The national tour of the latest Broadway revival “The Wiz” lit up The Fabulous Fox Theatre for the first performance of its nearly two-week run. Opening night drew families and musical theater lovers from across the region for a reimagined production of the Black musical theatre masterpiece that took the Tonys by storm fifty years ago– and made Stephanie Mills a household name. Directed by Schele Williams and Emily Madigan, this revival fully embraced its heritage— weaving symbolism, sound, and movement into a vibrant celebration of Black identity.
That same cultural richness pulsed through the score. Originally arranged by Charlie Smalls, Joseph Joubert and Allen Renee Louis layered Smalls’ 1970s funk with threads of hip-hop and Afro-beats. The blend felt both nostalgic and fresh. When D. Jerome, playing the Tinman, made his entrance in “Slide Some Oil to Me,” he broke into a pop-locking robot dance break, hitting every beat as a classic 808 thumped beneath him. The crowd erupted in cheers, instantly recognizing the fusion of eras and styles.
At the heart of the story was Dana Cimone’s Dorothy, who began her journey uncertain and insecure in Kansas. As she met and helped the familiar trio of travelers, Dorothy discovered the strength she had all along. Guiding the Lion, played by Cal Mitchell, to recall his greatest act of courage revealed her own resilience. Helping the Scarecrow build his self-worth uncovered her own confidence. And when the Tinman finally learned to feel again, Dorothy realized she had always been surrounded by love—especially the kind waiting for her at home.
One of the most striking visual choices appeared at the gates of Emerald City. Traditionally a place of luxury and grandeur, it was reimagined as a towering Afro pick crowned with a raised fist. Simple yet powerful, the image echoed a symbol long tied to strength and unity in Black communities—and set the tone for a production unafraid to honor its roots.
Another highlight came during “The Emerald City.” As audience members met the townsfolk of Oz, the Wiz shouted, “Show me something new,” and the cast delivered with a full-on hip-hop dance break performed over a New Orleans bounce track. The ensemble had the crowd laughing, clapping, and smiling—an unmistakable expression of Black joy shared between stage and seats.
The choreography throughout stayed true to this commitment to authenticity. Instead of traditional ballet, Jaquel Knight and Ashley Seldon layered in movement techniques ingrained in the legacies of Martha Graham and Katherine Dunham. Knight and Seldon prioritized honoring pioneers who shaped modern and Black dance traditions.
With such dynamic choreography and rich musicality, strong vocals were essential—and the cast delivered. Every performer offered clear, powerful, professional singing. Among the standouts was Kyla Jade, who took on dual roles as Aunt Em and Evillene. As Aunt Em, her voice was gentle and warm. As Evillene, she unleashed grit and gospel-soaked resonance—especially during her show-stopping “Don’t Nobody Bring Me No Bad News.”
“The Wiz” has always been a distinctly Black experience. This new rendition carries that identity into a modern era—bold, joyful, and deeply rooted. Tuesday night’s opening proved that this classic story still has the power to evolve, while honoring the culture that shaped it.
Living It content is produced with funding by the ARPA for the Arts grants program in partnership with the Regional Arts Commission of St. Louis and the Community Development Administration.
