A High-Energy, Soulful Triumph in Austin
Last night, Texas Performing Arts brought the national tour of THE WIZ to Bass Concert Hall, transforming the Austin venue into a hotbed of electric energy and soulful nostalgia. This modern revival attempts a delicate tightrope walk: honoring the beloved, groundbreaking 1974 masterpiece while infusing it with a sharp, 21st-century pulse. The result is a modern, vibrant, youth-driven celebration that wins over the audience, even when its high-tech staging choices occasionally feel overpowering. A jam-packed song list in the first act leads into a leaner second act.
A Masterclass in Musical Genre Fusion
The undisputed heartbeat of this production is its brilliant musical architecture. The orchestra delivers a stunning sonic tapestry, effortlessly blending classic musical theater with an authentic mix of jazz, gospel, and 1970s funk. The standout triumph is the heavy infusion of New Orleans brass. Iconic numbers like “Ease On Down the Road” are injected with an infectious, second-line horn arrangement that transforms the Yellow Brick Road into a lively Southern street parade.
Rather than treating “Ease On Down the Road” as a static, one-off number, the production brilliantly weaves it throughout the show as a recurring transition piece. Each time Dorothy encounters a new friend, the song returns with more complex vocal layers, fresh instrumentation, and heightened choreographic energy. By the time the full quartet is united, the song acts as the emotional and structural spine of their collective journey.
Act II’s High-Energy Choreographic Peak
While the music sets the tone, the choreography by JaQuel Knight (celebrated for his work with Beyoncé) provides the raw adrenaline. The high of the evening arrives immediately at the top of Act II with the Emerald City sequence. Intermission can often drain a room’s momentum, but this super high-energy dance number is alive. Knight’s choreography fuses commercial street styles, sharp jazz, and synchronized modern theater precision. It serves as a dazzling showcase for the ensemble dancers, proving that the production’s youthful spirit is backed by fierce, world-class talent.
Ensemble Breakdown: Strengths, Weaknesses, and Striking Deviations
The principal cast shines brightly, though several characters depart drastically from their original 1970s frameworks:
Dorothy (Phoenix LaFreniere): LaFreniere’s performance follows a surprising trajectory. In the first act, her vocal energy feels muted and her pacing tentative during softer melodies but still standout in ‘Soon As I Get Home’. This restraint yields a massive dramatic payoff in the show’s final moments. Phoenix delivers a show-stopping, explosive rendition of “Home.” It is a powerhouse vocal masterclass that commands the entire stage and instantly brings the audience to its feet. Also, the script ages Dorothy up from a naive child into an independent teenager, giving her far more narrative agency.
The Scarecrow (Elijah Ahmad Lewis): Lewis dominates his scenes with hyper-flexible, rubber-limbed physicality. While the character’s traditional comedic dopiness is changed a bit, he adds comic relief throughout the show both in physical comedy, facial expressions, & dialogue.
The Tinman (D. Jerome): Jerome brings deep, vulnerable, soul-infused showmanship to the role. Trading stiff, old-school tap dancing for smooth, contemporary movement, his vocals provide a rich emotional depth, even if his personal character arc feels slightly rushed between scenes. He was the strongest voice of the bunch and we loved all his numbers.
The Cowardly Lion (Cal Mitchell): Mitchell’s character is a flamboyant, scene-stealing comedian with massive vocal projection. Armed with modern running gags about hair care and high-vocabulary punchlines, he completely sidesteps outdated tropes. The comedy sometimes misses and at times we wish he was stronger.
The Witches (Sheherazade & Kyla Jade): As Glinda, Sheherazade leans heavily into a glamorous, soaring modern R&B aesthetic, though her late appearance feels structurally brief. She was amazing and we wanted to see more of her. The real powerhouse is Kyla Jade. Her performance of “Don’t Nobody Bring Me No Bad News” as Evillene is a masterclass in vocal grit and stage dominance. Kyla Jade’s dual casting as both Aunt Em and Evillene (the wicked witch of the West) was brilliant. Transitioning from the nurturing, grounded Aunt Em to the tyrannical Evillene provides a rich psychological mirror within Dorothy’s dreamscape. The witches were highlights of the entire show & the way they killed Evillene with water worked well.
The Wizard (Alan Mingo Jr.): Mingo brings a smooth, fast-talking, car-salesman slickness to the title role. Dressed in an unexpected combination of a cape, cane, and tracksuit, he glides through numbers like “Meet the Wizard” and “Y’all Got It” with infectious charisma. His portrayal strips away the darker, booming menace of the original 1974 character, reimagining the Wizard instead as an approachable, highly stylish, and ultimately fraud-exposed hustler. The way they showed the set breakdown of Oz was a clever revision that made it seem like the end of a real show or concert as he was wheeled out in a garbage cart.
