Review: Even with bumps in road, Aurora’s ‘Wiz’ arrives at a happy place
This story was originally published by ArtsATL.
The classic tale of “The Wiz” has been dazzling audiences for decades, ever since the reimagining of “The Wizard of Oz” opened in 1974, showcasing Black excellence to audiences around the world. Aurora Theatre’s production, running through Sept. 7, is no different, featuring a supremely talented cast with the energy and charm to carry a high-octane production.
The ensemble is led by Mona Swain as Dorothy, a strong and likable lead benefiting from a charismatic performance. Swain belts to the high heavens with a bright voice that cuts clear through the ensemble numbers. Her Dorothy is friendly and sympathetic but also hits comedic notes that endear her to the audience.
She is complemented by strong performances from her iconic trio of companions, with Russell Alexander II playing the Scarecrow, Lawrence Flowers as the Tin Man and Marcus Hopkins-Turner as the Lion. Although Alexander and Hopkins-Turner are good in their roles (though Hopkins-Turner is sometimes hard to understand), it is Flowers who walks away with the show. Because his character lacks a heart, his is the most subdued performance, yet the stage lights up any time the focus is on him. His stylized, robotic movements are captivating, and his soulful performance of “What Would I Do If I Could Feel” brings the house down.
The show is at its strongest when it is focusing on this core quartet. Each of them brings a unique charm to their character, and the genuine connection between them is what drives home the powerful ending. They build a rapport that makes it feel like they are legitimate friends. Their four-part harmonies are also sumptuous to the ear.
As the titular Wiz, Brad Raymond is one of the best singers in a cast stacked with vocal talent; he nails the character’s humor, as well. He has all the charm of a classic televangelist — a salesperson hocking his own mythos to an unsuspecting crowd.
As for our roster of witches, India Tyree hams it up as Evilene, the Wicked Witch of the West, and although her performance can be a bit one-note, there are some rewarding gags worked in. Candy McLellan Davison is a hoot as Addaperle, taking her natural charm and giving it a chaotic twist. Her vocals lack the full power needed to carry Addaperle’s song, though this may partially be the fault of sound mixing losing her over the ensemble. Daja M. Rice clocks in for only two scenes as Aunt Em and Glinda, but she gives a maternal warmth and a powerhouse voice to both.
The ensemble is energetic and dynamic throughout, though the group vocals are weak at times, particularly in the first iteration of “Ease on Down the Road.” The dancing, however, is top notch, benefiting from impressive choreography by Akeem Edwards.
Alexander Whittenberg and Gavin Mosier’s set design ranges from simple but evocative to finely detailed, featuring numerous homages to Black culture and history. The set is complemented by Rachael N. Blackwell’s vibrant lighting design, but the show’s most striking visual aspects are Sydni Stephenson’s lush and eye-catching costumes. The Tin Man and Evilene’s costumes are particular standouts, but most of the looks are exceptional.
The themes of “The Wiz” are beautifully supported by “Beyond the Yellow Brick Road,” the art installation in the Mary Kistner Gallery next to the theater. Like the show, the gallery is dedicated to showcasing area Black talent and highlighting the Black experience in both joyful and complex ways. Whether before or after the show, the exhibition helps to contextualize and heighten the experience.
This production is not without its hiccups: The sound design could use some balancing and the pacing falters a couple of times, which can hurt comedic timing. At times, it lacks a cohesive visual through line, boasting different aesthetics for different settings that don’t always coalesce. But the strength of the actors, Marlon Andrew Burnley’s direction and the key design elements make it an altogether entertaining experience. It’s infused with the most crucial element that makes or breaks any production of “The Wiz”: joy.
THEATER REVIEW
“The Wiz”
Through Sept. 7 at Aurora Theatre. Tickets start at $43. 128 E. Pike St., Lawrenceville. auroratheatre.com.
Luke Evans is an Atlanta-based writer, critic and dramaturge. He covers theater for ArtsATL and Broadway World Atlanta and has worked with theaters such as the Alliance, Actor’s Express, Out Front and Woodstock Arts. He’s a graduate of Oglethorpe University, where he earned his bachelor’s degree, and the University of Houston, where he earned his master’s.
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