Wicked has become a global phenomenon, and still only 15 years old, from the initial try-outs at The Curran Theatre in San Francisco, to the polished and well-loved version we see today. The last time Wicked was in Manchester in 2013 I missed it - in fact, circumstances have prevented me from missing every chance I have had of seeing this Musical.. that is, until this evening. I must have been one of only a handful of Wicked virgins (if you see what I mean!) in the audience this evening - everyone was already one step ahead of the cast and knew exactly what to expect. For me, every part of this incredible show was a revelation.
Well, not every part... I had heard two of the songs before...sung by amateurs at showcase and variety events... but never sung so utterly breathtakingly, and never in context.
For those of you who still don't know the story of Wicked, then, in a nutshell, it gives you a backstory to comprehend The Wonderful Wizard Of Oz (Frank L. Baum). It shows us how The Wicked Witch of the West and Glinda The Good came to be the characters they are in the Baum story - two school girls who formed an unlikely friendship and became the victims of circumstance; it shows how the cyclone started and the house fell on the witch's sister, how the Tinman, Scarecrow and Lion were 'created', and how the flying monkeys came into being. Basically, it is a very clever 'prequel' to The Wizard Of Oz, and the story is based on the 1995 novel by Gregory McGuire, 'Wicked: The Life And Times Of The Wicked Witch Of The West'.
This show though is so much more than just a prequel to something a little more famous - it stands up completely on its own and is an incredible audial and visual spectacle from start to finish. There is clever comedy, and even cleverer 'hat-nods' to other musicals and genres if you are smart enough to spot them, including Glinda's character feeling and looking in her early stages very much like Elle in Legally Blonde, and a brief but excellently placed Evita pose as she addresses her fellow Ozians later on. The show also starts with the flightless monkeys appearing in a scene reminiscent of Cats.
The set design (Eugene Lee) is creative and imaginative, based around a theme of 'time', although the two cog-filled pillars which traversed in and out towards the front of the stage were for me slightly pointless and could have been utilised better. They were also never fully symmetrical either, one always staying nearer the wings than the other. However, if that's the only thing I can find to irritate me, I think the show must be simply stunning, as I can be uber-critical at times.
Creative lighting, never over-used and always pertinent (Kenneth Posner), Alice In Wonderland style costumes which worked wonderfully (Susan Hilferty), and of course a live 14-piece band in the pit conducted by Musical Director Dave Rose and sounding magnificent, all helped to bring this story to life, but it was the performers themselves who obviously must take majority of the credit. A highly sensitive portrayal of a goat lecturer Dr. Dillamond by Steven Pinder, an almost Buttons-styled character for the likeable Munchkin, Boq (Iddon Jones), a super character-arc as Madame Morrible shows here true colours (Kim Ismay), and a wheelchair-bound sister who becomes unwittingly embroiled in the evil-doings, Nessarose (Emily Shaw). Aaron Sidwell put in a creditable performance as the shallow and insincere Prince Fyero who falls in love with Elphaba and eventually shows his true mettle, however I must say that i found the more than visible arm tattoos wrong and distasteful.
But, of course the musical stands or falls with the performances of the two leading ladies who carry this story through from start to finish with characters which, for a musical such as this, are really excellently drawn, flawed, and real. Helen Woolf's subtle character changes and comedy nuances were excellently placed and despite going through a love/hate/love relationship with her, we sympathised with her, and her vocals were just stunning. Playing the green-skinned wicked witch Elphaba (who, according to this story, isn't wicked at all, but driven to do what she had to do because of others' wicked plans!) was Amy Ross, and she was quite simply phenomenal! The last time I witnessed such an amazing and electrifying stage presence, combined with talent in oodles and a voice which defies gravity (a-hem!) was watching Glenn Close play Norma Desmond in Sunset Boulevard on Broadway. Ross was utterly flawless.
Directed by Joe Mantello, with a flair for both pathos and comedy, and with a talented ensemble, this is quite simply one of the most enjoyable evenings you can spend at the theatre! If you haven't already bought a ticket to see this musical, then you must do so immediately! This is the last time Wicked is going to tour and the last time we'll see this production in Manchester.
Reviewer - Matthew Dougall
on - 5/12/18
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