From Half Metal to Whole Heart - D. Jerome On Bringing the Tin Man’s Truth to Life in 'The Wiz'

This groundbreaking twist on The Wizard of Oz changed the face of Broadway – from its iconic score packed with soul, gospel, rock, and 70s funk to its stirring tale of Dorothy’s journey to find her place in a contemporary world. Based on L. Frank Baum’s children’s book, “The Wonderful Wizard of Oz”, The Wiz takes one of the world’s most enduring (and enduringly white) American fantasies and transforms it into an all-Black musical extravaganza for the ages. The Wiz premiered on Broadway in 1975 and became an instant sensation, going on to win seven Tony Awards. “Ease on Down the Road” became the show’s break-out single, and “Home” has since become a bona fide classic. That original production ran for four years and 1,672 performances on Broadway. A 1978 film adaptation starred Diana Ross, Ted Ross, Mabel King, Richard Pryor, and Lena Horne, and marked Quincy Jones’ first collaboration with Michael Jackson. 

EDGE sat down with D. Jerome who plays the Tin Man in the national touring company:

EDGE: Do you remember the first time you saw or heard of The Wiz?

The first time I saw The Wiz was on TV at my grandmother's house, and I remember seeing the Emerald City scene, which I loved. As for the Broadway show, my first encounter was when I was part of the 40th anniversary show. 

EDGE: What struck you most about that first experience?

What struck me most was the high energy and rehearsal days, which intrigued me a lot about being in the show. I love being a part of a hub for artists and creatives in New York City. It was completely inspiring, and it jolted my career and gave me the energy I had been looking for. I had always been a passionate artist, and so by the time I got to New York, I was able to work with George Faison on this material, which ignited more passion in me to go after my dreams.

EDGE: You are playing the Tin Man, and I feel like the Tin Man's journey is deeply emotional. How did you tap into his longing for a heart in a way that feels authentic to today?

I think this version of the Tin Man is not only complex in its writing, but also visually striking, as he appears to be half human and half metal. With that said, understand that I'm a black man, so I'm coming from a black man's human experience. I think combining all of the complexities of feelings, maybe of belonging or not, or not feeling completely whole, and infusing that into my character has allowed me to tap into the deeper emotional side of the Tin Man’s story more authentically. I strive to see not just what a modern audience would need in terms of the story, but also what the heroes and I are telling Dorothy and her friends. I focus solely on their plight and mission: reaching Emerald City, fulfilling their desires, and returning Dorothy home. Since Emerald City is a mystical and magical land, it allows us to play on both sides, dealing with imagination and also dealing with real-life issues and concerns. 

EDGE: What is something surprising about playing a character who believes he doesn't have a heart when, in reality, I think he's the one character that's the most emotional on stage.

Wow, that's a great question. Thinking about the fact that in this particular iteration, he always had a heart, but the Wicked Witch of the West, via her spell, has somehow made him feel that he doesn't have one. The witch has such a clever mind, and she has good control over the entire storyline that she makes the Tin Man feel that he doesn't have a heart. Playing against the idea of having a heart or playing against the idea that I have a heart is one of the most challenging things to do throughout this show because you have to be vulnerable and sensitive to every scene, but if you're not careful, it can come across as caricaturistic. What I'm looking for is a certain truth about the Tin Man. He somehow forgot the feeling of love, and it is escaping him because of the witch's spell. 

EDGE: Is there a part of the Tin Man’s story or struggle that feels personal to you?

Starting out in this industry, it can be tough to find your place, or at least that was the case when I first entered the industry. Everybody wanted you to do one thing. They wanted you to be only a dancer, a singer, or an actor.  Like me, the Tin Man has been stuck in the same position for a while and needed someone to come along and help lubricate him. I felt stuck for a very long time. I wondered, how would I get people to notice me, and how would I secure the lead roles I know I deserve? So, I chose to continue showing up in those rooms, being present and open to the opportunities that would come, and eventually, I got the roles. 

EDGE: How do you approach the balance between honoring past betrayals and making the Tin Man your own?

