Date: Fri 09-Aug-1996

Publication: Bee

Author: CAROLK

Illustration: C

Quick Words:

theatre-Richter-Wiz

Full Text:

(review of "The Wiz" @Musicals at Richter, 8/9/96)

Theatre Review-

"The Wiz" Gives Richter Good Closure

(with photo)

By Julie Stern

DANBURY - Last month my review of Musicals at Richter's production of The

Secret Garden contained the caveat that while it was based on a children's

book, it was definitely not a children's play. That is certainly not the case

with its current presentation, The Wiz .

Conceived in 1975 as an all-black, rock musical version of the Frank Baum

classic, this arrangement contains delights for people of all ages,

particularly because of the marvelous way in which children are used as a

large, enthusiastic and multi-faceted chorus.

Brimming with pageantry, the show is especially well served by costume

designer Yvette Beausoleil, who uses color brilliantly, from the primary

crayon hues of the Munchkins who cavort and tumble about in their summer camp

uniforms of shorts, T-shirts and baseball caps, to the subtler shades and

imaginative outfits that define the various populations who inhabit the land

of Oz - Kalidahs, Winkies, Quadlings, Monkeys, Mice - and even the "bricks"

that make up the famous Yellow Brick Road.

The chorus doesn't just look sharp. Under the guidance of choreographer John

E. Carter, the movements are crisp and disciplined in a creative blend of

gymnastics, ballet, jazz and tap. The dancing is very important, moreso since

this is not a show with memorable music or catchy tunes. Happily, Carter (who

doubles as the Tinman) has done a fine job choreographing the principal

characters as well, and under the guidance of director J.D. Bauer, Dorothy and

her three friends are outstanding.

Ms Beausoleil's costumes for the trio are rich and imaginative, making the

Tinman, the Lion and the Scarecrow delightful to look at. The adult actors who

play them are just as good. Carter as the woodman with no heart, Matthew

LaBiance as the stuffed dummy with no brains, and Paul Aguirre as the king of

the jungle who's really just a frightened pussy cat, are lovably droll and

endearing and at times uproariously funny.

Because they get all the laughs, they tend to outshadow Dorothy herself, who

has to play straight man to their antics. But Tracee Beazer, a very

accomplished actress-dancer, has enough stage presence to convey the role of

the dreamy child from Kansas who just wants to find her way back home.

Each of the other smaller roles is also sharply and cleverly defined. As the

formidable Evillene, the wicked witch of the west, Denise Fitzsimmons belts

out her lyrics with outrageous vanity, while Niro Satchi turns her good

sister, Addaperle, into a sophisticated vamp.

Nannette Maturi's lovely voice uses a wistful ballad to turn Aunt Em from a

caricature into a sensitive caring mother-figure. Joe Merola makes a slick

conman as the Wiz, and Catherine Laughlin is a pompous and comical gatekeeper

to the Emerald City.

A final note worth acknowledging is director Bauer's explanation of his

purpose in staging a non -traditional (i.e. integrated) production: "...in

this `enlightened' decade of the 90s," he wrote, "I hope that this can be seen

not as a `black' show, and not as a `white' show, but as a show ; a show

presented by a super cast of talented performers of all races and ages who

have worked together to make Richter's The Wiz one of the best experiences of

my theater career. Ahhh, that theater was truly the imitation of life!"