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How Was The Wiz Received?

 

The following is from Stacy Wolf's Changed for Good: A Feminist History of the Broadway Musical

For more info, please see the Works Cited page. 

 

"The Wiz generated much excitement. In the fall of 1974, the New York Amsterdam News crowed that 'black producers are taking over Broadway,' with The Wiz as a prime example. As the show was rehearsing in Baltimore for its premiere though, word got out that there were big problems, and closing date notices were already posted on the New York callboard on opening night, January 5, 1975. To make matters worse, the New York Times' reviews were terrible." (25)

 

"The resuscitation and subsequent commercial success of The Wiz created a community that in some ways mirrored the action within the musical itself, gathering steam, support, and members of the 'family' as it went along on its journey into hostile territory. The New York Amsterdam News ran an editorial shortly after The Wiz opened, urging black theatregoers to see the musical and excoriating white reviewers for rejecting the vernacular-based show. The editor wrote that 'the establishment critics raised substantive questions about their ability to objectively and accurately assess the innovative work. (...) This play is one which should be supported by the Black community since its demise may come as a result of the inability of the 'mainstream play killers' to respond to a white story satirized by Blacks, produced by Blacks, sung by Blacks and seen predominantly by Blacks on opening night.' The audience welcomed The Wiz with open arms (seven curtain calls)." (25)

 

"A stream of critics then chimed in with positive reviews encouraging readers to see The Wiz and noting that white reviewers did not understand references to black culture and life. Mel Tapley, for example, wrote, 'It looks like critic Rex Reed is leading the pack of fastest guns in the West trying to shoot down The Wiz, the effervescent and delightful musical at the Majestic.' Jessica Harris called The Wiz 'soul food.' She exclaimed, 'From the moment that Aunt 'Em (Tasha Thomas) opens her mouth, it is clear that the people who wrote and the people who perform in this musical know all about grandmothers and aunts and Aretha and LOVE.' (...) Supporters of The Wiz, like Dorothy, reached out and invited new spectators to come along on the journey." (25)

 

"In response, black spectators bought tickets in droves, and church and community groups organized theatre outings and reserved large sections of the theatre. Both grassroots support and positive word of mouth turned the show into a huge hit, and it ran on Broadway for five years. In this way, The Wiz motivated the formation and enactment of a community of black theatregoers and critics who defied the hegemony of white critics and whose resistance underlined the white perspective of mainstream papers and negated the presumption that a white perspective is universal." (25)


"When The Wiz won seven Tony Awards six months later, including Best Musical, the black press was still enjoying its renegade yet influential stance. That the musical did ultimately succeed commercially proved that white audiences would see and enjoy the show too. Years later, theatre scholar Thomas S. Hischak describes The Wiz as 'a vivacious musical,' filled with sassy, self-mocking dialogue,' and a 'Motown-sounding pop score overflowing with energy and joy.'" (25)

 

 

 

 

 

 

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