Review by Jennifer Mustoe, Front Row Reviewers
At last night’s production of Broadway Across America‘s Wicked, playing at the Eccles Theater in Salt Lake City, I was able to see it through “new” eyes, and “old” eyes. Meaning, my friend who accompanied me had never seen Wicked the musical nor Wicked the movie, so she was able to simply allow this popular music entrance her. The woman a few seats over has seen Wicked a dozen times: in Utah, on Broadway in New York City, and once in London. Why do people see Wicked over and over again? Because it is a musical that entertains audiences that are young and old, seasoned Broadway show goers and folks new to musical theater, and anyone who loves the classic film The Wizard of Oz. Last night actually was my second time seeing it, and it is as magical as it was a few years ago when I reviewed it for Front Row Reviewers.
Loosely based on the novel Wicked by Gregory Maguire, the musical tells the origin stories of Glinda the Good and the Wicked Witch of the West. Note: It’s not what you think–which is one of the delightful surprises this musical brings to audiences. The musical takes place before Dorothy enters Oz, and is a delightful, inventive prequel to L. Frank Baum‘s The Wonderful Wizard of Oz.
Wicked is the story of Glinda the Good (Austen Danielle Bohmer), who is vastly popular and admired by all, as she comes from the sky in her bubble to reassure the citizens that all is well as the Ozians sing: “No One Mourns the Wicked” chanting, “She’s dead!” It is revealed that Glinda was once friends with the green-skinned Wicked Witch Elphaba (Lauren Samuels). At first these two characters hate each other, and “What is This Feeling?” is a fun-filled duet about utter, blazing contempt. My favorite line is: “With simple, utter loathing, There’s a strange exhilaration, In such total detestation, It’s so pure, so strong.” What a fine piece of insight: loathing has its own zing that isn’t totally unwelcome or unappealing.
Bohmer and Samuels have a synergy that is a delight to behold. The anger they exude is only paralleled to the love they feel as their friendship grows. They both have individual and charming mannerisms and it’s clear the actresses have embraced these roles with their own style and flair. When they are onstage together, things click.
Surprising but satisfying, these two very different characters become friends, each giving the other important insight in the lives they will eventually lead. They have several other duets: “Popular” that is almost over the top saccharine, the brave and striking “Defying Gravity”, and the touching, sweet “For Good.” Their harmonies are spot on and you can feel their synergy from the audience.
Other principle characters have their moments that enrich and delightfully complicate the story: Biq–I mean Boq (Alex Vinh) falls in unrequited love with Glinda, and Glinda’s paraplegic sister Nessarose (Erica Ito) falls in unrequited love with Boq. It makes for complications and feelings that become difficult. To add to the confusion, Fiyero (Xavier McKinnon), a handsome noodlehead, sort of falls in love with the insistent and beautiful Glinda, but once he sees Elphaba’s inner beauty, he falls for her. It’s a muddle, that’s for sure.
The opening moments of Wicked introduce the delightful ensemble, including the folks of Oz and the out of this world monkeys. Choreography for this and all dance pieces by Dance Arrangements (James Lynn Abbot) and Associate Choreographer (Corinne McFadden Herrera) tell a story of their own. Dance is integral to this musical and creates a background of interesting movement that shines. Susan Hilferty‘s costumes create a remarkable array of shapes and colors that are frankly other worldly. Some of them are rounded so much that one would think if you fell while wearing them, they’d bounce. Others flow and swish and twirl–it seems they’re a moving part of the scenery. The colors of the costumes are well-defined; most scenes have earthy greens, burnt orange, gold, and blue. Very organic. So the dance number whose performers are wearing mime-like colors and material that flows, the black and white costumes are starkly effective. Did that dance have more meaning with its monochromatic theme, or less? An interesting thought.
Student Glinda wears clothing that you know are expensive because they look luxe without being gaudy. Her ballgowns are over the top (sparkles and beading and tulle). But she always looks the best. Only the best for Glinda. Elphaba’s drab jumper that hangs off of her contrasts well with her arch enemy’s couture. Where Glinda sparkles, Elphaba almost melts into the scenery.
The Wonderful Wizard of Oz (Blake Hammond) joins Kingsley Leggs as Doctor Dillamond, and the rest of the cast, monkeys, Elphaba’s parents, and others the flesh out the story.
Aymee Garcia plays Madame Morrible and her wig (wigs and hair by Tom Watson) looks like a living thing. Make-up designer Joe Dulude II creates a lovely panorama of looks that are beautiful and surreal, depending on the character.
My friend who attended Wicked with me said what impressed her most were the lights (designer Kenneth Posner), sound (Tony Meola), and Settings (Eugene Lee) captivated her and sold the fantastical story for her. It’s a land one would never see in real life, but it is perfectly integrated in the best way as she watched. Music director Faith Seetoo leads the familiar and haunting music. Director Joe Mantello brings this story to life in a completely believable way. That’s the best kind of fantasy story–it all seems totally possible and real.
Wicked has been delighting audiences since 2003, and it’s still going strong. The reason? Because we like to see reality and fantasy, good and evil, beauty and unattractive meet and find a way to live and love together.
Broadway Across America and The George S. and Dolores Doré Eccles Theater present Wicked, Music and Lyrics by Stephen Schwartz, Book by Winnie Holzman, based on the novel by Gregory Maguire.
The George S. and Dolores Doré Eccles Theater, 131 Main St, Salt Lake City, Utah 84111
April 16-May 25, 2005 Dates and times vary
Tickets: $79 and up + fees. Tickets are available at the Eccles Theater box office, 131 South Main Street, SLC, UT 84111, by visiting saltlakecountyarts.org/events (use this official link only) or by calling 801.355.2787 (ARTS)
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