Review: WICKED at The Hippodrome

For the last couple of years or so, theatre nerds everywhere have been besotted with the film version of the hit musical Wicked. After the debut of the first installment, anticipation only grew for Part Two, which dropped this past November. But amid all the brouhaha and ballyhoo over the cinematic offerings, the origins of the musical itself were pushed to the background.

Broadway Across America now presents the original — live and in fabulous color — at Baltimore’s Hippodrome Theatre, reminding us how it all started. And after seeing it again, I remembered exactly how it felt the first time I experienced Wicked live on Broadway more than 20 years ago. It is just as memorable now as it was then. All these years later, it remains one of the most terrific pieces of musical theatre I have ever seen.

Long before it was a musical, I read Gregory Maguire’s novel — the book on which Wicked is based — sometime around 2000, well before it became the juggernaut it eventually turned into. This dark, political reimagining of Frank L. Baum’s Wizard of Oz books was the seed from which composer Stephen Schwartz and book writer Winnie Holzman grew what would become one of the biggest hits in Broadway history, now playing continuously for more than 21 years.

That it failed to win the top prize — the Tony Award for Best Musical — was in no way a reflection of how deeply this story resonated with audiences. It lost to Avenue Q in what has gone down as a classic David vs. Goliath awards matchup. But this was one of those times when David probably should have had his ass kicked. Tony voters — go know.

Audience members unfamiliar with the story, expecting perhaps a darker or scarier retelling of The Wizard of Oz, are only partly right. The familiar characters from Baum’s tale are all present, but mostly in supporting roles. This version centers on three women: Elphaba, who will become the Wicked Witch of the West (though she’s never called that here); Galinda, Elphaba’s best — and only — friend from Shiz University, where she studies sorcery; and Nessarose, Elphaba’s disabled sister. She’s the one who eventually has a house dropped on her.

You may recall that particular plot point kicked off Baum’s original tale, ushering in Munchkins, yellow brick roads, good witches, bad witches, and the eponymous Wizard. Yada yada yada.

In Wicked, Elphaba discovers she possesses extraordinary powers, which draws the attention of the Wizard himself. He attempts to recruit her into a scheme that feels uncomfortably ripped from the current administration’s playbook regarding immigrants and “others.” What he fails to anticipate is Elphaba’s moral backbone — or the sheer magnitude of her abilities. Bottom line: don’t piss off a witch who can really mess you up.

Along the way, we encounter her favorite professor (who happens to be a goat), a handsome and dim prince, and a colorful assortment of Emerald City denizens. Sidebar bonus: we finally learn what events led the Tin Man, the Cowardly Lion, and the Scarecrow to become the characters we already know. And, of course, there’s that mean little girl who had the nerve to douse Elphaba with a bucket of water, melting her into a puddle of witchy goo.

That’s the skinny on the story — but the real question is, does it still fascinate the way it once did? The production playing here now answers with a resounding hell yes!

Baltimore’s Hippodrome Theatre (yes, I know — we’re supposed to call it the France-Merrick Performing Arts Center, but that’s just too much title for me) more than holds its own when it comes to providing a home for the biggest shows Broadway has to offer, without sacrificing much quality at all. These national tours give you plenty of bang for your local bucks, and Wicked is no exception.

Under equity licensing agreements, hosting theatres must meet extremely high standards. Lucky for us, the Hippodrome rises to the challenge with ease. Because the set for Wicked is so integral to the storytelling — what with flying monkeys, massive Wizard heads, and all — the production starts out impressively and just keeps building from there.

As mentioned earlier, national tours are not allowed to deviate from the original production in any substantial way. That means the costumes, wigs, choreography, and — most importantly — the set are on par with the Broadway original, to the fullest extent possible. Given the impressive number of awards the show has garnered over the years, we can all just agree that every one of those elements shone like diamonds.

Still, I’ll name names — because who ever gets tired of hearing (or, in this case, reading) their praises? Eugene Lee’s scenic design, Susan Hilferty’s costumes, Kenneth Posner’s lighting, and Tom Watson’s wigs and hair were executed at a level I rarely see surpassed.

Joe Mantello boasts a list of Broadway, television, and performance credits long enough to choke a flying monkey. While he didn’t take home the prize, his Tony nomination for Best Director of Wicked was well deserved. He has since gone on to win Tonys for Take Me Out and Assassins. (For the record, the other Tony winners from Wicked’s 2004 season were Susan Hilferty for Costume Design and Idina Menzel for Best Actress.)

And now, on to the meat and potatoes.

First off, a huge shout-out to the entire ensemble. These heroes too often go unsung, so hear me clearly: this group is so talented it boggles the imagination. And don’t get me started on those Flying Monkeys. Their death-defying aerial work — whirling and twirling through space — was thrilling. Elphaba was not the only challenger of gravity on that stage… or in the air above it.

Best of show goes to the head monkey, Chistery, played by Travante S. Baker. His superb athleticism was breathtaking. Drew McVety’s Doctor Dillamond — hooves, horns, and all — maintained an air of academic stoicism in the face of tremendous injustice. Nicely done.

Blake Hammond delivered an earthy, nimble Wizard with a strong voice, and when the character’s nefarious intentions are revealed, he coolly embodied the scheming politician behind the curtain. Nicolas Garza’s Boq was cute as a button — though tragically unlucky to cross paths with the Witch, and no happy ending awaited him. And Eileen T’Kaye’s Madame Morrible was a chilling study in pure Lady Machiavellian menace.

The role of Nessarose is one of the most compelling character additions to this story, and Jada Temple is more than equal to the task of charting her journey from wheelchair-bound little sister to hell-on-wheels spurned lover — all while delivering a surprisingly outstanding voice.

Ethan Kirschbaum, as Fiyero, brings both the eye candy and the talent to the role. Strong of voice and movie-star handsome, he is the quintessential Broadway leading man, ably filling the tights as well as — or better than — any of the Fiyeros who came before him.

But at the heart of the story is the relationship between Jesse Davidson’s Elphaba and Zoe Jensen’s Glinda. Watching these two remarkable actresses prance and fly, flirt and evolve into fully realized characters — each showing her strengths and outsized talents to the hilt — made for fabulous theatre from start to finish.

Though their voices are very different, from Davidson’s ability to move seamlessly from plaintive longing to full-throated rage, to Jensen’s lilting soprano and perfectly calibrated self-centered charm, both lit up the stage in their respective roles.

Still, as with any production of Wicked, it is Elphaba’s story we come to see and hear — and Davidson does not disappoint. And when she lets loose with the Act I closer, “Defying Gravity,” Katy bar the door: there is a star on the loose.

Wicked has more than proven its staying power over 21 years on Broadway, and the production at the Hippodrome is a worthy entry into that storied history. So go, already. Don’t miss this chance to see an absolute Broadway gem. I’ll bet you’ll be changed — like the song says — For Good.

Wicked runs through January 11 at the Hippodrome Theatre, 12 North Eutaw Street, Baltimore, MD. Click here for information and tickets.

Buy Tickets to Wicked

Baltimore Awards - Live Stats

Best Musical - Top 3

1. DISASTER: THE MUSICAL (Annapolis Summer Garden Theatre)

10.5% of votes

2. HEDWIG AND THE ANGRY INCH (Maryland Ensemble Theatre)

6.1% of votes

3. THE HUNCHBACK OF NOTRE DAME (September Song)

5.7% of votes

Vote Now!