'The Wiz' wins with modern touches and ties to the past

Staging a classic tale can be risky. There is a balance of being novel enough to attract new fans while staying true enough to capture fans of the original. Comedian and writer Amber Ruffin put her stamp on William F. Brown’s “The Wiz” — celebrating 50 years — and for this theatergoer, she was able to strike a wonderful chord.

Presented by Broadway in Boston through Aug. 24, this production of “The Wiz” is a colorful, just-modernized-enough take with incredible vocalists and dancers, an awe-inspiring set, fabulous costuming paired with the same incredible music by Charlie Smalls. The audience danced in their seats and sang along to the familiar tunes at Wednesday night’s show.

Inspired by L. Frank Baum’s “The Wizard of Oz,” this musical follows a group of newfound friends on a quest to find The Wiz, who they hope will help them.  The cast tasked with reinvigorating this narrative — with tight direction from Schele Williams — is remarkable. Dana Cimone, with her shimmering soprano, leads the ensemble as Dorothy. Elijah Ahmad Lewis as Scarecrow, Cal Mitchell’s Lion, Sheherazade as Glinda, D. Jerome as the Tinman and Alan Mingo Jr. as The Wiz all make the roles their own. Each of them has a chance to show off their vocal prowess, and they do not disappoint. Kyla Jade renders two roles in this production: Aunt Em and a marvelously sour Evillene. She performs a stunning rendition of the gospel-tinged, tambourine-laden “No Bad News.”

“The Wiz” first premiered on Broadway in 1975, according to Playbill.com, and boasted a phenomenal cast including Stephanie Mills as Dorothy, Tiger Haynes as the Tinman, Ted Ross as the Lion, Hinton Battle as the Scarecrow and Mabel King as Evillene. The Tony Award-winning play was then adapted for film in 1978, directed by Sidney Lumet and featuring additional music by Quincy Jones and Anthony Jackson. The movie starred Diana Ross, Michael Jackson, Nipsey Russell, Ted Ross and Richard Pryor with King reprising her stage role.

With such a deeply talented production history, this new production still found ways to reimagine the world of Oz while maintaining familiar elements. Costume designer Sharen Davis brought something wonderful to each scene. Evillene’s dress with a peplum waist made of flames, accompanied by an elaborate red coif by hair and wig designer Charles G. Lapointe. The Wiz wears an emerald suit with a cape lined in gold, the Poppies rock green velvet two-piece suits with pink 3D flowers, and the dancers behind the gate of the Emerald City wear sculpted sleeves, exaggerated collars and shimmering pants. Even the cast members who portray the tornado — with their simple, winged outfits — create a whirlwind of action as they leap through the air, excellently choreographed by Jaquel Knight.

The wonder of this world is fleshed out and augmented by scenic designer Hannah Beachler, video and projection designer Daniel Brodie, sound designer Jon Weston and lighting designer Ryan J. O’Gara. The imagery in the background was intriguing and sophisticated: a frightening, dark forest with moving branches and flying foes; pink poppy flowers mimicking the movement of a heart beating, complete with accompanying sounds; and a multicolored world where Addaperle dwells. Not to mention the nods to the past with the fist-adorned afro-picks popping up in unexpected places onstage. Adding to the vibrancy were Joseph Joubert’s musical supervision and orchestral arrangements with a dash of 1970s disco, blues, jazz and gospel, and the impressive vocal arrangements by Allen René Louis.

The creative team and cast pulled out all the stops to make “The Wiz” joyous and memorable. This feel-good fable urges us to realize that what we think we need is already there. I hope it has enough modern touches to ensure “The Wiz” remains a beloved tale for generations to come.

“The Wiz” runs through Aug. 24 at Citizens Opera House.