When NBC revealed its plans to release a live production of The Wiz, a disco reimagining of The Wizard of Oz that ran on Broadway in the ‘70s, the internet heaved a collective sigh. The network’s musicals, try as they might, always ended up being neurotic messes. This year, though, there was a lot to love.

 The Good:

  Dorothy.

  Shanice Williams, making her debut at 19 year old, was a gamble on the part of the network, but boy was she a great choice. As Dorothy, she had the emotional weight to carry the bulk of the story and held her own in a show full of great musical numbers. Williams’ songs “Home” and “Soon As I Get Home” are the standouts of a strong performance.

  The rest of the cast.

  Not to be outdone, Elijah Kelley, Ne-Yo, and David Alan Grier all brought real talent to Scarecrow, Tin Woodman, and Cowardly Lion, respectively, each carrying their own songs. Amber Riley was a revelation as good witch Addaperle. Mary J. Blige seemed cold, but gave Evilene the correct amount of absolute disgust for everyone around her. Queen Latifah chewed the scenery as the Wiz, but gave a refreshingly grounded turn as the woman behind the magic. Stephanie Mills, Broadway’s original Dorothy, sang her heart out as Dorothy’s aunt. The best entrance of the night goes to Uzo Aduba, whose turn as Glinda still melts my heart.

  The costumes.

  Can we just stop for a second and talk about how rich fully-imagined each of the show’s outfits were? Alien-shaped Munchkins, melting flower headpieces on the Poppies, and Queen Latifah’s shimmering green ensemble (see also: her normcore bathrobe) all added to the stunning overstimulation crowding each scene and gave this version of Oz its own feel.

  The modernization.

  It can be tough to make something that’s 40 years old feel important again. However, writer Harvey Fierstein changed the source material just enough to engage the audience but without compromising the spirit of the original (my favorites were references to sushi, shade, and Dorothy’s “squad”). The addition of Dorothy choosing her true “home” was also a touching update to an already-beloved work.

  The choreography.

  Has there ever been another moment as instantly iconic as the voguing residents of Oz? Okay, probably, but you still have to give it up to choreographer Fatima Robinson for incorporating dabbing and the Nae Nae into the show.

  The Bad:

  The camerawork.

  I get that it’s hard to get everything right during a live show, but I should be able to tell what’s going on. Watching a few actors walk offscreen when they should be flying away in a bubble was just a little too much (too little?) for me.

  The “special” effects.

  Listen, it’s a lot of work to make effects like flight work on a stage production. Still, couldn’t we get a wire for Addaperle’s entrance instead of a sparkler? You’re better than this, NBC, especially given that Susky achieved flight for the titular character in Mary Poppins last year.

  Where was the audience?

  To the credit of NBC, this show required sweeping shots and multiple angles, making a live audience a challenge that was too hard to take on. This ended up being a major detriment to several perfectly fine jokes that seemed to fall flat with no audience to react to them. Even the grandeur of each performance felt dulled by the silence that followed.

  The Wiz Live! was a mess, for sure, but it was one that was endlessly interesting. It truly raised the bar for future live events (I’m looking at you, Grease Live) and has given us the best argument for more small-screen prestige events. For the first time ever, an NBC live event wasn’t something to hate-watch; it was an event that commanded praise. If nothing else, it gave us this touching picture. Let’s hope next year’s outing keeps up this year’s perfect energy, with an audience this time.