The National Tour of The Wiz at DPAC Is Dazzling and Soulful, with Room to Grow
This article was published by Triangle Review on 6 August 2025.
Fifty years after The Wiz first hit Broadway and swept the 1975 Tony Awards®, with its all-Black cast winning seven Tonys, including Best Musical, the iconic retelling of The Wizard of Oz is back -- revitalized, resplendent, and currently rocking the Durham Performing Arts Center through Sunday, Aug. 10th.
With a book by William F. Brown and music and lyrics by Charlie Smalls -- plus sharp, updated material from Amber Ruffin (of Late Night with Seth Meyers fame) -- this revival is both a nostalgic throwback and a dynamic reimagining.
From the moment you walk in, the production sets a vibrant tone. The word "The Wiz" blazes across a massive screen in funky 1970s-style lettering, framed by bold, triangular African motifs reminiscent of Harlem street art. Zig-zagging spotlights in primary colors sweep the crowd, evoking the glitz of vintage game shows. It's an immersive prelude to the dazzling world you're about to enter.
Costume designer Sharen Davis (Emmy winner for HBO's Watchmen) brings imagination to life with everything from spandex-fringed tornado dancers to golden ball gowns, while scenic designer Hannah Beachler (the first African-American woman to be nominated for and win an Academy Award® for her work on Marvel's Black Panther) creates stunning, cinematic backdrops that make Oz feel lush, surreal, and expansive. In the tornado scene, in particular, Beachler produces formidable smoky gray clouds; and lighting designer Ryan J. O'Gara (a UNC Asheville graduate) produces bright, instantaneous flashes of lightning powerful enough to make you jump.
The musical opens in Kansas, where Aunt Em, played by Kyla Jade, sets the emotional tone. With vocals evoking the soul of the Five Stairsteps and gospel runs to rival any church soloist, Jade's performance is full of warmth and rhythm. Soon, Dorothy Gale (played by Dana Cimone) is whisked away by a tornado to Oz, and the journey begins.
Cimone's Dorothy is sweet yet strong, her voice pristine and full of range. Like Diana Ross, who played Dorothy in the 1978 movie version of the inaugural 1975 Broadway production of The Wiz, Cimone's voice at times is soft and sweet, recalling the innocence, good-girl persona, and talent of Olivia Newton John as Sandy in the 1978 movie Grease. At other times, Cimone rifts so seamlessly that one might mistake her for Chanté Moore. But it's in "Home," the show's final number, that Cimone truly showcases her vocal talent.
As for Dorothy's iconic trio of companions, the chemistry is genuine. Elijah Ahmad Lewis, as The Scarecrow, is a standout. His performance is energetic, charismatic, and funny -- a blend of Wesley Snipes swagger, Eddie Murphy timing, and James Brown overtones. His voice? Controlled, dynamic, and pitch-perfect.
D. Jerome brings The Tinman to life with smooth, jazz-infused vocals that evolve throughout the show -- from ragtime to disco to soulful R&B. His disco-inflected choreography echoes John Travolta's dancing gymnastics in Saturday Night Fever.
Cal Mitchell's Lion is a gravelly-voiced blend of vulnerability and bravado, reminiscent of Ted Ross' portrayal in the 1978 film, but peppered with flourishes that reveal vocal chops. His transitions from growling to falsetto mirror his character's emotional journey from fear to courage.
The supporting cast is a force unto itself. Addaperle The Good Witch of the North (Amitria Fanaé) turns a eulogy for The Wicked Witch of the East into a euphonious testimony, while Glinda The Good Witch of the South (Sheherazade) delivers scat-infused, Ella Fitzgerald-like vocals in a glittering gold ensemble. As Evillene The Wicked Witch of the West, Kyla Jade stops the show with her blistering, gospel-charged "(Don't Nobody Bring Me) No Bad News" -- a number made especially poignant given current political headlines.
Alan Mingo Jr. is magnetic as The Wiz himself. His wide-eyed facial expressions and broad smile glow in the dark green atmosphere of the Emerald City, and his presence and voice glide with a warmth and polish that evokes Nat King Cole.
Throughout, the Ensemble brings North Carolina-born JaQuel Knight's choreography to life with unstoppable energy. The group song-and-dance numbers performed by the Townspeople, the Crows, the Poppies, and -- my favorite -- the Ozian performers are a revue in their own right. This is no surprise, given that Knight choreographed for Beyoncé when he was only 18 years old. With such star-studded direction and 27 actors in this production, there was a LOT of talent on that stage.
The Wiz is one of few family-friendly musicals that unapologetically centers Black culture, Black music, and Black performers. From jazz and funk to gospel and soul, the show is a crash course in the musical richness of the 1970s.
Although at times I couldn't understand what the actors were saying and wished that they would enunciate their lines more clearly, this is minor criticism of a production that otherwise dazzles, delights, and delivers.
VERDICT: The Wiz at DPAC is a high-energy, visually stunning celebration of Black artistry and musical history. Bring your kids. Bring your parents. Just don't forget to click your heels -- and maybe warm up your own vocal cords -- for a cheering standing ovation.
