Past Reviews

Regional Reviews: Cincinnati


Wicked
National Tour


Carrie St. Louis and Alyssa Fox
Wicked is one of those big "event" shows that draws large and enthusiastic crowds (often dressed to the nines) wherever the tour stops, and Dayton, Ohio, is enjoying that excitement right now with a return visit by the denizens of Oz. Though the show remains basically the same as usual (which isn't a bad thing at all), a few minor variations in role interpretations provide a fresh feel to the show. With a generally strong cast, outstanding design elements, and an effective story and songs, there's ample reason for theatergoers to "rejoicify."

Wicked can be considered a quasi-prequel to The Wizard of Oz. The show, which is loosely based on the novel of the same name by Gregory Maguire, focuses on the friendship of Elphaba, better known as the Wicked Witch of the West, and Galinda, whom film fans know as Glinda the Good. Wicked traces the relationship of these women and their attempts to stay friends even when power, politics, and a man come between them. The show provides a uniquely interesting back story for characters from The Wizard of Oz, but also forces audiences to question what they think they know about those characters.

Winnie Holzman's book for the musical is a smart, funny, and moving one. Following the would-be witches from starting school together through that fateful day with Dorothy and the water bucket, the musical succeeds in using the audience's familiarity with Oz to create many hilarious lines, "wow" moments, and thought-provoking ideas. It contains a gripping plot and has characters with sufficient depth and clear motivations. One weak area is the need for clarity in regard to the passage of time. We never really know how old the witches are at the start of the show, and the amount of time that passes from beginning to end is also unclear.

The score by Stephen Schwartz (Godspell, Pippin) includes some songs which are instantly memorable and perfectly suited to the story, such as "What Is This Feeling?" and "Thank Goodness," and the fun "Popular," in which Galinda attempts to show the ostracized "green girl" how to fit in better with her classmates. The lyrics contain some ironic foreshadowing, are always well suited to the show, and include some cute Oz-like words. However, there are also some numbers that fail to rise above mediocre, such as the Wizard's material ("A Sentimental Man" and "Wonderful") and the act two love duet (Schwartz has written much better ones than "As Long as You're Mine"). Still, the score is overall a strong one and is highlighted by a thrilling act one closer in "Defying Gravity" and a superbly touching duet for the two leads in "For Good."

As Elphaba, Alyssa Fox clearly conveys the hardened heart and hurt ego of a rejected daughter, but also the hopefulness of one discovering acceptance and the usefulness of her gifts. Ms. Fox's take on the role is slightly more subdued and tomboyish than usually seen, but suitable nonetheless. She provides especially strong renderings of "The Wizard and I" and "No Good Deed", and some nicely varied vocal gymnastics and riffs in a few spots without making it sound like an American Idol audition. Carrie St. Louis likewise has a different approach to Galinda than the typical copycats of original star Kristen Chenoweth. Ms. St. Louis appears much more as a spoiled, valley girl version of the character, but without seeming stupid or over-the-top silly (except for her very effective antics during "Popular"—but even her shtick here feels original). She seems at ease vocally with the role, providing very clear diction and a very pleasant legit theater sound. St. Louis also seems perfectly invested in the more serious and contemplative moments, best evidenced by her touching, deliberate, and thoughtful delivery of "Couldn't Be Happier."

Ashley Parker Angel is best known as a member of the boy band O-Town, but here, as Fiyero, he's the weakest link among the principals. While he's a fine dancer and brings the necessary good looks to the role, his singing seems very weak compared to the others, and he doesn't appear fully invested acting-wise. As the Wizard, TV star John Davidson displays some apt showbiz razzamatazz and solid interpretation, but his odd character voice masks a strong singing voice underneath. Theater vet Kristine Zbornik is an all-around solid Madame Morrible. Worthwhile performances are provided by the other supporting players: Michael DeVries (a sympathetic Doctor Dillamond), Liana Hunt (a lively Nessarose) and Lee Slobotkin (an especially well-sung Boq). The extremely hard-working chorus members shine in all performance aspects as well.

Director Joe Mantello has crafted a cohesive piece with strong emotional pull, laugh-out-loud humor, universal themes, and a good dose of eccentricity (this is Oz, after all). He's staged some wonderful scenes, including the fun opening, the hair-raising "Defying Gravity," a smart act two opener, and a surprising and moving finale. The athletic choreography by Wayne Cilento conveys the uniqueness associated with Oz. P. Jason Yarcho leads a talented 15-piece pit orchestra which includes nine-local musicians.

Eugene Lee's scenic design features some massive set pieces including a large metal dragon (which is an ode to the novel, but really doesn't serve much purpose in the stage version), an ominous wizard's head, and bright shades of green everywhere, especially for the Emerald City. The brilliantly designed costumes by Susan Hilferty provide welcome variation and capture the essence of Oz deftly. Kenneth Posner provides splendid theatrical lighting which is displayed wonderfully in "I'm Not That Girl," "Defying Gravity," and "No Good Deed." Tony Meola's sound design allows for clear understanding of the performers, and a slightly different mix of the orchestral sound (more guitar sound for one).

This epic musical deservedly continues to be an extreme crowd-pleaser. Two excellent leading performers give fresh takes on their roles. Other strong performers, top-notch design and direction, an engaging story, and memorable score continue to bring audiences back time and time again.

Wicked continues through May 17, 2015, at the Schuster Center in Dayton. Tickets can be ordered by calling 937-228-3630. For more information on the touring production, visit www.wickedthemusical.com.


Photo: Joan Marcus

-- Scott Cain


Also see the current Cincinnati Area Theatre Schedule