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Pause the protests and prosecutions, and watch a projection of a house fall like a crashing screensaver, as wires yank Dorothy into the air, and dancers dressed like samurai klansmen impersonate the twister.īehold as Mary J. Both men found earnest bubbles for themselves and never left.īut somebody else involved with this show seemed to understand that a night of black corniness was in order. Kelley was likably loose, and Ne-Yo, the musician, using a country accent, was bearably stiff. Her companions on the show’s yellow brick road also have desires - the Scarecrow (Elijah Kelley) would like a brain, the Tin Man (Ne-Yo) a heart, and for the Lion, courage.
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But that is scarcely actionable since she wants only to get back to her Midwest home. Brown: adding back stories and motives that had the odd effect of italicizing Dorothy’s witch-slaying. This NBC version, courtesy of Harvey Fierstein, who revamped the book of the musical, put more expository meat on the story by William F.
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This Emerald City was a place of conceptual ingenuity, and it made me feel greedy for more. Queen Latifah arrives as the Wiz, whose power - in her interpretation - seemed to come from her fabulous androgyny. It was progressive and inclusive, on the one hand, and deeply natural, on the other. Men and women did some serious ballroom vogueing in lighting from the House of Tron. The one truly eye-opening moment came in an interlude at the Emerald City. A can was opened and out jumped these sounds. And the musical arrangements were meant to be contemporary, veering into various hip-hop offshoots, but not with any sort of invention. Some of the costumes and hair look as if they come from the House of Wonka. To be fair, the visual result was more like something manufactured in the Children’s Television Workshop.