Archive for July, 2009

RIP Micheal Jackson-The One True Wiz

With This Dedication We Say: Thank You Michael Jackson For Being The One True “Wiz,” That has captivated us all.


The Wiz was a film that has captivated the imagination of many young and old for over 30 years now. With the cast of Diana Ross, Nipsey Russell, and Richard Pryor who would have thought a, “KING,” would humble himself to play the role of a outcasted scarecrow who would captivate us, motivate us and have us moving and grooving for years to come.

Micheal Jackson’s scarecrow was truly the star of this film, one that he will be remember for, not only for dancing and singing his way into our hearts and lives, but believing that we to could dream, and take the roads less traveled to find our true purpose. 

This Blog is a dedication to his work in not only song and dance but is contribution to Film and Cinema Arts. Thank you for allowing a little five year old girl dream the impossible dream of one day remaking this film as a dedication to the work, life and art of you, Micheal Jackson. Thank you so much for your contribution to this earth. As we look today upon your memorial I thank God for sending an angel to bless us all. Thank you for leaving your legacy in the earth.

From the staff and writers at DT Productions we salute you Micheal Jackson, and may the Lord God, rest your soul and spirit in his great peace and love.

Talia Moore


Return Of The Wiz On Broadway-Summer Review


Hello all I see that you all have enjoyed even a small stay of, “The Wiz, on Broadway with Ashanti as Dorothy and Orlando Bloom as, “The Wiz.” Even with the recent death of Micheal Jackson, who can forget the wonderful dance moves, the wonderful lyrics and the show stop music that has capitvated us since 1975.

With the Return of The Wiz on Broadway this summer the Buzz on this film has been wonderful. With competition of Wicked, The Wiz, has fans old and new wanted to see the show go on.

Here Is a Current Review Of This Production:

The Theater Review

Published: June 19, 2009

Does that big ol’ stimulus package contain any provisions for urgent repairs to yellow brick roads? If so, some funds should be set aside to subsidize careful work on the bumpy new revival of the 1975 Broadway musical “The Wiz,” the latest, most lavish and least in the Summers Stars series from City Center Encores!

Ashanti Gets Her Brand New Day in ‘The Wiz’ Original Review: ‘The Wiz’ (Jan. 6, 1975)

Busily energetic and yet full of dead ends, the production features the Grammy-winning pop princess Ashanti as a lovely but lifeless Dorothy in the updated, all-black rewrite of the classic L. Frank Baum novel “The Wonderful Wizard of Oz.” A big hit on Broadway originally and a fast flop in revival a decade later, “The Wiz” in the current incarnation seems to be forever aerobically on the move and yet always at a complete standstill.

The director Thomas Kail, the choreographer Andy Blankenbuehler and the music director Alex Lacamoire, who all previously collaborated on the Tony-winning musical “In the Heights,” certainly seemed a savvy choice to reanimate this urban revision of the ever-durable fable about leaving your own little Kansas for a world of adventure only to find that home is where the heart is. But with the able-voiced but otherwise underqualified Ashanti incapable of bringing the necessary vivifying spark to the evening, the musical’s general unremarkableness becomes naggingly and ultimately gratingly apparent, despite plenty of zest around the fringes.

The book, by William F. Brown, features jokes that presumably went down a little more smoothly in the pre-politically-correct 1970s. Now it seems a uncomfortable to chortle as the Good Witch of the North, Addaperle (a feisty, fun Dawnn Lewis), tries to guess at Dorothy’s name, coming up with possibilities like Chantiqua and Latifa and Starletta. And as the story moves fitfully through its paces, with Dorothy collecting the traditional menagerie of misfits — the Scarecrow (Christian Dante White), the Tinman (Joshua Henry) and the Lion (James Monroe Iglehart) — on her adventures in the land of Oz, the pacing seems either to lurch forward or to dawdle. No sooner have we met the Wicked Witch of the West, Evillene (Tichina Arnold), than she has been defeated, and everybody begins leaping about in a frenzy of happy liberation. (I didn’t realize that the late, great Luther Vandross wrote this effervescent song, “Everybody Rejoice.”)

