Austen Danielle Bohmer and Lauren Samuels Photo by Joan Marcus

Wicked, which opened Thursday night at BroadwaySF's Orpheum Theatre, is a great example of how a show can be transformed to turn it from a mediocre offering to a mega-hit.

I was fortunate enough to see Wicked during its initial out-of-town tryout at our own Curran Theatre, back in 2003. I remember loving it then, far more than most critics at the time, primarily because of the way Winnie Holzman's book delved beyond the fantastical elements of witchcraft and talking lions and munchkins and focused more on the political machinations and social unrest in a land ruled by a not-so-benevolent dictator. Although this is the fifth time Wicked has been staged in the Bay Area, it's the first time I've seen it since that initial run 21 years ago. Given that long lapse in time, my memory may be cloudy on certain aspects of the show, but this production of Wicked felt remarkably different to me.

After that first tryout, Holzman and composer/lyricist Steven Schwartz took three full months to rewrite the show, based on both audience and critical response. From my (somewhat porous) memory banks, it feels to me that in those two-plus decades the show has placed less emphasis on the political and social aspects of life in Oz and focused more on the relationship between Elphaba (who will be revealed as the Wicked Witch the West) and Galinda (who becomes Glinda, the Good Witch of the North) and a love triangle between those two and Fiyero, the handsome prince who joins Elphaba and Galinda at Shiz University.

There's also much more here (than I remember) that ties directly to the classic 1939 film, The Wizard of Oz. I don't recall Dorothy–and her sudden arrival in Munchkinland–being a part of the story, nor do I remember some of the clever details that hearken audiences back to that much-beloved film: the striped stockings worn by Nessarose, Elphaba's sister (Wicked Witch of the East, the Ozians apparently being quite territorial), references to the Wizard's balloon, and the bucket of water that leads to Elphaba's ultimate demise. (Or does it?)

All of this is to say that, despite the fact that Wicked has been running on Broadway for 21 years (minus a brief closure due to COVID), thanks in part to the changes made to the book and score, I remember being more impressed by the show's first iteration than with this most recent one. Of course, some of that could be due to the fresh eyes with which I viewed that 2003 production. There's always something special–and unique–about a world premiere that simply can't be replicated.

This is not to say I didn't enjoy myself this time around. Although Austen Danielle Bohmer (Glinda) and Lauren Samuels (Elphaba) are not Kristin Chenoweth and Idina Menzel, each is able to bring their own fresh perspective to these now-iconic roles. Bohmer has a snarky sort of cuteness that's layered with a substrate of conniving self-interest. Her eyes are everywhere–making sure she's not missing anything, and that no one is missing her. While Menzel was a powerhouse, Samuels plays an Elphaba with significantly less confidence, which is perfect in act one, as Elphaba is the girl at school no one wants to eat lunch with. Then, in act two, as she embraces the wickedness that has been thrust upon her, Samuels stands a little taller and squares her shoulders, almost as if she is preparing for the battle she knows is to come.

Fortunately, much of the very best stuff from the original Wicked is still here. The sets by Eugene Lee, lit with imagination and stunning skill by Kenneth Posner, are wonderful–even more wonderful than the Wizard himself. The costumes by Susan Hilferty are so varied and so spectacular that I could have spent the entire two hour, 45-minute running time goggling at their magnificence, so taken was I by their blend of steampunk aesthetic overlayed with Hunger Games (District 1) opulence and imagination. And of course, Wicked gives you several of the most popular songs written for contemporary musicals: "Popular," "Defying Gravity," and "For Good."

Although I missed the emphasis on politics and the social order (though it hasn't all been excised), the sheer spectacle and visual feast of the show was more than enough to paste a smile on my face for most of the evening.

Wicked runs through October 13, 2024, at BroadwaySF Orpheum Theatre, 1182 Market Street, San Francisco CA. The show plays Tuesdays-Saturdays at 7:30pm, and Wednesdays, Saturdays and Sundays at 1:00pm. Tickets range from $80-$300 and are available by calling the box office at 888-746-1799 or visiting broadwaysf.com. For more information on the tour, visit wickedthemusical.com.