PHOTO: Courtney Monsma (Glinda), Sheridan Adams (Elphaba) and the company of Wicked Photographer: Jeff Busby
WICKEDLY GOOD – 20 YEARS ON!
There are a small handful of musicals that producers touch, over and over, to ensure a box office blockbuster, like Mamma Mia or Chicago. Good for sales and their toe tapping melodies, they win over their audiences, every time. But since its debut on Broadway, in 2003, two decades ago, Wicked the Musical pleases on so many other levels, and it stands in its own stead.
With music and lyrics by Stephen Schwartz and book by Winnie Holzman, Wicked is based on the 1995 Gregory Maguire novel Wicked: The Life and Times of the Wicked Witch of the West, in turn based on L. Frank Baum’s 1900 novel The Wonderful Wizard of Oz and the 1939 Metro-Goldwyn-Mayer film adaptation staring Judy Garland, as a prequel to latter’s narrative. Although Maguire’s book is largely different to what you see on stage, it certainly places its plot closer to “what (supposedly) happened before Dorothy dropped in”. With its phenomenal success the world over, one can’t help feeling as if J.K. Rowling’s equally prodigious triumph of her Harry Potter series, which had published four novels by the time Wicked hit the Great White Way, had something to do with guaranteeing its success, particularly to audiences who were now hooked on magical spells, villainous characters, and sorcery. Either way, Wicked delivered then and as witnessed by the 20th Anniversary production in Australia (Oz), it still delivers now.
As far as stage musicals go, there is probably never a bad time to stage Wicked, as confirmed by the 65 million people who have seen it worldwide, but what’s tricky, is bringing it to life for a new generation, while maintaining its huge following of adoring fans. Moreover, Australia’s new cast faces the challenge of filling the shoes of characters that have become beloved, and iconic, with a greater demand to surpass expectations in their portrayals of such fan favourites. Elphaba, played by Sheridan Adams, did not disappoint, despite her challenge of recreating a role Australians have been used to being portrayed by Jemma Rix (previous Elphaba), who played the role over the span of 8 years in previous Australian productions. While relatively new in terms of roles with such extensive on-stage time, making Wicked essentially her “big” debut, Adams demonstrated early on that she has the voice to carry off some of the most difficult and well-known songs in a female musical theatre anthology. To close Act One, she handles “Defying Gravity” and then again later in Act Two, “No Good Deed” with smooth riffs, excellent breath support, flawless musical phrasing, bringing the lyrics and punctuation alive, all to prove vocally that she is a witch taking full ownership of her power. I did end up wanting more from her witch “cackle”, adding a hint more Margaret Hamilton, but sadly, for Adams, there was little she could do to not be eclipsed by her onstage counterpart, G(a)linda, brilliantly played by Emily Monsma (the understudy no less to her younger sister, Courtney) who I know would have also given an outstanding performance. While many would argue that the role of Galinda aka Glinda (the Good Witch of the North), is the epitome of the cliché “ditsy blonde” character, the legally blonde Elle Woods of the wizarding world, Monsma also managed to give her a depth I had not seen in previous portrayals, even by the likes of Lucy Durack and Suzie Mathers. Monsma brought a new sparkle to the role working the audience with impeccable charisma and comedic timing, crisp operatic top notes, all forgiving her “spoiled mean girl” alter ego, as the flip side of her softer and more compassionate nature, exuded. This light and shade gave the character more dimension and made for a well-deserving standing ovation performance.
Liam Head’s performance as Fiyero ticked the right boxes too, as he oozed a pompous laziness akin to his egotistical “jock” style character. With an effortless tenor range, prince-charming good looks and stature, Head is certainly making a stance as one of Australia’s next leading men, showing great on-stage chemistry with his leading ladies but who can also hold the stage alone. Similarly, Todd McKenny, an Australian performer icon, delights as The Wizard, with soft shoe shuffle pizzaz and a gentle, lyrical and melodic sing. Robyn Nevin’s portrayal of Madame Morrible is all the malevolence and villainous you need, and while short in physique, her voice booms throughout the auditorium, megaphone style.
Overall, the latest production of Wicked stays true to its brand, but appears to be somewhat “green”. It is plainly obvious that its cast is young (millennials), with a somewhat inexperienced their harmonies and support the plots story and characters tightly (hitting their marks), but lack an overall energy one expects. This is not necessarily a criticism, but perhaps a director’s choice as to not pull focus, from its incredibly strong leads.
Leading up to its opening, producer John Frost, hinted there would be a few new additions to the latest production, noticeably by the extra dialogue and scenes of some of the musical’s supporting roles. These fleshed out the narrative connection between the “Dorothy” story and Wicked’s tale of Elphaba and Glinda, but upon reflection, such scenes, seemed to fall flat. During these moments, one wanted less scene and more song, having the opposite effect of inserting the minor roles/characters of Dr Dillamond (Adam Murphy), Nessarose (Shewit Belay) and Boq (Kurtis Papadinis), as more integral to the story. Sadly, such did not also make for the most memorable performances by these talented actors.
Other than its leading ladies, particularly Emily Monsma as Glinda, this show would not be Wicked, without Eugene Lee’s set and Kenneth Posner’s lighting design. Such elements are a feast for the audience and were executed with precision and amazement. Yes, they may be smoke and mirrors (literally at times), they truly “defy gravity” and likely will always, “for good”.
