The Wiz

"The Wiz" hit Broadway in 1977 with something of a collective critical yawn, though as someone fortunate to have seen that production while it was in previews, it was apparent that the critics didn't get the point. Here was "The Wizard of Oz" rethought for African-American audiences done with snark, soul and style. That original show nearly closed on opening night, but the producers poured money into it and put out a television commercial that featured the song "Ease on Down the Road" and turned the show's fate around. It became a sell-out and a Tony winner for Best Musical.

It is, simply, a show that audiences love, which is the case in its current production at the Lyric Stage Company of Boston that has been extended through July 1. The enthusiasm was palpable at the matinee I attended some weeks back, so much so that word-of-mouth could likely keep it going all summer.

At the Lyric, director Dawn M. Simmons deftly scales the show down to fit the theater's intimate space, as well as informing it with it with a Cajun sensibility so strong that it would be easy to confuse the city of Oz with New Orleans. Simmons and choreographer Jean Appolon work wonders with their small cast, though the they seemed a bit tentative between scenes, so much so that the show didn't so much ease on down the road as ooze on down it.

Of course the biggest problem with "The Wiz" is that William F. Brown's libretto lacks the tension that made the Judy Garland film so watchable. His book pretty much follows the film's template, but there is never much of a sense of danger when Dorothy (the full-voiced Salome Smith) deals with the evil Evillene, the Wicked Witch of the West. Yewande Odetoyinbo chews up the scenery (and a cigar) as Evillene, most notably in her big number "Don't Nobody Bring Me No Bad News,'' but she is more comic than menacing in Brown's by-the-numbers adaptation.

Still if the characters may seem like cartoon versions of the originals, they are given great songs to sing (music and lyrics by Charles Small). Drawing from gospel, rhythm and blues and Motown, the score feels as fresh today as it did 41 years ago, especially when performed by the talented singers in the cast. Kudos to Carolyn Saxon in the dual roles of Aunt Em and the good witch Glinda, who opens the show with a heartfelt "The Feeling We Once Had'' and towards the end offers a goosebump-inducing "Believe," which is topped shortly after with Smith's splendidly sung and heartfelt "Home."

There's also excellent work from Elle Borders (the Scarecrow), Steven Martin (the Tin Man) and Brandon G. Green (the Cowardly Lion). Martin is wonderfully funny as he slowly becomes more limber with a splendid "Slide Some Oil to Me,'' while Green, joined with Smith, offers a touching "Be a Lion," one of the show's numerous anthems. And Davron S. Monroe most cleverly channels Sammy Davis, Jr. as The Wiz.

Amber Voner's costumes add to the show's New Orleans flavor with Mardi Gras colors and designs. She also neatly suggests the familiar costumes for the Scarecrow, Tin Man and the Cowardly Lion with minimal effects that never encumber the performers' ability to move. (Especially clever was the Scarecrow's ax-handle that resembles a saxophone.) The minimal, two-tiered set (by Baron E. Pugh) has stacked oil drums on the upper level and an open area below to accommodate the ample movement. This winning, chamber-scaled "The Wiz" has style to spare. If you have a chance and can get a ticket, catch before it closes on July 1.

"The Wiz" continues through July 1 at the Lyric Stage, 140 Clarendon Street, Boston, MA. For more information, visit the Lyric State website.