Broadway-bound "The Wiz" musical revival is in the last stretch of its 13-city tour starting last Tuesday, Feb. 13, as it gears up for three weeks of performances at the Hollywood Pantages Theatre in Los Angeles until March 3.
Afterward, the "Black America" stage musical iteration of L. Frank Baum's classic, "The Wizard of Oz," will finally fulfill its much-awaited transfer to Broadway, before launching the second leg of its nationwide tour in 2025.
Broadway previews will start at New York's Marquis Theatre on March 29, with the official opening scheduled for April 17.
An Unusual But Effective Trek to Broadway
The Tony-winning and funky musical revival's decision to ease on down the "less traveled road" back to Broadway is "different but not unprecedented," says its producer Mike Isaacson, as quoted by The Times.
This is because the normal trajectory of a Broadway-bound project usually comprises just only a few developmental runs outside the New York theatre district before it eventually opens in a theatre within it.
Only after opening at a Broadway theatre would a "typical" project launch its tour elsewhere, with some even finishing its run in New York first. This is something "The Wiz" deviated from with its thirteen off-Broadway "tries."
Of this move, Isaacson said that it has worked "economically" and "artistically" so far. He also added that this was a new "exciting" way to do things that may signify a "new chapter" for Broadway and the process new shows must go through to open there.
This infrequently employed strategy is also beneficial because the industry is still coming off the heels of the global pandemic. With many theatres on Broadway still reeling from the effects of the COVID-19 shutdowns, opting to open outside New York is a lot more economically safe.
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Trials, Tribulations, and Successes During 'The Wiz' Tour
However, the trip back to Broadway has not been completely a breeze. This is because the usual troubles that come with operating a new production are only exacerbated by traveling, according to "The Wiz" director Schele Williams' statement to The Times.
For one, the fairytale-like set made by Oscar-winning production designer Hannah Beachler had proven to be an enormous logistical puzzle to solve. In addition to this, there are also issues surrounding the specifications of the thirteen varying theater houses.
Alas, these problems were all solved, specifically by opting for a modular approach to building the sets and having specialized "versions" that will fit a particular situation as informed by "each theater's needs."
Among the changes brought about by the differing venues, some were role-related challenges that were addressed by their respective actors.
Deborah Cox, who played Glinda, the Good Witch of the South, said that she had tons of opportunities to "fine-tune" her portrayal since the tour opened in Baltimore in September last year, focusing on decisions that make the character feel "consistent" and "sustainable."
These sentiments are echoed by Wayne Brady, who played the titular character himself, the Wiz. Brady likened the whole touring experience as akin to "jumping on a moving train," especially after tweaking his parts in two musical arrangements centering on his character.
Despite all that, Brady himself considers this multi-city "tryout" as "a gift," because it helped him dial in on the right approach to the Wiz role ahead of the Broadway run in March.