God, I love this question. The orchestrations for the new show are completely phenomenal. I loved Nipsey Russell’s take on the Tin Man; it is completely iconic. I incorporate a more swing sound in my material, which is how I pay homage to the classical musical theater style by JaQuel Knight. It helps me, and it helps us with modern numbers because it's not a tap dance number, but it is a hip-hop dance number. I do tap, but this direction for this production wants to go a little more hip-hop and a little more modern. Infusing my swing sound, in terms of jazz, giving it a very 1950s and 60s feel, and then coupling that with the modernized dance movements, I think, allows the audience to find the approach really fresh.

EDGE: The queer community often builds chosen family, much like Dorothy. How does that theme show up in The Wiz, and how do you embody that in your performance?

With Dorothy's trajectory in this particular story, she's displaced. She lost her parents. She's now staying with the aunt and uncle out in the middle of nowhere. The kids at school don't make her feel welcome. She doesn't really have her close immediate family, other than her aunt and uncle, right now. So, when she lands in OZ and embarks on this magical journey, she finds herself in an unfamiliar space, where she must forge her way and hope to return home soon. That is the aspiration that, as soon as I get home, everything is going to be all right, but until then, I'll be all right as long as I put one foot in front of the other and ease on down the road. She is building the community as she is easing on down the road. There may be times when you wish you weren't born. As a member of the queer community, I have my own stories that have helped me relate to the idea of building a community. When Dorothy encounters the Scarecrow, the Tin Man, and the Lion, despite their vastly different introductions, she inspires them to join her on a journey to see the Wiz. I don't like to believe that she's blindly believing that someone was going to save her and deliver her, but I think the idea of this story is that sometimes you have to change your perspective about things in order to recognize the truth of the moment. As they get towards the end of their journey, they realize Dorothy was able to get home all along because she had the courage, the heart, and the brain all along, and the help from her chosen family. Dorothy is the one who helps everyone, and although these characters are figments in her imagination, I think that this journey had to happen for her to recognize that she did have a community all the time, even if it was just her aunt Em and my uncle Henry. Sometimes it is hard to believe you are important and have what it takes to succeed. And if I don't feel that I belong, I can continue on this journey down the road, and somebody will see me and join me, and we can build a community together. I think it's so important to the queer community to feel seen and to feel that they belong. All of these characters are showing you that they're broken, but finding your community will help put you back together. 

EDGE: What do you hope young LGBTQ+ theatergoers see in your performance as the Tin Man?

I hope that they see a level of vulnerability that is only whisked upon. For a long time, I've struggled to see myself. I'm always fighting the stigma of who I am whether it's coming from my communities or it's coming from the outside world. I would like young folks to see that I would like them to see not only a talented individual, but someone who's willing to give themselves over to the purpose of the story. There are parts of me that felt incomplete growing up. I always felt like I grew up in the wrong place. Growing up in North Carolina, I felt like I didn't have access to the types of art-based curriculum that I wanted, and I didn't feel like I was surrounded by people who had the same passions as I did. So, oftentimes I felt out of place. I hope that they find the courage and, yes, the heart, and know that they have what it takes to get what they want. I hope they can see themselves as vulnerable and allow themselves to truly feel what we're discussing in the show. Find your community. You may have to find and build your own family, but it will be yours, and they will give you the permission to be who you already are.

EDGE: The Wiz is celebrating its 50th anniversary since its first premiere on Broadway. What does it mean to you to be part of this show again?

Being part of this show at this time feels like a milestone, and having my connection to it from years ago is incredibly rewarding. It's rewarding to be here because this musical has stood the test of time, and it's still relevant. For me, it's kind of nostalgic, mainly because I don't want to say Deja Vu, but for this moment in my life, I envisioned it already. This role has helped me grow as an actor and a storyteller. It has helped me not to let things hold me back, so that no matter what, I can move forward. This show has shown me that I am striving and overcoming. It has given me joy, and I believe the message of this show is still important and needs to reach others. 

For more information on the Wiz and to purchase tickets, visit https://wizmusical.com/tour-dates/