It is a curious thing how the Ozian universe manages to fold itself into the modern consciousness. More than a century after L. Frank Baum first introduced us to the curious geography of the Land of Oz, the mythos has proven to be resilient in the American cultural canon. From the technicolor dreamscape of 1939 to Gregory Maguire’s revisionist masterwork that dared to ask what happens when the villain is just a misunderstood girl with a chlorophyll complexion, the story has never stopped evolving.
Photo by Joan Marcus
“Wicked,” the musical by Stephen Schwartz and Winnie Holzman, is the pinnacle of this ongoing admiration. Now playing at the Orpheum Theatre through Aug. 9, it remains a vibrant, high-stakes spectacle. On opening night, the atmosphere in the house was a palpable hum of anticipation, suggesting the audience was not merely attending a show but fulfilling a pilgrimage.
There was a noticeably younger makeup to the crowd, a demographic one might typically expect at a children’s theater production. Yet, rather than the dreaded rustle of candy wrappers or the whispered interrogations and unwanted sing-alongs that often plague adult audiences, this crowd was marvelously disciplined. There was an earnest, wide-eyed respect for the stage. It felt less like a raucous night out and more like a collective initiation. An introduction to the sanctity of the theater for those who, perhaps, were seated within the gilded walls of the Orpheum for the very first time.
This production is my 12th time witnessing the pairing of Glinda and Elphaba, a milestone that serves as a testament to the show’s enduring gravity. Refreshingly, this cast avoids the trap of impersonating the icons who came before them. These are fresh, lived-in interpretations of characters we know and root for.
Photo by Joan Marcus
Claudia Bennett’s Glinda is a revelation, paying homage to the OG Kristin Chenoweth; she steps out of the Glinda trap and makes her own choices. Beyond her effortless coloratura soprano, Bennett brings a sweet, razor-sharp sophistication to the character’s shallowness. Crucially, she never anticipates the laugh; she never plays into the joke for easy applause. Hers is a Glinda pure of heart, navigating the tragedy of becoming a woman of stature. While the audience inevitably giggles and swoons through “Popular,” it is her rendition of “Thank Goodness” at the top of the second act that truly resonates. She allows us to see the brittle, lonely woman emerging beneath the bubble-gum veneer, and it is genuinely moving.
Aline Mayagoitia’s Elphaba is a sturdy anchor, clearly up to the task of carrying the weight of the story. She possesses a powerful vocal command, though I found myself at a distance from her character choices. Her take on the street-wise, bullied-turned-bully dynamic felt a bit discordant, leaving me yearning for a sharper edge in her defiance. The joy of “Wicked” is that the audience usually finds itself choosing sides, and in this specific company, the verdict was clear: I am firmly team Glinda.
Photo by Joan Marcus
The supporting cast offers some of the evening’s most magnetic moments. Cristina Sastre’s Nessarose is a testament to underplayed nuance; watching her descent into bitterness is a marvel, particularly during her Act 2 confrontation with her sister, a raw, fractured moment between siblings who never quite spoke the same language. Drew McVety’s Dr. Dillamond also impresses, sharing the story’s stakes with a performance that is at once empowering and heartbreakingly powerless. We care for this Dillamond just as Elphaba does.
The production is not without its minor imperfections. Ethan Kirschbaum’s Fiyero relies heavily on a look, lacking the necessary charm to make the romantic tension land. While he carries a tune well enough, he lacks the swagger required to sweep either leading lady or the audience off their feet.
Photo by Joan Marcus
Visually, the production retains Eugene Lee’s iconic scenic design, though the heavy reliance on digital projections feels like a step backward. There is something to be said for the magic of theatrical artifice; watching bubbles and monkeys projected onto screens takes away from the visceral impact of Elphaba’s first flight. I find myself longing for the days of simple, clever choreography that let our imaginations do the heavy lifting. Thankfully, Susan Hilferty’s costumes remain as spectacular as ever, perfectly evoking that balance of whimsy and reality we all wish to escape into.
Despite these quibbles, “Wicked” remains a towering achievement. Whether you are a devotee of the musical or simply looking to take another trip over the rainbow, this tour is the perfect outing. It is a spectacle that reminds us why we continue to look to the Emerald City, not just for the magic, but for the mirrors it holds up to our own lives. Go see it, if only to be reminded that the best stories are the ones that never truly finish.
