showcasing the outstanding artistry and technical ambition thriving within our local arts community. If you are looking for an inspiring, soul-stirring journey that will make your spirit soar, it is time to grab your friends, click your heels, and ease on down the road to catch this unmissable experience. To secure your seats, visit https://theatrearlington.org/.

Now you know, so go see the show!

Troy