Ease on Down the Road: The Wiz in D.C. Is a Joyful, High-Energy Experience You Don’t Want to Miss

Production: The Wiz

Directed by: Schele Williams

Choreography by: JaQuel Knight

Executive Producer: Mimi Intagliata

Additional Material by: Amber Ruffin

Run Time: 2 hours and 20 minutes (including intermission)

Venue: National Theatre, Washington, D.C.

Show Dates: April 7–12, 2026

Location: National Theater

Purchase Tickets here

“I didn’t want it to end,” my friend said to me after opening night of The Wiz in D.C., and honestly, I felt the same. The production is a euphoric ride, filled with vibrant music, timely humor, and standout performances that the whole family can enjoy. Now in D.C., this is a show you should plan to see. Having seen it during its Broadway run, I can say this staging delivers that same level of joy and spectacle.

The World of Oz, Reimagined in Color

What immediately stands out is the design. The illuminated backdrop, reminiscent of stained glass, glows with tie-dye-like lighting, setting the tone before a single note is sung. Even as musicians ease you into the world, there’s a sense that something special is about to unfold. The show began about 20 minutes late due to technical issues, but given that it was opening night, it was understandable—and once it started, it more than made up for the delay.

As the story progresses, the set transforms to suit each environment. Every scene is rich with color and movement—from the lively, bustling energy of the Emerald City to the dark, fiery intensity of the sweat shop. The production feels alive, constantly shifting, pulling you deeper into its world. Escaping reality for a bit—which, let’s face it, we could all use—a brief departure into joyful entertainment.

The Travelers

The performances are strong, beginning with Phoenix Assata LaFreniere as Dorothy. She brings a gentleness and kindness that feel essential to the character, while still making the role her own. Vocally, she’s sweet and expressive, bringing a warmth that stands out. I haven’t quite seen a Dorothy like this—and that’s exactly why she works. She also plays well off her castmates, including Elijah Ahmad Lewis as the Scarecrow, D. Jerome as the Tinman, and Cal Mitchell as the Cowardly Lion.

It’s hard to follow the King of Pop, Michael Jackson, as the Scarecrow, but Lewis does the role justice. His vocals are solid, but it’s his charisma that really stands out—you can’t help but pay attention whenever he’s on stage. The way he delivers his lines, along with his body language and interactions with others, keeps you laughing and chuckling throughout.

Mitchell, as the Cowardly Lion, delivers a strong performance, fully capturing the lion’s lack of courage while still bringing plenty of humor. One of my favorite songs, “Be a Lion,” is performed well by Mitchell, carrying an aura similar to that of those who’ve taken on the role before him.

Last among the core group is Jerome’s, the Tinman. One of my favorite songs from The Wiz is “What Would I Do If I Could Feel,” so I’ll admit—I’m always a bit critical of anyone stepping into that moment. But from the second he began to sing, the room fell silent. His performance was tear-jerking. As he delivered such a deeply personal song, the emotion—and tears—in his eyes were undeniable; you could hear sniffles throughout the crowd, and I had to fight back my own eye sweat. Jerome can sing. If anything, bring tissues, because he’s that good, so good you might find yourself revisiting The Wiz soundtrack afterward. (And yes, Phillip Johnson Richardson absolutely kills that song on the Broadway recording.)

Powerhouse Performances

And then there’s Evillene, the Wicked Witch of the West, played by Kyla Jade, who completely owns the stage. Her presence is undeniable, with powerhouse vocals that command attention. She holds notes effortlessly, earning applause almost instantly. She’s what I’d call the Ric Flair of the production—so good at being bad that you can’t help but love her.

Alan Mingo as the Wiz is hilarious, delivering some of the funniest moments in the show. He carries himself like the host of a music video show, with the class and style of Morris Day—if Morris Day were the Wiz. Having seen this performance in New York, I can say it’s just as funny and good the second time around.

The Details

Major credit also goes to the ensemble—the dancers and singers who bring the entire production to life. The Emerald City introduction is a standout, blending ballet, interpretive, modern, and African-inspired dance. They truly killed it. Paired with a dynamic musical arrangement that pulls from multiple genres, it created moments where you couldn’t help but move in your seat (and yes, I looked around—I wasn’t the only one).

The costume design is another highlight. The inhabitants of Emerald City look like they’ve stepped straight off a runway—bold, stylish, and cohesive, with a high-fashion feel reminiscent of Paris Fashion Week. The attention to detail in both wardrobe and hair is impressive.

Sheherazade, in particular, had one of the most striking looks of the night, shimmering in gold, white, and silver as Glinda the Good Witch. Paired with beautiful makeup and a pompadour hairstyle, she carried an almost angelic presence. Her voice is just as captivating—soulful and rich—and even though her stage time is limited, she leaves a lasting impression.

Final Thoughts

The whole experience was immersive and engaging, as the props fit each scene and the visuals keep you so invested, you won’t want to leave your seat, even during the intermission. Heck, my friend who came with me almost fell down the steps trying to make it back from the intermission in time to see the rest of the show. After watching the play, I can confidently say this is a performance you don’t want to miss. As someone who’s seen The Wiz in New York, this production matches that same energy and spirit. If you’ve been saying there’s nothing to watch, or you’re a fan of theater, this is your sign: get a ticket before it leaves the city. It’s a 9/10!  The final performance is on April 12th.