WICKED at the Eccles Theater Flies High Defying Expectations

SALT LAKE CITY — Having attended other Broadway touring productions in my life including seeing a prior production of Wicked in London a decade ago, I walked into the Delta Performance Hall at the George S. and Dolores Dore Eccles to review the Wicked National Tour with high expectations. I had even attended a prelude of sorts coming to the Eccles Theater earlier this week to view the production’s load-in onto the stage. I thought I had an inkling of what was coming from the production directed by Joe Mantello.

Well, Wicked defied gravity, blew my expectations away, and proved why production’s of the show are a premium, popular, theatrical event. Exactly what I am feeling is almost impossible to describe. With music and lyrics by Stephen Schwartz and book by Winnie Holzman, the production’s quality is a great success and the performers’ overall energy was exceptional.

Additionally, the production is a distinct creative endeavor from the recent film adaptation. There are similarities. Certainly it’s the same story (even continuing to Act Two), characters, and musical themes, but the direction by Mantello and performances of the cast, combined with special effects make the production wholly worthy of it’s own popularity and lasting draw.

A “Good” Witch and a “Bad” Witch

Wicked’s narrative is about the famous Witches of Oz before Dorothy arrives: Glinda the Good and the Wicked Witch of the West, Elphaba. The program may say untold true story, but the untold doesn’t quite feel right as the musical is more mainstream than ever. Possibly, even more culturally recognized by younger audiences than the 1939 Wizard of Oz film.

Austen Danielle Bohmer plays Glinda and makes an impression with angelic vocals during the opening “No One Mourns the Wicked”. Flashing back to the beginning at Shiz, Bohmer transitions to the younger Glinda, here Galinda. Bohmer plays Galinda as over confident and self absorbed. This makes Bohmer’s performance of “Popular” a delight with humor and spunk. But, wanting popularity naturally leads to choosing to follow the Wizard.

One of my favorite numbers in Wicked is “Thank Goodness”, where Glinda shows the beginnings of self reflection. Bohmer’s performance expressing these complications was emotional and provoking.

Lauren Samuels plays Elphaba and when Samuels makes the first appearance in character while smiling. This smile offers a sense of hope, quickly shattered as Shiz classmates are horrified and afraid at Elphaba’s appearance. Then Samuels transitions to accepting the status quo, and is all sharpness and edges as Elphaba with a twinge of wanting. Elphaba knows she’s excluded and why, but Samuels allows Elphaba a little vulnerability behind the proud green girl.

There’s such a humanity to Samuels’s performance. Elphaba has three solo musical numbers where each connects the audience a little more with Elphaba. In my mind, one unique feat of theater is a single performer capturing the audience’s collective attention through a strong solo performance. Samuels conveys a range of emotions in “No Good Deed”, gripping attention to Elphaba’s grief and overwhelm at losing Fiyero. Samuels’s performance of “The Wizard and I” is similarly engrossing. I particularly liked how Samuels freely would extend or rush certain lyrical phrases expressing emotion.

I am amazed at how engaged I was in the emotional journey of Glinda and Elphaba. Bohmer and Samuels create contrasting characters whose humanity feels real and tangible. The story’s arc is driven by their relationship as they meet each other, loath each other, befriend then betray one another, leading to a reconciliation. Each step of this journey is punctuated by terrific musical numbers which drive the narrative forward with Samuels and Bohmer proving their skill as performers. “For Good” is outstanding in this context because both characters really feel they’ve been changed by the other.

Quality in Performance

While there are emotional themes, the production is balanced with humor. There are little asides and one liners with some great physical comedy. Samuels is great during “What is this Feeling?” mocking Glinda’s movements and expressions. Glinda has a fair share of comedic moments.

The remainder of the cast adds their talent on the stage. Xavier McKinnon as Fiyero offered a very sincere change of heart after Fiyero’s interaction with Elphaba. There isn’t much dialogue for Fiyero to explicitly explain this shift, leaving much to imagination. I applaud Xavier McKinnon for making Fiyero’s transformed character make sense through body language and other visual cues.

A mention for associate choreographer Corrine McFadden Herrera who designed precise choreography for a well executed ensemble. The choreography and staging of the ensemble members is one well to keeping the staging and movement interesting but not distracting.

Costumes and Hair

The costuming by Susan Hilferty is cohesive and uses uniquely striking features adding personality and defining the place of Oz. There is a ton of variety in how the Shiz students wear their blue and white uniforms. The main cast members stand out with Elphaba in a solid navy dress and Glinda in white.

Madame Morrible’s professor robe is exquisite. The fabric is this deep red with striking gold accents before a costume change to emerald green. It’s distinctiveness helps Morrible stand out. The colors of the costumes are rich and bright, with shine and shimmer making them attractive to watch.

Doctor Dillamond’s costume is also distinctive with specific use of hair and makeup designed by Tom Watson transforming the actor to look like a goat. The use of fur on Dillamond is essential to identity, but when animal fur is used as an accent on Morrible’s costumes effectively highlights the societal ills of Oz.

Scenic Design and Lightning

The scenic environment onstage is phenomenal with set design by Eugene Lee. The physical set pieces layer on the stage and create depth with detail. There’s variety and dimension in creating settings, like the gold curtains at Shiz University, or gear and clock motifs that appear throughout. The attention and craft on display is remarkable.

The lightning design by Kenneth Posner and projection design by Elaine J. McCarthy adds to the layers of detail.  The Emerald City is lit with an eyepopping green LED lightning that is blinding and transforms the hall to a theater awash in green.

The sequence of “Defying Gravity” is a perfect example of everything Wicked does so well. It may be the best sequence in modern musical theatre blending character, performance, special effects, music, and score to a absolutely magical finale. “Defying Gravity” was the highlight of the evening.

More Popular than Ever

As a musical maintaining popularity for 20 years, Wicked features tremendous spectacle and the music is impeccably catchy. This makes an easy entry point to enjoy the show, where the story creates complexity with explicit overtones about free speech, manipulation of the truth, political agendas, and the conflict of individualism versus belonging. Wicked also builds on the deep cultural love and recognition of the 1939 Wizard of Oz and to the Wizard’s point in “Wonderful”, rehabilitates the Wicked Witch as Elphaba who is more celebrated and relatable than ever.

If you want to see the Wicked, this is a great opportunity. The quality is high and the ticket prices reflect the value of a Broadway level production and the specific popularity of this show. Throughout, I was in awe of the power of live theater. Terrific performers, outstanding design and flawless special effects left me awash in the majesty of theater, and Ozian, magic.