The Monkeys
The Kalidahs are the modern version of the Flying Monkeys from the film and are intentionally much less scary but still hold to the original as they take orders from the evil witch to find and kill the foursome.
The Slippers
Rather than utilizing the famous Technicolor ruby slippers made famous by the 1939 film, The Wiz honors L. Frank Baum’s original book by featuring the classic silver slippers. These act as a literal vessel of self-reliance, meaning Dorothy holds the power to return home the entire time, unlocking their magic only when she clicks her heels three times and truly believes in herself.
Missing Cast Members
Viewers will also notice major omissions in the script. The classic, child-like Munchkins are completely gone, replaced instead by mature, modern “Townspeople”. More shockingly, Toto is entirely missing from the show. Stripping Dorothy of her childhood pet forces her completely out of her comfort zone. Without a familiar companion to provide safety, Oz becomes a genuinely dangerous place, requiring her to actively forge deep, collaborative survival bonds with her new friends.
Script Modernization
Amber Ruffin’s rewritten book successfully strips away dated 1970s slang without relying on gimmicks. Her signature late-night television wit fills the script with snappy, fast-paced dialogue that delivered genuinely hilarious moments and massive laughter across the Bass Concert Hall audience. However, the script isn’t entirely flawless; a few specific characters and jokes flatline, missing the mark or feeling out of place amidst the broader story. Additionally, filtering the script through a modern lens requires removing old stereotypes, which keeps the pacing tight but occasionally makes plot transitions feel abrupt.
The Production Dilemma: Too Much Screen, Not Enough Stage
Where the production stumbles a bit is in its visual execution (although not everyone will agree). The physical scenic design by Hannah Beachler is incredibly minimalist, keeping tangible, three-dimensional set pieces to an absolute minimum. Instead, the tour relies heavily on Daniel Brodie’s digital video wall and projection backdrops. Some are more elaborate and engaging such as the city of Oz and the almost Jetsons-like atmosphere.
While the digital CGI graphics are undeniably bright, they frequently crave more dimension, feel overly modern or too futuristic. The slideshow aesthetic strips away the organic, tangible magic that makes live theater so special. One can’t help but long for old-school, hand-painted, physically sculpted theatrical sets that would give the actors a texture-rich environment that could feel more real and engaging. While this digital approach is a practical win for a fast-moving national tour, it ultimately exchanges genuine theatrical wonder for a high-tech television aesthetic.
The Final Verdict
Despite a minimalist design landscape and a few comedic misfires, THE WIZ is an absolute triumph of sound, movement, and vocal power. The production, which mirrors the 2023 Broadway revival, emphasizes a “bright and bold” aesthetic that brings a fresh, contemporary feel to the classic story. Driven by the infectious fusion of jazz and brass, and anchored by a breathtaking finale performance from its leading lady, this revival proves that the show’s timeless message of joy, community, and self-belief still rings beautifully true. The biggest takeaway that we needed to hear, was about how the collaborative power of goodness, love, and light will always conquer evil.
Plan Your Visit
The Wiz has a total running time of approximately 2 hours and 20 minutes, which includes one 20-minute intermission. The production is currently playing a limited engagement as part of the Broadway in Austin series. Performances run from Tuesday, May 12, 2026, through Sunday, May 17, 2026, at Bass Concert Hall. Remaining evening and matinee tickets can be purchased directly through the Texas Performing Arts Online Ticket Office.
Song list:
Act I
The Feeling We Once Had – Aunt Em
The Tornado – Orchestra and Ensemble
He’s the Wiz – Addaperle and Ensembles
Soon as I Get Home – Dorothy
You Can’t Win – Scarecrow and Crows
Ease on Down the Road (Part 1) – Dorothy and Scarecrow
Slide Some Oil to Me – Tinman
Ease on Down the Road (Part 2) – Dorothy, Scarecrow, and Tinman
I’m a Mean Ole Lion – Cowardly Lion
Ease on Down the Road (Part 3) – Dorothy, Scarecrow, Tinman, and Cowardly Lion
Be a Lion – Dorothy and Cowardly Lion
So You Wanted to See the Wizard – The Wiz
Act II
Emerald City Ballet (Green, Red, Gold) – Orchestra and Emerald City Citizens
Meet the Wizard – The Wiz and Citizens
Don’t Nobody Bring Me No Bad News – Evillene and Winkies
Everybody Rejoice / A Brand New Day – Dorothy, Scarecrow, Tinman, Cowardly Lion, and Winkies
Y’all Got It – The Wiz
Believe in Yourself – Glinda
Home – Dorothy
