Review: Black Theatre Ensemble shines in ‘The Wiz Musical Medley’
The club’s annual musical medley invited audiences to journey down the yellow brick road in a production that honors the legacy of “The Wiz.”
Photography by Jada Washington/The Barnard Bulletin
March 8, 2025
“We have a place here, and we’re here to stay,” remarked Jordan Baptiste (BC ‘25), director of “The Wiz Musical Medley.” On February 22, 2025, this dynamic production was presented by the Columbia University Black Theatre Ensemble (BTE), a student organization dedicated to producing theater that highlights the Black experience, aiming to amplify the voices of Black creatives in the theater space on campus. The musical draws inspiration from “The Wiz” — an all-Black, Afrofuturist reimagining of L. Frank Baum’s novel “The Wizard of Oz” — which debuted in 1974 at Baltimore’s Morris A. Mechanic Theatre. The most renowned adaptation of “The Wiz,” however, came with the 1978 film, featuring a star-studded cast that included Diana Ross, Michael Jackson, and Richard Pryor.
There is a distinction, however, between the full musical adaptations of “The Wiz” and the medley version produced by the Black Theatre Ensemble. “A medley is a cut-up version of a musical,” Baptiste told The Barnard Bulletin, “where you only perform the big, highlight numbers of a show with some dispersed lines in between to make the show flow.” As Baptiste described, it is a very “truncated” version of the original musical, which typically includes full story arcs, dance breaks, intermissions, and more.
The medley format, however, was a plus for many in the audience, including Skylar Stadhard (BC ‘27). “I love that it was bare-bones in a very good way,” Stadhard shared. “I thought it left a lot for interpretation.” It also served as an introduction to many who have not seen the original film, like Destiney Radford (CC ‘26). “I’m not usually a musical theater fan, so I hadn’t seen “The Wiz” before — this was my first impression of it,” she explained. “It was very funny and a great watch. I really enjoyed it!”
Before the show began, there were a variety of opening performances. Baptiste delivered a compelling rendition of “My Days” from “The Notebook” musical, a song exploring themes of self-discovery. Reiné Castilla (CC ‘25) shared original poems, “Cleanse Me” and “Shards of Platinum,” delving into identity, transformation, and Colombian heritage. Ariana Neal (CC ‘26) and Saiya Palmer (CC ‘26) performed a cover of “Impossible” from the 1997 “Cinderella,” capturing the original’s melodic strength and harmonies. The Black Gospel Choir, founded this past fall semester by Josh Black (CC ‘25), concluded the opening segment with spirited performances of Kirk Franklin's “Melodies from Heaven” and Richard Smallwood’s “Total Praise,” setting an energetic tone for the main event of the night.
There could not have been a better selection of opening performances to prepare viewers for “The Wiz.” These creatives brought the aspects that made “The Wiz” so distinctly different from other adaptations — they made it unmistakably Black. The soul oozing out of Castilla’s original poems is reminiscent of the blues and R&B influences in “The Wiz” songs like “You Can't Win” and “Ease on Down the Road.” The gospel inflections required to execute songs like “A Brand New Day” or “If You Believe” complement their themes of rejoicing and hope. “The Wiz” undoubtedly pushes boundaries for what music in theater could, and should, look like — from the monolithic musical constructions of the past to something that blends genres but still resonates with a musical theater audience.
The play begins with Dorothy (Elaina Taylor, BC ‘27) center stage, appearing solemn and rather emotional as she sings “Soon as I Get Home.” This emotional ballad thrusts the audience into the mindset with which this medley begins, conveying Dorothy’s longing for comfort and belonging in a place she calls home. As the song ends, a comedic moment unfolds when Dorothy’s dog, Toto, runs off … except it’s a plush dog toy with a string attached being pulled by a crew member off-stage. In the dim lighting, it initially looked more like a rat, which elicited audible gasps from the audience while providing a light-hearted break from the emotional tone of the song. This balance of heavier themes with comedic moments was a recurring motif throughout the show, keeping the performance an overall light and enjoyable watch for a Saturday night.
