Theater Summer Season Finale: "The Wiz" Dazzles While "Grease" Takes Softer Approach
The Wiz, tour presented by Broadway in Boston at Citizens Opera House, through August 24. BroadwayinBoston.com
Grease The Musical, North Shore Music Theatre, Beverly, through August 24. 978-232-7000 or nsmt.com
Revivals of two very different popular 1970's musicals are closing out the area theater season—one very exuberant, the other surprisingly mild mannered. "The Wiz"—on tour at the Citizens Opera House has all of the magic of the 1975 Tony Award winning original. By contrast, the North Shore Music Theatre revival of the long-running 1972 musical "Grease"—seems to tone down the show's hard-edged slickness.
The best musical versions of classic films wisely avoid reproducing their cinematic predecessors. Gifted director-choreographer Geoffrey Holder smartly conceived theatrical ways of bringing the wonder of the 1939 gem "The Wizard of Oz" to the stage. The pivotal early tornado became a whirling dervish-like dancer. At the same time Holder evoked the famous Yellow Brick Road with actors dressed in yellow escorting Dorothy, Scarecrow, Tinman and Lion on their way to the Emerald City. The vivid production on tour at the Opera House takes its cues from Holder's brilliant conception. As adapted by Amber Ruffin (one of the Tony-nominated book writers of the musical "Some Like It Hot"), the thoughtful revival of the black cast show finds Dorothy to be "the natural leader that she is" and the four companions "a ragtag group of friends, not a girl and her weird uncles."
Director Schele Williams sharply paces both the challenging odyssey of the quartet and their evolving fortunes in Oz. Dana Cimone is an instant standout as Dorothy. Her rich voice sometimes brings to mind Stephanie Mills—particularly on the beautiful solo "Soon As I Get Home." Cimone captures Dorothy's early vulnerability and her growing confidence as she overcomes obstacles and helps her companions respectively to obtain a brain, a heart and courage. Elijah Ahmad Lewis catches all of scarecrows' jazzy style and humor. D. Jerome has all of Tinman's evolving insecurity. Cal Mitchell goes to town vocally on Lion's notable solo "Mean Ole Lion." Alan Mingo, Jr. is a hoot as the elusive title enigma. High marks go to Jaquel Knight's exciting choreography, Sharen Davis's vivid costumes and Ryan J. O'Gara's often surreal lighting.
Near the end of the musical, good witch Glinda advises Dorothy to "Believe in Yourself." Likewise, audience members of all ages will believe in the spellbinding charms of "The Wiz."
Many fans of "Grease" may be more familiar with the popular John Travolta-Olivia Newton-John movie than the long-running 1972 musical. Theater buffs may appreciate North Shore Music Theatre producing artistic director Kevin P. Hill (last season's Broadway-worthy revival of "Titanic")'s earnest efforts to evoke the show's growing pain-rich 1950's Chicago-set fictional Rydell High. Granted, Rebecca Glick's period costumes reflect the peer pressure and group dynamics of the leather jacket T-Birds and the counterpart attire of the Pink Ladies. At the same time, Hill's own choreography proves striking and sharply synchronized for the Stroll sequence and the iconic "Born to Hand Jive" crowd-pleaser.
Even so, the total effect ought to be rougher. Hank Santos could do with more of the rebel posture of T-Bird leader Kenickie. Bailey Reese Greemon does capture Rizzo's pain and humanity in the touching solo "There Are Worse Things I Could Do," but her character needs more tenacity in the early going. Caroline Siegrist has the right yearning as Sandy-especially on "Hopelessly Devoted to You." Nick Cortazzo persuades as popular Danny Zuko and brings strong feeling to his Drive-in solo "Sandy." Jeremiah Garcia is a winner as outspoken Roger, though the production seems to soften his fondness for mooning. Still, Garcia and Jayson Brown as reserved buddy Doody are a very convincing duo on "Rock 'N' Roll Party Queen." Best of all is big-voiced Avionce Hoyles as Teen Angel on the flashy "Beauty School Dropout."
In the 1950's James Dean often proved the rebel of choice. The T'Birds in the NSMT "Grease" need more of his raw volatility. Still, most of the theatergoers at the performance I attended seemed to see the Beverly revival as the one that they wanted.