By Jennifer Mustoe and Craig Mustoe
You hear, oh, go see Wicked–it’s so good–but I didn’t really know how good (a word used liberally in the show) until I saw this long-running production at the gorgeous Eccles Theater in Salt Lake City, Utah, playing to a packed house. And yes, I knew it involved Wizard of Oz, and Wicked was based on the book by Gregory Maguire and illustrated by Douglas Smith. I’ve heard the two most, ahem, popular songs, “Popular” and “Defying Gravity”, a gazillion times. I’ve even watched the videos of a few of the songs, starring the original Broadway cast. But I didn’t know the story, and guess what? It is delightful. So, in this review, I’m not going to tell you much about the story. If you haven’t seen it, and I feel like maybe I’m the only reviewer (if not person) on the planet that hasn’t seen Wicked, I don’t want to spoil it for you. Take my advice–don’t go to Wikipedia. Walk in to the theater only knowing the basics, and prepare to be completely excitabled.
No, that isn’t a typo. One of the fun bits in Wicked is the word creating (or is it mangling?) that goes on. It happens often, and every time, it lends some fun. And that is one of the delights of the show–it is so funny. The man sitting next to me said it was his third time seeing Wicked and this production is funnier than those in the past, and the women playing the leads are every bit as good as those he saw on Broadway. Wow!
Kara Lindsay plays Glinda (formerly Galinda), and is as funny and charming and beautiful and sweet and sassy as I could have hoped for. She uses each level of her speaking voice, from high and squeaky to deep and forceful–and those levels provide some of the best jollity in the show. Lindsay is sweet and petite, and when she pulls off the tenor speaking voice, it’s a riot. She sings like an angel, and as she develops relationships with others in the story, she moves from flighty flibberty-jibbet to a strong, honorable, vulnerable but hopeful heroine. Her transformation is fantastic.
Elphaba, played by Jackie Burns, is phenomenal. Elphaba is the green-skinned loner at school who has inherent magical powers. She is bullied, mocked, rejected by her father, and accepts that she’ll never be loved. Act One ends with the familiar “Defying Gravity”, but though I’ve heard it so many times, I had no idea what its meaning is. (And I won’t tell you.) But please–pack a few tissues in your pocket or backpack. I went to the ladies’ room during intermission and asked, “So, did anyone else cry during “Defying Gravity”? Several women nodded and one woman said, “Oh yeah.” Burns takes the role and inserts so much power, nuance, humor, vulnerability, fear, anger–well, she is simply perfect. I didn’t expect this, but I was all about Team Elphaba. (I asked Craig if he cried and he said, “I might have,” meaning yes.)
Other standouts in the show fill out the story, and Director Joe Mantello has created a gem (pun) with the variety of cast members–in the ensemble and supporting roles. I wondered if he was the one who directed Lindsay to use that deep voice or whether it was a stylistic choice. No matter–Mantello has created a supremely satisfying show.
The Love Interest, Fiyero, is played sweetly and winningly by Jon Robert Hall. At first lazy and entitled, he, too transforms into something far different, deeper, kinder, more loving. Nessarose, Elphaba’s younger sister, consigned to a wheelchair, is an under-developed character, but Mili Diaz is very good at taking the small role and builds into someone we–don’t like. The schoolmistress Madame Morrible (Jody Gelb) is lovely and very tricky as she begins to show her true colors. Doctor Dillamond, a goat who teaches at the school, played by Chad Jennings, is a tragic character we love on sight. You don’t have to be an animal lover to mourn what happens to him. Jason Graae‘s Wonderful Wizard of Oz is wonderfully tricky, as well. He has a fun solo, “A Sentimental Man”, and that is the last time I liked him–not the actor, the character. (I say no more about that.) Finally, Boq, played by Michael Wartella, is more than just a comic relief, but his humor is charming and his heartbreak poignantly relatable.
The sets, so Steam Punk I squealed with delight, designed by Eugene Lee, have enough detail to be marvelous and enough strength and breadth to be almost imposing. Gears and wires a-plenty, the levels and layers don’t take away from the action, but lay a blanket of beauty and plenty of power to impress even non-Steam Punk lovers. The delicious costumes by Susan Hilferty are so amazing, I called my daughter-in-law, a professional seamstress, and told her we needed to start sewing because I want a costume from every scene. The blues of the school scenes, the black and white of the ball, the green green greens at the Emerald City–ah me. I was spellbound. Lighting by Kenneth Posner is fantastic and brought on so much emotion to each scene: fear, love, anger, delight.
Music Director Adam Souza has a wonderful canvas to work with and amazing performers, but the music is so crystal perfectionized (a Wicked mangled word choice there) that we all just held our breath with each song. Though Wicked isn’t a dance heavy show, dance arrangements by James Lynn Abbott give us such compelling movement, mostly from the talented ensemble.
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I was really unprepared for the relevant, powerful themes in Wicked. I wept throughout the second act, mesmerized with the sweet, deep friendship between Glinda and Elphaba. I thought of every female I’ve ever had as a BFF. I thought of the love I’ve felt for my dear friends, the sacrifices I’ve made for them and they for me, and the many times I’ve had to say good-bye to that cherished companion. I saw the also relevant message that we must be careful, watchful, and so often, sadly mistrusting of those in charge. I adored the romantic love message that true love really isn’t skin deep when two hearts are one in purpose.
I saw many children at this performance of Wicked, and piles of cushions being carried through the theater by excited parents to put on seats so their kids could see. In short, don’t keep your kids from this show.
If you’ve seen Wicked before, this is a show that doesn’t get old. Come and marvel at its beauty, its fun, its messages, and its wonderful, wonderful performances. I’m so grateful the Eccles has brought Wicked to Utah, and for a nice, comfy run. But don’t delay! Tickets are going fast!
See video trailer here
Broadway Across America and the Eccles Theater presents Wicked, book by Winnie Holzman; music and lyrics by Stephen Schwartz.
George S and Dolores Dore Eccles Theater, 131 Main St, Salt Lake City, UT 84111 (Tip: As with any show at the Eccles, if you can take Trax at least part of the way any headache (and payment) from parking can be avoided.)
January 30-March 3, 2019 days and times vary.
Tickets: $99-229 (Specials for $25 day of show.)
Contact: 801-355-ARTS (2787), Toll Free: 888-451-ARTS (2787)
Eccles Theater Facebook Page
Broadway at the Eccles Facebook Page
Wicked Facebook Event
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