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Wicked
Benedum Center


Alison Luff
By this time, some 10 years since it debuted, you probably already know how you feel about Wicked. Most theatre aficionados have seen the show at least once (or possibly hate it without seeing it), and reactions often land at one end of the spectrum or the other. There are thousands, maybe millions, of fans who adore the show to the point of worship. One only need witness the response of the audience for the national tour, currently at the Benedum Center, where the affection is expressed at a level that can be described as a roar. The reason this show has struck such a chord with so many people can be explained in a number of ways, including the popular and well-written source novel by Gregory Maguire, the almost anti-bullying theme featuring two young females, one an outcast and one a charmed brat—a theme that can be identified with by the youngest theatregoer—and familiarity with the beloved 1939 film The Wizard of Oz, cherished by four generations. The way in which the musical represents the book and the film (this is not a stage version of the film, there have been a few of those, but a so-called prequel to the part of L. Frank Baum's stories that is covered in the film—it's really more of a "through-quel" as the story goes from before the film setting right through to what might have happened after the film's end) is where some have found disappointment.

Falling somewhere in the middle of the spectrum, I looked forward to seeing Wicked again, having seen the Broadway version early on and the national tour's first visit. Though the production values of tours have become increasingly closer to Broadway's over the last decade, this one is still the most elaborate. It fills the stage and spills over, up and around. One big improvement has been Elphaba's defying of gravity, which is now done with lighting effects that are impressive and effective. The overall lighting design (Kenneth Posner), costumes (Susan Hilferty) and sound (Tony Meola) remain in good shape, and anyone who hasn't been to a Broadway show can feel they've gotten as close as possible without leaving Western Pennsylvania. This appears to be a production that is well tended to and kept to its original, crowd-pleasing standards.

Alison Luff (Elphaba) and Gina Beck (Galinda) give fresh and youthful performances, two big plusses. It's a lot of show for them to carry, and they do it like pros, without mimicking any previous portrayals. The supporting cast are all top-notch. A real treat is the appearance of Alison Fraser as Madame Morrible; she is super-talented and gives a knock-out performance here (a sexier Madame than you may have seen before, or ever will). John Davidson makes a strong presence, including vocally. Curt Hansen's handsome and conflicted Fiyero seems like a real person (until, of course he's ... not) and Jesse JP Johnson is notable as Boq.

The whole cast steps up to do justice to the highlights in Stephen Schwartz' score and the humor in the script. The energy on stage is incredible—the audience feels it and responds, and the actors feed on it before sending it right back again. I've always felt Wicked could be a better show, that Winnie Holzman's book could be tighter and the book and the score more consistent, but it is easy to see why the show resounds with audiences. Director Joe Mantello Wayne Cilento (Musical Staging) and the rest of the production team have seen to it that this tour is a first-class representation of the show.

Wicked at the Benedum Center through February 9. For tickets and performance schedule, visit www.trustarts.org. For more information on the tour, visit http://www.wickedthemusical.com.


See the current Schedule of Pittsburgh Theatre.


-- Ann Miner