Searching for solutions to Dorothy’s problem, Addaperle, the Good Witch of the North, offers her the answer: follow the yellow brick road to find the Wizard of Oz. This is followed by a lively rendition of “He’s the Wizard” by the ensemble cast. Their endless chanting of the song’s title creates an ominous, hypnotic effect, disguised as hopeful excitement — a foreshadowing of what is to come. It is here where Dorothy receives her sparkly silver boots — an endearing nod to the silver pumps Diana Ross wears as Dorothy in the original film.
The various supporting characters are introduced through their own feature songs, with the last of the bunch being the Tin Man, played by Teniola Adedire (CC ‘28), with their poignant song “What Would I Do If I Could Feel.” With the timing of his entry to the show, it really concludes all the sentiments shared in the personal songs of Dorothy, Scarecrow, and Lion; they all have this desire for something, physical or immaterial, that they feel they lack. For the Tin Man, it’s a heart and the ability to feel; for Lion, it’s courage; for Scarecrow, it’s brains for intelligence; and for Dorothy, it’s home. The cast did a beautiful job of capturing the essence of their characters and their innermost desires, despite what they may or may not outwardly project.
The best moment of the night started when the four characters come together for a lively rendition of the notable “Ease on Down the Road,” evoking the same nostalgia and playfulness as the film version. The cast’s commitment to their roles was evident in their energetic execution of jazz squares, jumps, and partnered “Skip to My Lou” sequences. The breath control exhibited with these high energetic steps — perfectly synchronized with the lively music — was truly impressive, to say the least.
The great Wizard of Oz himself, played by William Charles (CC ‘27), waltzes in, sporting a cane and tilted hat — symbols often associated with pimps in Black culture — adding a layer of cultural awareness that also serves as an indictment of the Wizard himself. In media, pimps are often glamorized with flamboyant personas, masking their manipulative and exploitative nature; to have the Wizard of Oz portrayed in such a way was different from other versions I have seen, but fits the best because of this subtle commentary on the pimp persona. With his confident strut, the character begins his solo, “So You Wanted to Meet the Wizard” with lyrical content, suggesting cynicism of false idols. The actor’s delivery of this character elicited audible laughs from the audience, myself included, particularly due to the humorous timing of his blunt interruption during the moment when all the characters speak over each other to share their wishes. He cuts them off abruptly with a straightforward, “I’ve made my decision.” It’s similar to a scene in a comedy where everyone is talking at once, and the character suddenly shouts something to stop the chaos, catching everyone off guard.
Transitioning into the big reveal, these aspiring four discover the worst news possible — the Wizard of Oz they journeyed so long to see is powerless. The audience can see the weight of this reality visibly sinking in as the actors’ presence seems to shrink. Then Dorothy, ever the uniting force of the group, uplifts the spirits of her friends and herself. Her words breathe life not only into her friends on stage but also into the audience, reminding them that what they had been searching for was already within them all along.
For Baptiste, this moment delivers the message she most wanted viewers to take away from the performance: “You are already special within yourself,” she said. “You don’t need special additives to make yourself whole.”
Finally, the characters break out into the song “Brand New Day,” centering themes of renewal, freedom, and optimism in a way more true to the spirit of the characters than their previous solos. At this point, the Wicked Witch has been defeated, and the group understands they never had to look too far for what they needed. Glinda, the Good Witch of the South, played by Saiya Palmer CC ‘26, takes the stage to perform “Believe in Yourself,” a song that encourages self-belief and personal empowerment. She sings to Dorothy, who, despite the promise of a brand new day, is still yearning for home. We then hear the second part of her introductory song, “Home,” leading into the iconic scene of Dorothy clicking her heels — well, boots.
The moment of Dorothy clicking the heels of her boots serves as an ironically metaphoric detail, encapsulating the essence of Black theater, that while its forms may evolve to reflect contemporary contexts, its core mission remains steadfast — to center and amplify the experiences of Black communities, a purpose that has persisted through generations and continues to resonate today.