Review: The Wiz

Review: The Wiz  | Town Hall Arts Center | Littleton, CO | Curtain Up! | Eric Fitzgerald

Town Hall Arts Center’s production of The Wiz, directed and choreographed by Christopher Page-Sanders with music direction by Alex Burse, offers a lively and heartfelt interpretation of a musical that once revolutionized Broadway’s sense of possibility. Sitting in the Littleton theatre, I found myself appreciating the craftsmanship onstage while also pondering a quieter question: what does The Wiz mean in 2026? Its 1970s debut was a cultural shock—joyous, defiant, transformative. Today, the ground it broke no longer feels new, and that changes the significance the show holds. This production acknowledges that; instead, it prompts us to think about what the story offers now, in a world that has evolved around it.

With a book by William F. Brown, music and lyrics by Charlie Smalls, and based on L. Frank Baum’s The Wonderful Wizard of Oz, The Wiz comes with a history everyone in last night’s audience already knew—most of us saw the 1939 Judy Garland film more times than we can count. What can slip from memory, though, is how boldly the Broadway musical reframed that familiar tale in the 1970s, infusing it with a sound and sensibility drawn from soul, funk, and contemporary Black storytelling. That artistic identity still gives the piece its heartbeat, even as the cultural landscape around it continues to evolve.

Christopher Page‑Sanders’ choreography drives this production, pushing the evening forward and giving it much of its character. His movement vocabulary is sharp and expressive, grounded in a physical confidence that keeps the stage energized even during quieter moments. As a director, he shapes the night with an effortless command of pacing and visual rhythm, allowing the story to breathe while still guiding it with purpose. Alex Burse’s musical direction matches that energy with equal care, leading the ensemble with steadiness and highlighting the score’s most soulful tones. Anchoring the entire experience is the six‑piece musical ensemble, playing with a vibrant energy that fills the room. There’s a deeply satisfying feeling about having live music flow through a piece this musically rich. Kudos to Town Hall for choosing live music over recorded tracks.

The story begins in Kansas, where Dorothy (Thurzday) lives with Aunt Em (Cha’Rel Ji’Cole) and Uncle Henry (Michael Bateman) before a sudden storm sweeps her into the dazzling world of Oz. There she meets Addaperle (Shakira D. Abney-Wisdom), the well‑meaning but scatterbrained Good Witch of the North, who points her toward The Wiz (Colleen “Coco” Christmas-Garner) and the Yellow Brick Road. Along the way, Dorothy befriends Scarecrow (Angel Miguel Garcia), Tin Man (Simeon Wallace), and Lion (Daevon Robinson), each searching for something they believe they lack. Together they face Evillene (Cha’Rel Ji’Cole), the Wicked Witch of the West, navigate the challenges of Oz, and press forward on a journey that reshapes their understanding of themselves and the world around them.

L to R: Simeon Wallace (Tin Man), Daevon Robinson (Lion), Thurzday (Dorothy), Angel Miguel Garcia (Scarecrow) | Photography Credit: RDG Photography

Thurzday steps into the role of Dorothy with a clarity of purpose that feels entirely her own. We all carry our personal image of the character—whether it’s Judy Garland in the 1939 film or Diana Ross in the 1978 movie adaptation of The Wiz—and that makes the role an uphill climb for any performer trying to offer a third path. Thurzday meets that challenge with assurance and freshness, sidestepping imitation and instead shaping a Dorothy rooted in her own vocal tone, emotional instincts, and presence. It’s a smart, grounded performance that expands the possibilities of who Dorothy can be.

The ensemble around Dorothy brings real texture to the journey. Angel Miguel Garcia’s Scarecrow has a loose‑jointed physicality that never feels forced; they build the character from the ground up, letting the humor come from the way their body thinks before their brain does. Simeon Wallace’s Tin Man moves with sculpted precision, every gesture clean and intentional, and his vocals carry a surprising emotional ache beneath the metallic sheen. Daevon Robinson gives Lion a swaggering, almost vaudevillian bravado, then lets it crumble in moments of genuine vulnerability — a smart, funny performance with real heart. Shakira D. Abney‑Wisdom’s Addaperle is a comic jolt of energy, landing her scenes with sharp timing and a knowing wink that never tips into caricature. As Evillene, Cha’Rel Ji’Cole unleashes a fierce, full‑throated presence, leaning into the character’s menace with relish. And Colleen “Coco” Christmas‑Garner brings a commanding stillness to The Wiz, playing the role with a mix of authority and sly self‑awareness that makes the unmasking land with real impact.

The ensemble provides a steady, energizing presence to the production, shaping the show’s world with clarity and dedication. Their vocal blend and collective timing give the group numbers real lift, and their chemistry keeps the storytelling grounded. A trio of specialty dancers adds extra energy to the evening, moving through the space with precision and flair that immediately catches the eye. Together, they form a cohesive, generous company whose work enhances the production at every turn.

L to R: Thurzday as Dorothy and friends/ensemble from the cast of The Wiz | Photography credit: RDG Photography

Musically, the show gives each character a chance to stake their claim on the story. Dorothy’s journey is carried by “Home,” which Thurzday delivers with clarity and emotional steadiness, closing the night with a jolt of undeniable electricity. “Ease on Down the Road,” shared by Dorothy, Scarecrow, Tin Man, and Lion, becomes a true ensemble pulse — bright, rhythmic, and full of forward motion. Cha’Rel Ji’Cole tears into “Don’t Nobody Bring Me No Bad News” as Evillene, giving the number a sharp, comic bite. And Colleen “Coco” Christmas‑Garner brings a grounded authority to “Believe in Yourself,” shaping The Wiz’s signature song into a moment of genuine guidance rather than spectacle. Together, these performances remind you how much the score asks of its singers — and how fully this cast stepped up.

The scenic design by Brian Watson has a fantastical quality, using sweeping arches—rainbows, perhaps—to anchor the visual world. Costume designer Emily Valley offers a range of rich tapestries that help distinguish characters across shifting emotional terrains. The lighting, crafted by Amanda Fisk, is appropriately vivid, including a magical glow that radiates through Watson’s arches and frames the stage with warmth. Sound designer Curt Behm delivers a finely calibrated auditory landscape that supports the production with clarity and intention.

Under Christopher Page‑Sanders’ assured direction and dynamic choreography, and with Alex Burse’s thoughtful musical leadership, this production finds a clear, confident pulse. Thurzday’s performance as Dorothy anchors that heartbeat, offering a blend of vulnerability and resolve that gives the journey its emotional center. The score itself carries remarkable musical richness, its layers of soul, funk, and storytelling woven with care throughout the evening. In the hands of this creative team and cast, The Wiz remains a vibrant, heartfelt experience—one that honors its legacy while inviting audiences to meet it where it stands today.