What is there left to say about a show that has been seen by millions and that has won countless awards in the States and here in the UK? Well, how about this might be the best musical you will ever see for starters? Wicked simply blew me away with its style, its songs, its sets and most surprisingly, its quest for morality. Big themes are played out here, with the show acting as blazing metaphor for the dangers of racism and fascism, and as a beacon for the importance of friendship, honesty and courage. While it weighs up the power and politics of cerebral versus corporeal beauty it also makes you question what makes for wickedness itself – what’s on the label isn’t always what’s in the can after all, and there will be a few surprises as the night goes on. If this sounds heavy, it isn’t! The show has enough zing to zap you into next week.
Two stellar performances lit up tonight’s stage: Ashleigh Gray as Elphaba the Wicked Witch and Emily Tierney as the good Glinda simply took the audience with them every step of the way, backed by the excellent Marilyn Cutts as Madame Morrible, Steven Pinder as the Wizard and Dr Dillamond, Carina Gillespie as Nessarose, Elphaba’s sister, and Richard Vincent as Boq. And as Fiyero, Samuel Edwards was a standout as the swaggering young man glorying in his own shallowness – Life is faultless when you’re thoughtless. The ensemble was to die for. In fabulously coloured and textured costumes they moved, sang and danced as one undulating mass – slick, smart and synchronised. Later, as the flying monkeys, they were utterly convincing with hellish demeanour. Pushing the whole thing along, the 14-strong orchestra led by conductor Amy Shackcloth was absolutely tight – powerful when needed to be, and subtle and supportive in the quieter moments.
If this had been an athletic event, then Gray and Tierney would surely have won medals for their achievements during the two hours, forty-five minutes they were on stage. Both had stunning voices, with Gray literally blowing the roof off with Defying Gravity, the closing song of the first half, and earlier injecting great pathos into I’m not that Girl, while Tierney, apparently playing her dream role, excelled in the complex and wonderfully arranged Popular. These two convincingly built the relationship between the two witches from their time thrown together as room-mates at uni, to the final showdown in the parallel story that is the Wizard of Oz. Sometimes it felt as if the ‘other’ drama was being enacted on the other side of the theatre wall, revealed only sporadically, almost as reference. It’s a clever device, and you have to admire Winnie Holzman’s libretto to Gregory Maguire’s original tale.
Once the metallic dragon above the proscenium arch had finished glaring its red eyes at us, and Galinda (as she starts out) had glided down from the gods within her sphere looking like a Barbie beauty contest winner, we were taken back in time to Elphaba’s birth and unhappy childhood, unloved by her father for having bright green skin, and feeling guilty for her beautiful younger sister’s disability. Overlooked and ridiculed for her ‘ugliness’, Elphaba has the very opposite start in life to that of the irresistibly beautiful and very ‘blonde’ Galinda. The two female leads circle and play off each other throughout, unknowingly becoming crucial influences on each other while an unlikely friendship brews between them. Think of what we could do together.
The staging of the action was wonderfully realised with a mesmerising set that morphed from twirling cog wheels to portcullis bars; time pieces gave way to an extraordinary mechanised Wizard; changing skyscapes dissolved to the green green shininess of Oz. Even the safety curtain was a thing of beauty – a map of the Land of Oz with the Emerald City glinting in the centre. Every detail of this show has been lovingly put together.
Congratulations to the Hippodrome for the friendliness of all their staff, they really helped cap off a really great night out. ★★★★★ Simon Bishop 20/02/15
