Ginna Claire Mason as GlindaPhoto: Joan Marcus
Kermit the Frog was the first to lament the challenges of the verdantly hued. But when it comes to the difficulties of being green, Elphaba — better known as the Wicked Witch of the West, the moniker bestowed on her by the charlatan Wizard of Oz — has faced far more hardships than that Muppet amphibian could ever imagine. When it comes to Wicked, returning to TPAC after sold-out engagements in 2009, 2011 and 2014, the audience learns the real story of who’s wicked and who’s good in a pre-Dorothy Oz, that magical land of munchkins and flying monkeys. Here our preconceived notions about everything, and everyone, are turned on their heads.
The heart of this story lies in the reluctant friendship of perky, popular, entitled G(a)linda and the bullied, misunderstood, compassionate Elphaba. It’s a complex relationship that journeys from unadulterated loathing to devoted loyalty with pit stops at admiration, envy, resentment, deception, pity, mistrust and respect. These two strong-willed women with seemingly nothing in common come face to face with their own shortcomings as they navigate the troubles of boarding school, the temptations of the Emerald City and the trials of getting everything you thought you ever wanted.
Originated in 2003 by Broadway darlings Kristin Chenoweth and Idina Menzel, the disparate roles are delivered here with all the bubbly effervescence and broody sentimentality these iconic characters demand by Ginna Claire Mason and Mary Kate Morrissey, respectively. Mason’s Glinda sparkles like a ruby-red slipper, dazzling the audience with a finely tuned physicality that earns big laughs from the enthusiastic audience with every well-timed hair toss, leg kick and girlish giggle. She cashes in on the biggest comedic payout in the yodel-laced “Popular,” but her duet with Morrissey on “For the Good” highlights the depth she brings to the role and the undeniable chemistry the two share. Morrissey’s Elphaba, for her part, soars — literally and figuratively — as the courageous, defiant, sympathetic underdog willing to sacrifice her own reputation for the good of others. “Defying Gravity” is undoubtedly a high point, but Morrissey demonstrates impressive vocal dexterity as she flits effortlessly between the upbeat and naively optimistic “The Wizard and I” and the second act’s rage-fueled powerhouse ballad “No Good Deed.” None of the nearly two dozen musical numbers fall flat — a testament both to the quality and catchiness of Stephen Schwartz’s music and lyrics and to the adept cast.
If Elphaba and Glinda’s relationship is the heart of this production, the brains lie in the clever world created by Gregory Maguire in his 1995 novel Wicked: The Life and Times of the Wicked Witch of the West and brought to the stage in a script by Winnie Holzman. The witches aren’t the only residents of Oz whose backstories and true motives are revealed. The truth behind every misfortune of Dorothy’s journey down the Yellow Brick Road suddenly makes sense, from the flying monkeys’ loyalty to the Wicked Witch’s infatuation with those glittery shoes to the real reasons the Scarecrow, Tin Man and Cowardly Lion lost their head, heart and courage, respectively. Even those who might otherwise shy away from large, lively musicals will find intrigue in this retelling. And those who do love large, lively, colorful musicals ... well, they’re right at home in the audience, and it’s not hard to spot them — the bright-pink feather boas are a surefire giveaway, as are the multigenerational groups that make up much of this crowd. Mothers who first discovered and fell in love with this show in their teens or 20s are returning to this nearly sold-out run to pass the magic on to their own little ones.
That magic continues at TPAC through April 22, and while tickets are already scarce, the theater is again offering a day-of-the-show lottery for $25 orchestra seats. (Two per person; cash only.) Find out what all the fuss is about in the Emerald City, but be forewarned: You may never see things the same way again.
