Whizzing audiences through a wonderful adventure, the Aboriginal Centre for the Performing Arts (ACPA) in association with QPAC, have presented a vibrant rendition of the musical, ‘The Wiz’.
With enigmatic energy among a cast of many young and energetic performers, the production played to a packed house at the Cremorne Theatre and highlighted the talent of ACPA’s graduating class.
As a pop-infused, loveable musical, ‘The Wiz’ reinvigorates the story of ‘The Wizard of Oz’.
Even though 'The Wiz' is a rarely-produced musical, the show provides a funky and fresh revamp, and in ACPA’s hands, was a hit among many. Director and Choreographer Simon Lind has worked meticulously to bring the world of ‘Oz’ to life with a minimalistic styled set, simple props, and a clear artistic vision that easily connected with the audience.
In this rendition, Simon cleverly adapted some of the musical’s references to resonate closely with Australian audiences. Of note was the referral of Dorothy’s hometown Kansas, changed aptly to ‘Cairns, sis’ instead. Other hilarious reinterpretations included the Tin Man’s oil being the popular lubricant WD-40 and the rainbow used as a symbol of pride. Peppered with these current quips, the cast had audiences in the palm of their hands, laughing away at the all-too-familiar gags. It ensured the musical connected on a deeper level and was a clever choice.
Simon’s choreography put students through their paces and was extremely well-conceptualised. Playing to the ensemble’s strengths, there were many stand-out routines, especially the intricate vogueing details throughout the Poppy Field and Emerald City dances. In coinciding with the modernised undertones of the costume design, which had an avant-garde feel – experimental and mixed with everyday wears. In particular, the Poppy chorus was signature in their black leotards and vibrant red flowers in various places – a favourite of the evening. The style of the four leads was also reinvented with Scarecrow rocking a checkered suit, Tin Man in spray-painted silver jeans, Lion in a luscious fur coat and Dorothy in her Sunday best.
Lighting design by Glenn Hughes was varied and rewarding, especially when audiences first glimpsed the Yellow Brick Road, which magically appeared across the stage as characters moved. This really delivered an impressive effect that significantly stamped the show’s main title ‘Ease On The Road’, which was delightfully reprised several times. AV Design by Priya Haylock, Jacinta Horin, Madeline Lam and Jason Guy also facilitated the simplistic set design, with images projected neatly to depict the location of each scene.
Despite act two lagging slightly, scenes were mostly seamless in their transitions, where set pieces rolled in and out. Sightlines into the wings did detract at times, however it was unsure if this was intentional. Rather than being affected by it, there was an encouraging spirit that settled over the entire production, and audiences could see the students nervously preparing before giving it their all on stage.
The ACPA cast was empowering and comfortable onstage. Across the productions many moments, the ensemble slipped in and out of roles to deliver many comical inside jokes. As the daydreaming Dorothy, Serina O’Connor filled the role with sweet sincerity and humbled charm. Her Etta James styled vocals were a powerful complement to the musical’s ballads. Displaying an incredible vibrato, Serina’s voice resonated throughout the theatre space, especially on her solos ‘Soon As I Get Home’ and ‘Home/Finale’.
As the scraggly Scarecrow, Selwyn Powers slid into the hearts of audience members with his infectious charisma. With great comic timing, Selwyn was also light on feet, and moved, swayed and danced effortlessly to completely embody the shaggy character. In contrast as the rigid Tin Man, Gara Doolah was suave and stilted, embracing the character’s hopeless romantic side. Gara delivered the portrayal with a cheeky quirk, and also showcased much danceability.
Rounding out the infamous awesome foursome, as the Cowardly Lion was return student Garret Lyon, and he was a stand-out by far. Completely comfortable with his surroundings, Garret naturally broke the fourth wall and played affectionately to the audience. Not only were his vocals smooth and slick, but Garret embraced the mannerisms of his character from head to toe; dancing in between the lines of a fearful chicken and a sassy Queen.
Also worth noting among the ensemble was the sparkly, man-obsessed Glinda played by Kayci-Lee Gillies; the opportunist Gatekeeper played by Chloisha Coleman-Booth; and the cool and crazy Addapearle played by Kelsey Lynn.
Special kudos must go to the band of crows who circled the Scarecrow’s every move. Zachariah Ketchup, Nicholas Currie-Inns and Damian Mulligan had the movements of the bird well-rehearsed, and they effectively backed a very hilarious performance of ‘I Was Born On The Day Before Yesterday’.
ACPA’s unique twist on this family favourite delivered in spades. As an organisation for indigenous performers, the institution has created an experience inclusive of all and reflective of local communities.
The contribution of many creatives has made this production (and road) easy to travel down and it has established itself as a wonderful, worthwhile visit.
