Hollywood's Having Wicked Fun

Let the games begin.  That is games of ticket scalpers and daily lottery drawings for those impossible to snag seats, as Broadway's smash hit Wicked has finally landed in Hollywood for a presumably lengthy run.  It is only appropriate that smack in the middle of Oscar season, this town embraces the mega-musical that continues to break records around the world from the boys over at Universal. 

Wicked is undeniably a crowd pleaser and has ultimately become a critic-proof phenomenon, attracting audiences of all ages, consistently finding ways to wow each and every bright-eyed theatergoer.  Having spent a short time at the Pantages Theatre during the National Tour, producers have decided to grant Los Angeles a coveted Wicked show of its own in this sit-down production, and from the enthusiastic cheers at Wednesday's opening night performance, everyone appears happy.

Telling the back story of L. Frank Baum's classic "Wizard of Oz," later immortalized in the MGM movie musical adaptation, Wicked spins things around by focusing on the lives of the witches of Oz lending heartfelt sympathy to the trials and tribulations each went through before Dorothy's flying house so rudely interrupted them.  Those thought "wicked," such as the green witch who so famously curses Dorothy and her little dog Toto in the film, are revealed in a much kinder light, positioning them as misunderstood and discriminated against rather than purely evil.  And who would have ever thought the gorgeous bubble floating Glinda started out as a sorority girl from hell.  Many of the Oz revelations in Wicked are pure fun to discover, including the ways the Scarecrow, the Tin Man and the Cowardly Lion came to be.

In an attempt to politicize the world of Oz, a storyline revolving around repressed animals and false stories of enemies abroad from the dictator-like Wizard still tends to slow the overall progress of the show down a bit, but with the current state of affairs in the real world, parallels are still glaringly obvious.

Wicked's mesmerizing charm remains in tact with this new company, thanks in large part to Joe Mantello's direction. It still delivers theatre-defining moments of pure bliss and rousing musical numbers including the soaring "Defying Gravity," which remains one of the most powerful showstoppers Broadway, or any stage, has seen in years.  And when in the hands of Eden Espinosa, who tackles the "wicked" witch of the west, Elphaba, composer Stephen Schwartz's song brings the house to its feet.  Espinosa, no stranger to the lead role having performed it in New York and San Francisco, seamlessly blends her pop-inspired vocals into the show giving Elphaba a slightly understated underdog air about her. 

In the ditzy and often dumb blonde role of Glinda, Megan Hilty takes the character to familiar heights, as Kristin Chenoweth so precisely established on Broadway, yet she feels right at home with her sweet-toothed fun bouncing around the stage.  Hilty is a natural charmer, and the operatic flare required in many of her numbers is gracefully accomplished.  The chemistry between Espinosa and Hilty is a joy to watch, especially during the catchy "Popular," which if not already stuck in your head is sure to be by the end of the night, as are many of the show's songs.

Another familiar face in the Los Angeles production of Wicked is Carol Kane, who along with Hilty and Espinosa played her role on Broadway and the national tour.  Kane is the truly wicked Madame Morrible, the instigator responsible for much of the mayhem ensuing in Oz.  Although not the strongest of singers, Kane's cackly voice lends itself well to the character.  Other players returning to Wicked are Kristoffer Cusick as the carefree love interest of both witches, Fiyero, and Jenna Leigh Green as Elphaba's crippled sister Nessarose.  Both Cusick and Green have settled into their respective roles nicely, keeping things fresh all these performances later.

New to the Wicked scene is John Rubinstein as the Wizard and Adam Wylie as Boq, and each find their footing in this well oiled machine with no marked difficulties.  Rubinstein, a Broadway veteran and Schwartz alum having performed in Pippin, picks up the vaudeville-esque role of the Wizard and warmly embraces the good-natured showman.  Wylie's turn as the munchkin vying for Glinda's affection is a great fit, as his awkward teenager looks and pubescent voice cracks remind of many a nerdy boys dreaming of snagging  a school cheerleader.

Winnie Holzman's book is brought to glorious light on stage with the fantastic sets designed by Eugene Lee, Susan Hilferty's eye popping costumes and the slew of other technical masters including lighting designer Kenneth Posner and sound designer Tony Meola.  Wayne Cilento's spectacular choreography, especially in a commanding scene involving the flying monkeys upon first getting wings, is another fine ingredient in the bubbling cauldron of fun that is Wicked.

With a new block of tickets going on sale March 4 for seats through spring next year, there is no doubt that Wicked will be casting its spell over Los Angeles audiences for a long time.  Tickets can be purchased through Ticketmaster, by phone at 213-365-3500 or in person at the Pantages Theatre Box Office located at 6233 Hollywood Blvd.  Also, two hours prior to show time, there is a lottery drawing for a limited number of front orchestra seats at $25 each, cash only.  The lottery is available only in-person at the box office, with a limit of two tickets per person.  As the show seems to be sold out for quite some time, this might be the only viable option for many folks wanting to see Wicked anytime soon.

Photos by Joan Marcus
 

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