Whenever I see a show, regardless of whether it’s in London, America or even Cardiff, throughout the production’s intermission I will complain about all of the things that are wrong with it. Naturally, I’m a critic. I mean, don’t get me wrong, I’ll praise the show where credit’s due, but being as particular as I am, considering I’ve seen an absurd amount of musicals, the general tone of the intermission will be one of vague dissatisfaction, especially of late.
I literally had nothing bad to say about this production. Which, as you can imagine, left me exceedingly quiet for that 15 minute break.
Gregory Maguire’s story tells of the Witches of Oz (if you haven’t already read my rant on the abysmal Oz the Great and Powerful, I suggest you give it a skim) and their progression into what will ultimately be the division between Glinda the Good and the Wicked Witch of the West. They meet at Uni. Oz’s university is known as Shiz, a place full of talking animals and sorcery, and Galinda – that’s Galinda, with a GA – a prim, proper and seriously posh rich girl from the Upperuplands is lumbered with roomate Elphaba, an activist introvert with green skin. The book, and musical, confront such social issues as racial segregation and the corruption of politics through abuse of power – is the Wizard so Wonderful after all?
I went to see the show in Cardiff’s Millenium Centre, one of the best ‘modern’ theatres currently in the UK at present, and started off with a hint of skepticism about the show’s success in a theatre other than its Apollo Victoria home. My main concern was with how well the ostentatious set would fare on Cardiff’s stage, yet other than a slightly less impressive Time Dragon (which I confess I didn’t even think would be present at all), the set was pretty much exactly the same. Every single scene change is blissfully executed with a finesse that many productions would be envious of. The thing that thrills me most about this show is not the story, or the characters, or even the set, but the lighting. If you watched a production of Wicked very carefully you will notice
Glinda’s Bubble
“wonderful” little lighting changes – an absolute favourite is after Elphaba says ‘I’d be so happy I could melt!’ in ‘The Wizard and I’, the centre bursts outwards in a lighting display of cog wheels that is so perfectly timed it brings subliminal thrills to all observing Elphaba’s emphasised movement. As well as this, Elphaba’s silhouette on the clock during the majority of ‘No One Mourns the Wicked’ is masterfully done. And I cannot tell you how thrilled I was to discover that Galinda’s bubble is not neglected either.
Now this is my third time seeing Wicked, and the first two were London performances. So, immediately, thoughts go to the cast list. My first Wicked performance was with Kerry Ellis – a woman praised for her brilliant take-over of the role from the delicious Idina Menzel – and Alexia Khadime, who was fantastic as the younger Elphaba, but forgettable as the adult. After Kerry, my standards are high (even though I slated her for Rent, but come on. She’s 35).
Nikki Davis-Jones as Elphaba, the ‘Wicked’ Witch
I knew about Nikki Davis-Jones before coming to see the show and for very good reasons – she was the standby Elphaba for an excruciating amount of time, but had great reception from audiences when in the role. And I can see why. Her performance was mesmerising from the moment she stepped onto the stage. Her vocal talent is undeniable and very powerful – she adds in lovely fillers on occasion which are infrequent enough to keep listeners enthralled. Her ‘No Good Deed’ was exceptional. Apart from the odd line that wasn’t emphasised quite enough, her performance was pretty much flawless.
I also knew about Emily Tierney. Admittedly, less, but still enough to know that she was going to be an interesting character to watch, and she certainly was that. She was giddy and over the top and ‘perky’ and at times just the right level of annoying to make Galinda suitably endearing. Her ‘Popular’ was good – if comparing any ‘Popular’ to Chenoweth, there can barely be a comparison – but she held her own and was very likeable as the spoiled Good Witch. As a team, Tierney and Davis-Jones are hugely funny and work rather well as the Wicked duo. Their comic timing and chemistry as the witches was admirable, although I didn’t shed a tear this time around.
Davis-Jones and Tierney as the Witches of Oz
Liam Doyle as Winkie Prince, Fiyero, is a dish. A tall, handsome muscular tights-wearing dish. He doesn’t have the deep brooding tone of Nobert Leo Butz, butz what he does have is a seriously attractive vocal range and some killer dance moves. He’s also very attractive. In case you didn’t get that. Oliver Thompsett has competition with this one.
Doyle as Fiyero
Making up the rest of the cast are Marilyn Cutts as Mm. Morrible, Dale Rapley as the Wizard, George Ure as Boq and Carina Gillespie as Nessarose. Now, Carina is quiet for Act 1. Yet somehow from nowhere she throws in an intruiging interpretation of ‘The Wicked Witch of the East’, and wow. Girl’s got skills. Ure keeps up the Scottish Boq left by James Gillian, but does it better. Rapley is the best British Wizard I’ve seen yet, given his accent is actually convincing, and Cutts is also very satisfactory as the underhanded Morrible.
The orchestra were absolutely incredible. If you’ve never actually seen Wicked, which I’m still surprised by with a lot of people – I also hate it when people come and see a show without knowing the synopsis of it beforehand and then insist on reading this part of the programme before the show begins – then I’ve already said quite a lot about the cast side of it, but in terms of the creative, Winnie Holzman’s script will have you in bursts of uncontrollable laughter at regular intervals, and Stephen Schwartz’s ‘magical’ score compliments the atmosphere of the general ‘Oz’ feel with a wonderfully different approach to the music following its predecessor, The Wizard of Oz.
Now let me talk about costume. I’ve said in the past that shows like Shrek are a visual spectacle. Well, let me tell you: Wicked takes the emerald biscuit. The costume changes, whilst barely noticeable due to their remarkable timing, were plentiful for the two witches, and yet somehow beautifully understated in comparison with the grandiose layers of detail in the Emerald Citizens and the general population of Oz from the opening scene. Speaking of detail – the chorus more than outdid themselves with their genius use of dynamics leaving listeners tingling and reeling for more captivating vocals.
One Short Day in The Emerald City
Wicked has just started its tour, and leaves Cardiff by the 26th April to move on to Glasgow, where it will play at the King’s Theatre from May 6th. It continues in Leeds, Birmingham, Liverpool, Southampton, Edinburgh, Bristol and Salford. Tickets are still available so get them while you still can!
Verdict: Not a bad word to say. For a musical, by my standards, that’s a pretty darn good achievement. I’d go and see it again and again. A consistently ‘thrillifying’ show. ‘Congratulotions’, Wicked, you’ve done it again.
This Is Not Kansas Anymore 
This is my all time favourite show!