Wicked

Susan Granger’s review of “Wicked” (2003-2004 season at Broadway’s Gershwin Theater)

Based on Gregory Maguire’s best-seller, “Wicked” is the prequel to Frank L. Baum’s “The Wizard of Oz,” explaining the origins of Glinda the Good Witch and Elphaba, the Wicked Witch of the West. With a banal, conflicted, sanitized book by Winnie Holzman (“thirtysomething,” “My So-Called Life”), it’s filled with sly illusions to the Oz tale. Problem is: the music and lyrics by Stephen Schwartz (“Godspell,” “Pippin”) are so generic that they’re forgettable, even as you hear them. The bloated first-act seems interminable, awaiting the enchantment of the second act.
On the other hand, because of its superbly talented cast and inventive production values, “Wicked” is an audience-pleaser, particularly for children. Directed by Joe Mantello and with musical numbers staged by Wayne Cilento, Kristin Chenoweth, as Glinda, appears to be a chirpy clone of Elle Wood, the character created by Reese Witherspoon in “Legally Blonde.” Her comic timing is impeccable. Idina Menzel, as the angst-filled, green-hued Elphaba, oozes psychological trauma, belting out each song. Carole Shelley mugs shamelessly as the caustic headmistress of the Hogwarts-like School of Sorcery where Glinda reluctantly befriends Elphaba. Despite the fact that he has one, mediocre musical number, Joel Grey cavorts admirably as the Wizard, while Norbert Leo Butz does his best as Fiyero, the obnoxious boy-friend desired by both witches.
Behind-the-scenes, credit Eugene Lee (set design), Susan Hilferty (costumes), Kenneth Posner (lighting), Tony Meola (sound), Chic Silber and Paul Rubin/ZFX Flying Illusions (special effects). Despite their valiant efforts at yellow-brick-road razzle-dazzle, what “Wicked” desperately needs is some witty, musical magic.

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