BROADWAY SNAP-SHOT
by Russell Bouthiller

Dateline: 10 November 2003

WICKED

"Sermonette in Green" could easily be the subtitle for WICKED, the new musical at the Gershwin Theatre based on the 1995 Gregory Maguire novel. With a score by Stephen Schwartz, a book by Winnie Holzman, and direction by Joe Mantello, WICKED visits the Land of Oz long before Dorothy dropped in and takes us down a winding road of political correctness.

In this "prequel" to L. Frank Baum's classic, "The Wizard of Oz," folks aren't what they once seemed to be, especially the two leads, Glinda the Good (Christin Chenoweth), and Elphaba, the Witch of the West (Idina Menzel). Glinda's more of a "Legally Blonde" type with a pinch of Gloria Upson mixed in. Elphaba is an intelligent, yet tremendously misunderstood, florescent green freedom fighter.

WICKED opens with the picture-perfect Glinda floating in on her trademark bubble. Dorothy and the Wizard have set off for higher climes and the reviled Witch of the West is dead. All is good again in Emerald City, but one question remains: Did Glinda once know and love the much maligned Witch of the West?

As a matter of fact, she did. Elphaba and Glinda were roommates while attending a school for the magically inclined, the University of Shiz. At this Great Plains version of Hogwarts run by the mysterious Madame Morrible (Carol Shelley), these two young sorceresses are complete opposites. The perky Glinda (or, Galinda, as she was known back then) merrily flits through life while the green-skinned Elphaba skulks. But, this being Oz where strange things happen, the girls become best of friends.

In Holzman's adaptation of Maguire's novel, the wholesome creed of Baum's century-old fantasy comes under revisionist scrutiny. Turns out, that nice old man behind the curtain, the Wizard (Joel Grey), is no nice old man behind a curtain. And, all that brouhaha about Elphaba being wicked is merely a subterfuge to conduct a witch hunt designed to bring down a subversive who refuses to stand by while Big Government exacts its racist policies, about which she knows plenty as a person of color. Phew!

Dump all the above ingredients into a cauldron and flavor with music. Stephen Schwartz concocts an array of songs that keeps WICKED airborne and, at times, lets it soars. Chenoweth charms us with Glinda's tutorial on mass appeal, "Popular." And, Menzel literally takes flight in the spectacular first act closer, "Defying Gravity."

What WICKED has going for it is an abundance of talent. Shelley thunders as the arch Madame Morrible. Norbert Leo Butts cuts a dashing figure as Fiyero, the love interest over whom the two witches squabble. And, the masterful Grey makes an affable Wizard, in spite of the role's transparency.

Considering there are two leading ladies, the competition is evenly matched and beneficial to all. Menzel's tremendous voice and chiseled beauty brings more to Elphaba than what appears on the page. And, it is pure joy to witness Tony-winner Chenoweth's crisp soprano and precise comic timing. From the moment she makes her magical entrance, she sprinkles the stage with stardust.

Nazi parallels and P.E.T.A. plaudits aside, WICKED works its magic best when delving into the backstory of Oz. We learn why Elphaba is green, when the Tin Man lost his heart and how the Scarecrow earned his post. And, as for those famous shoes, they are referred to here as "jeweled." It seems those ruby slippers were cobbled at MGM and not in the imagination of L. Frank Baum.

Joe Mantello has ample resources to keep this mega-million dollar production aloft. Eugene Lee's settings are big and brash, conjuring up images of Fritz Lang's "Metropolis." Wayne Cilento's choreography is about as busy as it gets, oddly reminiscent of another spook-filled show, DANCE OF THE VAMPIRES. Lighting by Kenneth Posner is haunting and high-tech. And, costumes by Susan Hilferty--especially Miss Chenoweth's and Miss Shelley's--are dazzling. WICKED, spectacular form and a socially conscientious content.