Still, the music and lyrics by Charlie Smalls retain an irresistible pop appeal. It may be easier to enjoy the production if you try to tune out the alternately sluggish and frenzied spectacle onstage and focus on the mostly able musical interpretations of the best songs. (The costumes by Paul Tazewell are a gaudy, glittery mixed bag, ranging from authentically fabulous to just weird.)

As Aunt Em, LaChanze, a Tony winner for “The Color Purple,” puts across her big opening number, “The Feeling We Once Had,” with soaring vocal richness and later brings similar poise and force to the musical’s climax. Wafting onstage as Glinda the Good Witch in an Eartha Kitt-ish sky-blue gown-and-turban combo, she bestows with an air of benevolent imperiousness the knowledge that Dorothy can click her heels and make the whole peculiar parade disappear.

In this girlhood-empowering, me-decade version, the choreography is incidental to the healing power of the mantra “Believe in Yourself.” (That is one of the many messages imparted in “Wicked,” Broadway’s newest and most profitable trip to Oz, in which Dorothy is barely a bit player.)

Mr. White is a genially loose-limbed Scarecrow, despite garish makeup, and Mr. Henry glows appealingly in his two numbers, the Dixieland-style “Slide Some Oil to Me,” and the aching “What Would I Do If I Could Feel?,” a slow-grooving ballad with the appealingly flavor of old-school 1970s R&B. Playing Evillene as a runway-ready diva in a fiery-red gown of the Thierry Mugler school, Ms. Arnold brings the right sassy glower to her sole song, the gospel-inflected “No Bad News,” before disappearing, drenched and vanquished, into what appears to be a sumptuous pile of taffeta window treatments discarded from a recently renovated Four Seasons Hotel.

But for all the energy and verve brought by individual performers to their big moments, the production never gains any real locomotion, notwithstanding endless amounts of kinetic choreography from Mr. Blankenbuehler for the many ensemble numbers. While ably performed by the agile dancers, much of it feels cluttered, empty of purpose and generically urban. Even Mr. Blankenbuehler’s moments of invention don’t pay off as you might hope. The first big number, in which a human tornado whisks away Dorothy’s home piece by piece, suggests a dance interpretation of “Extreme Home Makeover” as performed by the Solid Gold Dancers.

Does anyone remember them, from the syndicated 1980s “Solid Gold” television show fueled by Top 40 tracks? If so you may retain affection for the score for “The Wiz” — even perhaps for the insanely bloated 1978 movie version directed by Sidney Lumet, of all people. (Mr. Lumet’s mother-in-law at the time, Lena Horne, appeared in it as Glinda.)

Diana Ross was famously too old to play Dorothy, who was duly turned into a spinster schoolteacher, but she did bring a plangent feeling to the role. (I’ll admit I loved the movie as a kid, even gorging on its absurd excesses.) What the current production needs, obviously and most crucially, is an emotionally involving performance in this role. Unfortunately Ashanti, making her stage debut, mostly seems like a pretty place-holder, an empty vessel in a sparkly dress.

Her voice is terrific — bright, multicolored and flexible — and her singing is certainly impressive. But she brings little conviction and less charm to the book scenes and looks a little bit lost, and not in a yearning, get-me-back-to-Kansas kind of way. Her climactic solo song, “Home,” should bring the show to a satisfying, perhaps even moving conclusion, but Ashanti’s performance is vocally accomplished yet hollow, as if she’d been given the song the day before and learned it by rote for one of the middle rounds of “American Idol.” The moment is unhappily emblematic of the evening as a whole. Just where it should sparkle, this “Wiz” keeps fizzling.

This is the year to bring back to FILM the movie we love so much (The Wiz). God has blessed this film to see 30years and now with the Return Of “The Wiz,” on Broadway audiences rave that a new voice, a new sound and dance to an old favorite is what we crave!

Please comment about The Wiz on Broadway Summer Session. Thank You For Visiting.

DT Productions