Everything Oz continues to enchant and enamor. The national touring production of WICKED landed at Shea's Buffalo Theatre this week. And like that infamous house that dropped from the sky, WICKED has an impact that rivals any of even the most famous Disney musicals. The 2003 Broadway musical was made into a two part movie and after breaking boxoffice records last year with Part I, Part II will be released this month. Audiences will no doubt clamor to the cinemas like the audiences that continue to flock to see the slick stage musical.
This prequel to the well known WIZARD OF OZ is based on the novel by Gregory Maguire. How the two famous witches of Oz met and their backstories is fleshed out in the Book by Winnie Holzman. Has Glinda always been good and The Wicked Witch of the West (Elphaba) always been wicked? The fairy tale story details start with their meeting at school as unlikely room mates. Elphaba's powers are put to use while Glinda's flighty nature is simply too look pretty and be every part the entitled brat.
WICKED'S composer and lyricist Stephen Schwartz continues to compose, having turned out such classics as PIPPIN and GODSPELL. Last week his newest musical THE QUEEN ON VERSAILLES opened on Broadway, written exclusively for Kristin Chenoweth ( the beloved original Glinda in WICKED). And off Broadway is seeing his little produced THE BAKER'S WIFE beguiling new audiences. His score for WICKED is vocally challenging for both of the leading ladies, who reach to the top of their respective vocal ranges to create drama. Elphaba belts out the anthem "Defying Gravity" while Glinda soars to stratospheric high soprano notes to add to her larger than life magical beauty and ethereal presence. These are no easy roles to assume, and while the cast of this tour did their noble best, the end product often felt like second string attempts.
Zoe Jensen floated on the stage in her infamous bubble, looking lovely as beloved Glinda. Her affable personality and ditziness were evident, but her treacherously high notes felt constricted and thin (even with amplification). Those soaring notes need to elicit excitement, but were often barely audible. Jensen fared much better in the lower reaches of the score and her take on the comic number "Popular" was appropriately silly. By ACT II she seemed more in command, as the woman who fights for her newfound love as well as a failed relationship with her Best Friend.
Adelina Mitchell stepped into the role of Elphaba last night, as the standby for the Wicked Witch of the West. Mitchell exuded control and gave a morality to this sympathetic green woman. Her assured performance was fully fleshed out, even if the middle voice was not always suited to the role. Her famous riff in "Defying Gravity" landed perfectly and her more intimate interactions with Glinda were heartfelt. The final number "For Good" was touching for it's sincerity between two unlikely characters.
Eileen T'Kaye looked great as Madame Morrible, the schoolmarm who guides Elphaba through her discovery of magical powers. T'Kaye's transformation from teacher to evil interloper was exciting to witness. Blake Hammond brought a strong voiced presence to the role of The Wonderful Wizard of Oz, even if he is an unlikeable imposter of a Wizard.
Ethan Kirschbaum embodies the suave, if dim witted ,young romantic lead Fiyero. The witches all swoon over him, and his opening number "Dancing Through Life" elicits the the devil may car attitude, even if his voice seemed strained at times.
Elphaba's wheel chaired bound sister Nessarose was a frail sympathetic character, nicely fleshed out by Jada Temple. Meanwhile the sole munchkin role of Boq was portrayed lovingly by Nicolas Garza.
The production continues to enchant, with Eugene Lee's fantastic settings and Susan Hilferty's mind bending costumes with quirky colors, angular contortions and fabulous homages to the Emerald City.
Lighting effects by Kenneth Posner add to the magic required, and the light display when Elphaba finally takes flight is truly awe inspiring.
The script succeeds on most accounts, adding true personalities to these larger than life characters. The references to the WIZARD OF OZ movie elicit wonderful giggles, where the audience is always in on the joke. Weaving the stories of Dorothy, the tinman, the scarecrow and cowardly lion into the mix is brilliantly handled and the magical effects work brilliantly. Director Joe Mantello ensures that there is some humanity in a story of mythical characters, and the journey of the two famous witches is based on sincerity. Darkness and light, goodness and wickedness, are all referenced in everything from the lyrics, to the costuming and even the highest and lowest notes sung by these two characters.
Musical staging by Wayne Cilento does wonders in creating spectacular tableaus. The eye popping reveal of the journey to Oz provides visual confections in the lighting and costumes, along with some dancing, head popping puppets in the "Wizomania" performance. Oz is a place of excess and outward positivity, but the Wizard is a swindling song and dance man who attempts to use Elphaba's powers for his own evil doings.
WICKED assuredly is fulfilling it's destiny in the esteemed world of L. Frank Baum's beloved characters. Just as classics like THE SOUND OF MUSIC will live on in many revivals, WICKED has worked it's way into the musical canon and will undoubtedly continue to charm audiences, just as it did at Shea's Buffalo last night, 22 years after it's stage debut
WICKED plays at Shea's Buffalo Theatre through November 30, 2025. Contact sheas.org for more information
Reader Reviews
Buffalo Awards - Live Stats
Best Musical - Top 3
1.
INTO THE WOODS (O'Connell & Company)
28.4% of votes
2.
JESUS CHRIST SUPERSTAR (Open Door Productions)
14.6% of votes
3.
PIPPIN (O'Connell & Company)
12.4% of votes
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