EVERYTHING BUT A FEW GOOD SONGS
Peter Burch
July 14, 2008
THIS runaway success story is based on Gregory Maguire's first adult novel, in which he proposes a prequel to L. Frank Baum's famous children's novel The Wonderful Wizard of Oz.
Baum presents the Wicked Witch of the West, Elphaba, as driven by meanness and spite, while Glinda, the good witch, is all beauty and serenity.
Winnie Holzman's imaginative re-telling of Maguire's Wicked reveals a much darker side to the story. Beginning with Glinda floating into Oz in a bubble and telling the rapturous Oz citizens that the Wicked Witch has been liquidated, Wicked then constructs a series of flashbacks that explore how the two women met in their youth, how their lives intersected, clashed and how their circumstances finally generated an uneasy mutual understanding.
Wicked explores the corrosive effects of fear and loathing and the resultant abandonment of decency and morality.
Glinda is a wretchedly spoiled brat, with a head of golden curls sprouting through an empty, rat-cunning skull and a shrill voice that could open an oyster at 40 paces. She has the adoration of everyone around her. She's wily and manipulative, but presents herself as all sweetness and light. While Elphaba, born green and plain, suffers all the disadvantages and prejudices that beset outcasts.
Wicked's cast is outstanding. Amanda Harrison's Elphaba takes the honours with a performance of immense power and sensitivity and some superbly delivered singing. The Glinda of Lucy Durack is beautifully delivered as is Rob Mills's agile and powerfully vocal Fiyero, the object of the two witches' mutual affection.
Anthony Callea's munchkin outsider is brimful of pathos and energy and Rob Guest's appearance as the Wonderful Wizard of Oz maintained an elegant dignity. As the school ma'am Madame Morrible, Maggie Kirkpatrick initially cut a startling figure, trussed up into a form-fitting costume with a halo of permed hair. She reminded me of the time I met Sophie Tucker in my youth.
Wicked's production values are exceptional. Lisa Leguillou's expert direction coupled with Eugene Lee's clockwork-themed scenery, Susan Hilferty's dazzling costuming, Kenneth Posner's lighting, Tony Meola's sound design and Kellie Dickerson's musical direction of William David Brohn's terrific orchestrations fused into a powerful piece of theatre
But something is seriously missing: good music. This may well be Stephen Schwartz's most successful show but regrettably, its by no means his best effort.
http://www.theaustralian.news.com.au/story/0,25197,24013390-5013575,00.html
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