Review: Wicked

Review: Wicked

⭐⭐⭐⭐⭐

The Palace Theatre, Manchester 04-12-24 by Tiffany Chevis

Green and pink never looked so good – and as Wicked flies back to Manchester at the end of its UK tour, it once again casts its spell across audiences.

The origin story of the Wicked Witch of the West, Wicked (written by Winnie Holzman, based on Gregory Maguire’s novel), delves into the series of unfortunate – and fateful – events that led a lonely but hopeful young woman to become a pariah in a city of dreams. Exploring ostracism, friendship, bravery, and cowardice, it is more complex than simply bubbles and red shoes, brought to dazzling life with intelligence and magic.

Laura Pick is an excellent Elphaba, reprising the role from her stint at London’s Apollo. The joy of having seen the production several times is experiencing the way different actresses interpret the character, and bring their own approach to the stage.

Pick has a wonderful sense of inner strength and control throughout, which enhances the comedy in Popular with her straight-faced reactions to Glinda, but is all the more dramatic when she finally breaks out of her own expectations and grasps the opportunity for true freedom – and justice.

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The audience response to The Wizard and I was testament to her presence and power, with the applause rolling for extra beats, whilst As Long As Your Mine alongside Fiyero (Carl Man) is sensual and magnetic. Making each number her own, including the alternative high note in I’m Not That Girl, Pick instils in Elphaba even more individuality and ownership.

The pink to Elphaba’s green is Glinda (formerly Galinda), and Sarah O’Connor treats her with fun and sensitivity, and of course astonishing vocal quality to tackle those not insignificant melodies.

Whilst the character naturally matures as the story unfolds, O’Connor demonstrates her growing unease with care and delicacy, and you get a real sense of her conflict in the second act. Changing relationships and friction in friendships is universally recognised, and places Glinda as neither hero or villain, but a young woman desperately trying to make sense of a complicated and dangerous world.

Wicked also features Madame Morrible, the headmistress of Shiz University and then ‘press secretary’ for the Wizard of Oz himself. Donna Berlin shows such subtle disdain for those around her, teasing her motivations and managing to draw the eye even when others are taking centre-stage. This attention to detail is what brings real depth to the production and brings the story to life.

Carl Man’s Fiyero begins as ridiculous as you would want – Dancing Through Life will always raise eyebrows and laughter, whilst Megan Gardiner is a fraught and hardened Nessarose.

Mention must be made to Susan Hilferty’s astonishing costumes, with all the magic and intrigue you’d expect from the mysterious Land of Oz. One Short Day is a visual feast, with the most wonderful designs and variations giving every chorus member their own identity within the colourful crowd.

There will be inevitable comparisons with the recent film, which is spectacular in its own way and does justice to the show, which die-hard fans will enjoy. But there will never be anything like witnessing this sort of production in person. The connection to the actors, the intricacy of the sets (Eugene Lee), the hush in the ballads, the roar of applause. And of course the satisfaction of seeing the whole story unfold, without the long wait for a conclusion.

Wicked never ceases to inspire awe in those who see it; a visual extravaganza with soaring anthems, confronting themes, and an ever-growing community of devoted followers. It is a production that appeals to all ages, with a dose of nostalgia to those who grew up with the original Wizard of Oz, to a whole host of new musical theatre fans drawn together by the power of friendship.

With Stephen Schwartz’ rousing music and lyrics, under Joe Mantello’s direction, Wicked is an enchanting tale leaves traces of magic wherever it lands.