Asides detract from talent of 'Wiz' cast

Lisa Bornstein, Rocky Mountain News

Published July 21, 2006 at midnight

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Last summer, the Physically Handicapped Amateur Musical Actors League, or PHAMALy, stunned audiences with its production of Joseph and the Amazing Technicolor Dreamcoat, in which director Steve Wilson artfully drew connections onstage between the lives of the disabled and the story of the biblical leader.

He tries to create the same magic this summer with The Wiz, but too many liberties in adapting the script and the lyrics make those parallels too obvious. It also raises the question: Should every PHAMALy production be about the fact that the performers are handicapped? Aren't we supposed to revel in their talents, not their plight?

PHAMALy has wisely chosen a less-familiar musical, the 1970s soul-infused The Wiz, which makes it a welcome change of pace. It's a stunning production made magical in the hands of lighting and set designers Charles Dean Packard and Jennifer Orf and the musical direction of Donna Debreceni, which reaches new vocal heights for the company.

Wilson and Debreceni have put together the most talented cast in years, beginning with Juliet Villa, who plays Dorothy alongside her guide dog, Deidra, as Toto. When Villa sings, the room goes silent, so perfectly controlled is her wide-ranging voice. Best of all, she's a true musical actor, investing her lyrics with expression. When the crowd raises its voice for her at the curtain call, it's a moving moment, not because she's blind, but because she's so gifted.

Joining her on her quest is an able and diverse crew. Daniel Traylor brings back his fluid dance moves as the Scarecrow, while Don Mauck sings and growls as the Lion. Regan Linton brings the soul into country music as a beautifully voiced and wonderfully acted Tingirl. Linda Wirth's Glinda doesn't get to sing much, but what she does is warm and hearty, while Leonard Barret rocks the house as the stilt-heightened Wiz.

There's well-done acting and singing throughout the production, as the ensemble demonstrates on the hoity-toity promenade of Emerald City Ballet.

All of this would have been sufficient, even delightful. But a heavy hand has tinkered with the words of Charlie Smalls and William F. Brown. Sure, some asides are cute, as when Dorothy puts on the required Emerald City glasses and says, "I can't see a thing with these on."

But the references are incessant and often unnecessary. Why change the words to the show's prettiest song, Soon As I Get Home? Why have the lion say "They think just 'cause I can't see that I'm not dangerous?" The directorial, rather than literal cues of Joseph were much more effective.

This isn't skit night; it's a talented group of performers. The program says PHAMALy prefers to focus on the abilities of its performers; alterations like these make that claim ring hollow.

Lisa Bornstein is the theater critic. bornsteinl@RockyMountainNews.com or 303-892-5101

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