Rarely has a musical provided quite so much pre-opening excitement as Wicked. Months of hype, trickling casting news and buzz around prevews led to the most anticipated opening of the year. And, last night, there seemed to be no disappointing die-hard fans, all of whom roared with excitement as the house lights fell. Just moments in, it's clear to see why - this is musical theatre on an epic scale, supported by an army of fans. World domination is surely assured for this new breed of mega-musical; the global Wicked has arrived.
For those who don't know, we're on Wizard of Oz territory here; Wicked acts as a faithful prequel to the iconic film. Long before Dorothy 'dropped in', we learn about how two young women embarked on life changing journeys that would create their famous personas: Glinda (the Good Witch of the North) and Elphaba (the Wicked Witch of the West). The daughter of an emperor, Elphaba (Idina Menzel) is born a bright shade of green, and as a result lives her life as an outsider. At Shiz University, which she attends in order to care for her sister, she ends up boarding with the popular Glinda (Helen Dallimore), an irritatingly popular girl whose only desire is to be centre of attention. The rest of the story – as if any reader of Broadwayworld.com needs to be told anyway – follows Elphaba's journey as she discovers her inner powers, often against the wills of others.
Being set in a fantasy world, there are some wonderfully memorable, enchanting moments in the show. The first act is carefully crafted to invite us into an eye-opening new world of wizard education, and is much like the excitement of Hogwarts in Harry Potter. There's Dr Dillamond (Martin Ball), a Goat professor who is targeted by those who believe that animals should be seen and not heard, and Madame Morrible (Miriam Margolyes), who doubts the abilities of most of her students. We watch the young pair of witches take classes, at a prom, and on their trip to the Emerald City. But, importantly, we see them grow and take shape as their memorable characters emerge; we see Elphaba causing mayhem by mysteriously hurtling her sister's wheelchair across the stage and Glinda addressing the citizens of Oz, a spokesperson for all the people (in a humorous nod to Evita).
It has a lot to say about politics, about leadership and power; in our Bush-Blair world there seems to be some nicely ironic statements, about silencing those who speak out. And though it's on an epic scale with huge sets, effects and costumes, thankfully Wicked maintains its integrity even when succumbing to spectacle – it still feels very intimate, and in a two thousand seater auditorium it's incredible to feel such a rapt attention to the story, which is naturally very strong. There are few musicals in London that have such a pleasing narrative, that fulfils and maintains through a near three-hour show. Wicked clearly holds a strong affection for The Wizard of Oz, but can also stand alone as a brilliant piece of storytelling. That being said, it's a great feeling to be able to piece the two stories together, a gimmick giving the theatregoer a warm rush of fulfillment at their own musical theatre knowledge.
The outstanding actress Idina Menzel, who created the role of Elphaba at the start of its three year life, has flown in from New York to give one of the best performances on a London stage – you'll feel the hairs on the back of your neck stand on end as she rips her way through several blockbuster numbers. She effortlessly soars her way through a repertoire of belting songs; The Wizard and I - the first spine-tingling moment of the night, I'm Not That Girl – which though a complete plot hold-up, is a beautiful song, and then the, literally, soaring Act 1 finale Defying Gravity. We're treated to more of her voice in Act 2; the belting numbers As Long As You're Mine and No Good Deed before her finale duet For Good. But it's not just her voice that captivates, it's everything about her. She enchants the audience with such an excellently measured performance – a true star in the same league as Broadway's best.
