Rejoicify, fellow citizens of Melbourne! Thrillifying Broadway musical Wicked returns in peak form for a very welcome third season at the suitably swankified Regent Theatre.
21 years after its Broadway premiere, Wicked retains a vibrant freshness, a sharp relevance, and a largely unmatched spectacular scale of production. The upcoming two-part movie adaptation is sure to only further raise the much-loved musical’s prominence and popularity.
Loosely based on the 1995 Gregory Maguire novel, Winnie Holzman’s book for Wicked taps incisively into the perennial teenage conflict between popular kids and outsiders. Many a Wicked fan has identified with Elphaba’s lament “I’m Not That Girl.” A broader political commentary comes from the concept of uniting people by fear and the depiction of corrupt leaders vilifying (or these days, cancelling) people to suit their own narrative.
Far more musically integrated than a traditional Golden Age musical, Stephen Schwartz’s music and lyrics are masterfully sophisticated. Highlights include Elphaba’s I Wish song, “The Wizard and I” in which she sings of “a celebration throughout Oz that’s all to do with me!” – when Elphaba sings this, we have already seen this celebration; it was for her death. “Dancing Through Life” remains a brilliant exemplar of modern musical theatre, propelling plot with a heady mixture of vocals, dialogue, choreography, lighting, and key props and costume pieces.
Winners of 2004 Tony Awards, Eugene Lee’s scenic design and Susan Hilferty’s costume design are as impactful and imaginative as ever. Hilferty crafts myriad individual costumes for the full company, her work distinguished by the ingenious use of zany angles and curves along with richly textured fabrics. Lee riffs on the clock of the time dragon, with might mechanised dragon overhead and collages of clockwork cogs framing the action. Making a fabulous feature of hundreds of small embedded lights, Kenneth Posner’s lighting design completes the visual feast.
Directed by Lisa Leguillou, based on Joe Mantello’s original direction, action is kept brisk whilst ensuring that key plot points, especially those tied into The Wizard of Oz, are telegraphed clearly. Musical staging by Wayne Cilento boasts its own entirely unique dance vocabulary, perfectly complementing the quirky angles of Hilferty’s costumes.
Musical director David Young has the orchestra of 14 musicians sounding sumptuous. The rollercoaster dynamics of the ensemble vocals are performed with pleasingly tight control. Solo vocal lines from ensemble members are sung out with bracing gusto.
A lovely soprano and remarkably assured actress, Courtney Monsma enriches the role of Glinda with a clear and captivating arc. Her vocals are as pristine as her physical and verbal comedy are delightful. In Monsma’s highly capable hands, there is never a moment when Glinda can be dismissed as vapid, lightweight, or “blonde.” Monsma meticulously tracks Glinda’s gradual journey from self-entitled brat to inspired, devoted friend and on to corruptible but troubled leader.
Making a highly memorable lead role debut, breakout star Sheridan Adams bides her time as Elphaba, performing gently in act one before literally taking flight in “Defying Gravity.” Adams incrementally commands the stage through act two, her powers reaching their zenith in Elphaba’s impassioned solo “No Good Deed.” Rejoined by Monsma, the perfectly matched pair ends the show on equal footing with precious 11 o’clock duet “For Good,”
Entering with Hemsworth-ian swagger, and a physique to suit Gaston, Liam Head is a key attraction as Fiyero, bolstering his triple threat flair by conveying a worthy depth to the initially arrogant young man. Head enjoys palpable chemistry with Adams, the pair making “As Long As You’re Mine” an intimately sensuous duet.
Shewit Belay makes the role of Nessarose, younger sister to Elphaba, her own. Whereas the role can tend to be quite insipid, Belay gives Nessa a real spitfire energy, particularly when reunited with Elphaba in act two. Belay’s crackling energy clearly and succinctly shows Nessarose become the Wicked Witch of the East.
Kurtis Papadinas deftly avoids the corny aspects of lovelorn munchkin Boq, playing the role with heartfelt sincerity, neatly underplayed passion, and deft comic delivery.
A trio of stage veterans bring class and presence to supporting roles. Robyn Nevin is gleefully hiss-worthy as horrendible headmistress Madame Morrible. Simon Burke delights with a well-judged, gentle sparkle as The Wizard. Affirming the truism that there are no small roles, Adam Murphy brings quiet dignity to downtrodden professorial goat Doctor Dillamond.
Wicked’s legion local fans will need no aded encouragement to treat themselves to (at least) one more viewing. Newcomers should prepare to be absolutely awestruck.
Wicked plays at Regent Theatre, Melbourne. For tickets, click here.
Photos: Jeff Busby