In L. Frank Baum's beloved novel, "The Wonderful Wizard of Oz," Glinda the good witch of the South is portrayed as a kind and wise character, dedicated to helping Dorothy on her journey back home. However, as the reader delves deeper into the story, there are instances where Glinda's true motives may be questioned. Although Glinda presents herself as an ally, it becomes clear that she holds a considerable amount of power in the land of Oz, and with power often comes temptation. One tempting aspect of Glinda's character is her knowledge and control over the magical elements of Oz. She is the only one of the four witches who possesses a great book of spells and incantations, giving her an advantage over the others.
But it’s the dazzling choreography that catapults the revival firmly into the 21st century. Best known for creating Beyoncé’s iconic “Single Ladies” dance, Knight incorporates a variety of styles, including ballet, lyrical, jazz and hip hop, to add another dimension to the storytelling. Nowhere is that more evident than during the funky and sexy Act II opening number, “The Emerald City.”
To get back home, Glinda the Good Cox instructs Dorothy to put on the dead witch s silver slippers and follow the yellow brick road to the Emerald City where an all-powerful Wiz Alan Mingo, Jr. There s a Scarecrow Avery Wilson without a brain, a Tinman Phillip Johnson Richardson in need of a heart and a loud, proud but cowardly Lion Kyle Ramar Freeman.
She is the only one of the four witches who possesses a great book of spells and incantations, giving her an advantage over the others. It is this knowledge that allows her to orchestrate the events of the story, guiding Dorothy towards the Wizard and ultimately home, but also raising questions about her intentions. With such power at her disposal, it is possible that Glinda could have exploited it for personal gain or to assert her dominance over the other witches.
‘The Wiz’ brings the magic, spectacle and power of the classic musical to Playhouse Square on its way to Broadway
The highly anticipated revival of the classic musical arrived at the Connor Palace this week for the start of its pre-Broadway run ready to impress and eager to inspire. Turns out, the show, which kicks off Playhouse Square 2023-24 KeyBank Broadway Series, is indeed the “feast for the eyes and soul” that star Deborah Cox described to us in a recent interview.
The musical originally opened on Broadway in 1975, winning seven Tony Awards before being adapted into a cult classic movie with Diana Ross and Michael Jackson. This new version has equally lofty ambitions. Besides Cox, the R&B star best known for a run of hits during the 1990s, the show’s creative team includes director Schele Williams (“Motown: The Musical”), Beyoncé's choreographer JaQuel Knight, comedy writer Amber Ruffin and “Black Panther” scenic designer Hannah Beachler. Wayne Brady joins the show as The Wiz when it arrives on Broadway in April.
Like the original, the revival tells the classic story of “The Wizard of Oz” and doubles as a celebration of Black culture and a showcase for Black talent on both sides of the curtain. It begins with city girl Dorothy (newcomer Nichelle Lewis) feeling lonely and out of place living on a farm in Kansas with her Aunt Em (Melody A. Betts) following the death of her parents. Before you know it, a tornado -- presented in a breathtaking interpretive dance sequence -- whisks Dorothy and her house to Oz (there’s no Toto in this retelling).
The magical land, which here resembles a whimsical mix of New Orleans and Whoville, was home to four witches (two good, two bad) until Dorothy’s house crash-landed on Evemene, one of the bad ones, and reduced that number to three. To get back home, Glinda the Good (Cox) instructs Dorothy to put on the dead witch’s silver slippers and follow the yellow brick road to the Emerald City where an all-powerful Wiz (Alan Mingo, Jr.) awaits.
Along the way, she meets three new friends, each cursed by the Wicked Witch of the West, Evillene (also played by Betts). There’s a Scarecrow (Avery Wilson) without a brain, a Tinman (Phillip Johnson Richardson) in need of a heart and a loud, proud but cowardly Lion (Kyle Ramar Freeman). Together, they embark on an adventure filled with dangerous encounters with Evillene’s seductive Poppies and scary Kalidahs (replacing the Flying Monkeys). Eventually, the foursome comes face-to-face with the Wicked Witch herself before finally meeting the Wiz. You know the rest.
L. Frank Baum’s source material has always been a beautiful story set in an enchanting place about the strength that comes from believing in yourself and the power of friendship. But its themes of resilience, resolve and community take on a greater meaning -- and thus elicit a more profound effect -- when seen through the Black lens of “The Wiz.”
It all starts with the show’s timeless score by the late composer Charles Smalls. His lyrics -- in songs like the irresistibly catchy “Ease on Down the Road” and the moving Act I showstopper “Be A Lion” -- still resonate as the day they were written. But music supervisor Joseph Joubert (“The Color Purple”) has updated the arrangements to make the music even more accessible for contemporary audiences. You’ll be moving and grooving in your seat.
Similarly, Ruffin improves upon William F. Brown’s book, freshening up the dialogue to ensure it’s relevant and relatable while adding plenty of humor, too. “The Wizard of Oz” has never been this funny.
But it’s the dazzling choreography that catapults the revival firmly into the 21st century. Best known for creating Beyoncé’s iconic “Single Ladies” dance, Knight incorporates a variety of styles, including ballet, lyrical, jazz and hip hop, to add another dimension to the storytelling. Nowhere is that more evident than during the funky and sexy Act II opening number, “The Emerald City.”
