Wicked's stage is awash with talent

    1 of 1 2 of 1

      Music and lyrics by Stephen Schwartz. Book by Winnie Holzman. Based on the novel by Gregory Maguire. Directed by Joe Mantello. At the Queen Elizabeth Theatre on Thursday, May 29. Continues until June 29

      Wicked works best, in my experience, if you pay attention to the words and don’t get your hopes up for the music.

      Based on the novel by Gregory Maguire, Wicked tells the inside story of Elphaba, the so-called Wicked Witch of the West. At its serious heart, this frisky entertainment is about exclusion, scapegoating, and reclaiming power. Elphaba, like Kermit, finds that it isn’t easy being green. And she becomes a champion for the talking animals of Munchkinland, who are being forced out of academic positions, rounded up, and bullied into silence until they lose the power of speech. The parallel with the Nazis’ treatment of Jews is clear. But the metaphor also conjures images of other forms of prejudice—including the current opposition to policies that would protect Vancouver’s trans students.

      But Wicked’s politics never interferes with its fun. In college, Elphaba’s roommate is Galinda, who will go on to become Glinda, the Good Witch of the North. At school, she’s a bimbo. “I don’t know why you can’t just teach us history,” she says to her goat professor, “and stop harping on the past.”

      Kara Lindsay, who’s playing Glinda in this touring production, is a knockout. Part of her charm comes from the unabashed ways that she combines Glinda’s prissy femininity with butch vulgarity. When her wand doesn’t work, for instance, she huffs on it and wipes it under her armpit like a mechanic cleaning a dipstick on a rag.

      Laurel Harris knows how to make the most of Elphaba’s deadpan humour. “What?” the green-skinned frosh says when her classmates react to her with horror. “Have I got something in my teeth?” And as a singer, Harris handles the insane vocal range and extreme dynamics of the role with aplomb.

      Glinda’s showstopper, “Popular”, in which she gives Elphaba a makeover, is the best song in the show. “Don’t be offended by my frank analysis,” she sings. “Think of it as personality dialysis.” But the songs, which were written by Stephen Schwartz, all have witty lyrics; what distinguishes “Popular” is that it also has a tune. Elphaba’s barnstorming “Defying Gravity” has a memorable refrain. Other than that, though, it sounds like recitative—like most of the songs in Wicked. Yes, there are endless high notes and crescendos, but those are crude, though crowd-pleasing, substitutes for melody.

      The physical production, which includes Susan Hilferty’s insanely layered and inventive costumes, is spectacular. But the musical itself is bloated. At 90 minutes, Act 1 is far too long, and Act 2 wastes time in songs such as “Wonderful” that do little to advance the story.

      So this big night out is a bit too big sometimes. But its heart is in the right place. It’s witty. And thanks to this strong company, the stage is awash with talent.


      We're now using Facebook for comments.


      out at night

      May 30, 2014 at 1:31pm

      "Wicked works best, in my experience, if you pay attention to the words and don’t get your hopes up for the music."

      Yes, shame it hasn't a single hummable number. When exactly did musicals stop having anything resembling tunes and sub in only the most generic "Broadway-style" vocal exercises? Massive hits like Wicked and Rent and even the juggernaut Phantom don't appear to have a memorable tune anywhere! No wonder jukebox shows like Jersey Boys and Mamma Mia have come into vogue. I needs tunes dammit! "Heart in the right place" doesn't cut it for me.


      May 31, 2014 at 8:22am

      Other than "Defying Gravity' the music was forgettable. And the story schlock. Good for a mother-daughter night out. Anyone else would be bored.


      Jun 1, 2014 at 1:35pm

      I disagree, 'out at night'. Rent has some great songs, especially the opening number "Seasons of Love" ("525,600 minutes... how do you measure, measure a year..."). There's also "La Vie Boheme" and "Life Support" ("there's only us, there's only this, forget regret or life is yours to miss... no other road, no other way, do day but today"). Jonathan Larson's music is better than most Broadway shows, in my opinion. And the Vancouver production by Fighting Chance in 2012 was fantastic.


      Jun 2, 2014 at 12:44pm

      I agree Rent-head: Rent is full of memorable, tuneful songs, including, "I'll Cover You", and "Tango Maureen".