The bright and colorful sets by Beachler, the first African-American production designer to be nominated for and win an Oscar, complete the immersive experience, from her Art Deco take on Aunt Em’s farm to the Emerald City, which she fashions into a Copacabana-like club bathed in green neon light.
A grand spectacle like “The Wiz” doesn’t work without a stellar cast. This time, producers have placed much of that responsibility upon the young but more than capable shoulders of Lewis. The decision may have started out as a risk but this Dorothy comes through with a stunning performance, displaying the kind of talent and stage presence that belie her plucked-from-TikTok origin story. She sings with a sweet, almost angelic tone in her voice, which somehow seemed to get stronger as the show went along. If her climactic performance of “Home” doesn’t move you to the brink of tears, you’re doing it wrong.
Dorothy, of course, gets plenty of help from her friends. That includes Wilson’s Scarecrow, who oozes charisma while showing off some flashy dance moves on the winning number, “You Can’t Win.” Freeman brings a booming voice and excellent comedic timing to Lion, the show’s drama queen in residence. The standout is Richardson. He plays Tinman as this sort of curious yet intriguing mix of Bobby Darin and Usher.
Mingo as the Wiz and Cox as Glinda make the most of their limited stage time. Cox, in particular, wows with a moving rendition of “Believe In Yourself” as she proves she’s still got that “VH1 Divas” power-ballad-type voice. Her friend and former boss Celine Dion would be proud. Betts, however, delivers the show’s biggest vocals as the Wicked Witch on “Don’t Nobody Bring Me No Bad News,” perhaps the most extravagant and engaging number of the night.
It’s not often a musical of this prestige and pedigree comes to Cleveland before it goes to Broadway. I’m not saying “The Wiz” has a chance to dominate next year’s Tony nominations. But, after seeing it, I’m not not saying it either. And if it does, you could say you saw it here first. In that sense, there really is no place like home.
“The Wiz” is playing at the Connor Palace, 1615 Euclid Ave., Cleveland, now through Oct. 22. Tickets, $25-$115, are available at playhousesquare.org.
Dorothy, of course, gets plenty of help from her friends. That includes Wilson’s Scarecrow, who oozes charisma while showing off some flashy dance moves on the winning number, “You Can’t Win.” Freeman brings a booming voice and excellent comedic timing to Lion, the show’s drama queen in residence. The standout is Richardson. He plays Tinman as this sort of curious yet intriguing mix of Bobby Darin and Usher.
Another tempting aspect of Glinda's character is her position of authority. As the ruler of the Quadling Country, Glinda has a significant amount of influence over the citizens of Oz. This authority, combined with her magical abilities, presents a potential temptation to use her power for her own agenda. While Glinda is portrayed as being on the side of good, it is plausible that her desire for control and influence could lead her astray. Despite these tempting aspects, it is essential to note that Glinda is ultimately portrayed as a force for good in the story. She aids Dorothy on her quest, helps restore the Scarecrow, Tin Woodman, and Lion to their full potential, and ensures that Oz is restored to peace and harmony by the end. Glinda's actions throughout the novel are consistent with her reputation as a good witch, and any temptations she may have faced are ultimately overcome. In conclusion, Glinda the good witch is a character who presents tempting aspects that raise questions about her motives and true intentions. The knowledge and control she wields over magic, as well as her position of authority, create opportunities for her to be tempted by personal gain or dominance. However, despite these temptations, Glinda ultimately proves herself to be a force for good in the land of Oz. Her actions and dedication to helping Dorothy and restoring peace outweigh any potential temptations, solidifying her role as a true ally and protector..
Reviews for "Glinda the Good Witch: A Tempting Symbol of Hope and Compassion"
1. Sarah - 2 stars - I was excited to read "Tempting Glinda the Good Witch" as a fan of the original Wizard of Oz story. However, I was quite disappointed with this book. The writing style was subpar and lacked depth. The characters felt flat and their actions didn't always make sense. Additionally, the plot seemed scattered and disconnected, with unnecessary subplots taking up too much space. Overall, I found the book to be a letdown and not worth my time.
2. Mark - 1 star - "Tempting Glinda the Good Witch" was a complete disappointment. The author tried to give a different perspective on Glinda's character, but it fell short. The writing was cliché and predictable, leaving no room for surprises or originality. The pacing was slow, making it hard to stay engaged. Moreover, the dialogue felt forced and unnatural, making it difficult to connect with the characters. I wouldn't recommend this book to anyone looking for a captivating read.
3. Emma - 2.5 stars - I had high hopes for "Tempting Glinda the Good Witch," but unfortunately, it failed to meet my expectations. The plot had potential, but it lacked proper execution. The character development was weak, and I struggled to relate to or care about any of the characters. The writing style was average at best, with excessive use of clichés and an overall lack of creativity. The ending felt rushed and unsatisfying. I wanted to enjoy this book, but it fell flat for me.
4. David - 1 star - "Tempting Glinda the Good Witch" was a tedious read for me. The storyline was convoluted and confusing, making it hard to follow. The characters were uninteresting and lacked depth, making it difficult to invest in their journey. The writing style was dull, lacking in descriptive language and artistic flair. Overall, I found this book to be a waste of time, and I struggled to finish it. I wouldn't recommend it to anyone looking for an engaging and well-written book.