Wicked (Sydney Lyric) ★★★★★

Music and lyrics by Stephen Schwartz. Book by Winnie Holzman. Based on the book by Gregory Maguire. Sydney Lyric. 25 Aug – 31 Dec 2023. 

Whoever thought the tale of an unlikely friendship between a green domestic terrorist and a blonde collaborator, who fall in love with the same Shiz-tagram thirst-trap would be one of the biggest musical theatre hits of all time? But then, we also all rushed out and watched a plot-less show about cats, so maybe we’re not the best judges of taste. Yes, now that the kids of Hogwarts have left the country, it’s time for the students of Dear Old Shiz to rise once more – Wicked is back baby, to take over the other Emerald City of Oz (that’s Sydney by the way)!

Are you ready for another dose of that same ol’ black magic? I mean this is literally the same production as when it debuted 20 years ago. Nothing has changed. Well, I’m sure small things have changed, but the smash-hit songs and the empowering story of female friendship are all still there. Two witches, both alike in dignity in fair Oz where we lay our scene etc.

My cynical, critical hat was firmly on my head as the show started but once we got past the intro, it all started to click. It became clear that the producers hadn’t just cast the biggest, blandest voices they could… These people can really act. Somehow, miraculously, Wicked felt fresh again, like I was watching it for the first time with an original cast.

Long running shows can be hard to appreciate. They exist in the shadows of all their previous casts and the expectations of the audience who know the original recordings by heart. It’s the nature of these productions that, over time, the performers generally get less experienced (i.e. cheaper), or overloaded with D-list celebrities, and they find themselves sleepwalking through the template set years ago. Thankfully this staging avoids all those pitfalls.

Courtney Monsma’s Glinda was not only funny (it’s all in the off-the-cuff mannerisms that she nailed every time), but also full of.. I can’t believe I’m saying this… genuine pathos. You totally got her blend of entitled enthusiasm and social awakening. I’ve seen Glinda’s who looked like they were having a stroke with every forced squeal and dramatic mood swing, but Monsma gives a completely honest performance that felt natural at every turn. She may be the best Glinda I’ve ever seen.

Similarly, Sheridan Adams hits the literal highs as Elphaba. It’s always been a frustratingly underwritten central role (she never really changes and is forced to be the “straight man” to Glinda’s quirkiness). Her rendition of “The Wizard and I” is the starting gun that sets the whole night off – the cheers from the audience were electric. By the time we hit “Defying Gravity” you could feel the room sit up in anticipation and we were not disappointed.

Robyn Nevin gives Madame Morrible some actual dramatic weight. She’s terrifying with a twinkle in her eye. I did wonder if she would be doing a big musical to cash the check and take it easy, but no, Nevin delivers the ridiculous dialogue like she’s doing Ibsen. Todd McKenney also gives us a Wizard who is nicely restrained. Coming alive centre stage when needed but never stealing the limelight from the leading ladies. Liam Head is full of charm and swagger as the callow Fiyero, briming with safely PG-rated sensuality. Adams and Head actually manage to inject some sexual tension as they writhe in the fully-clothed “As Long As You’re Mine”, although all that ‘singing loudly straight into your partner’s mouth’ can’t be healthy, neither can all that dry humping… surely those costumes start to chafe?

I’ll take my black, pointy hat off to local director Lisa Leguillou for keeping this production vibrant. It may seem like a small thing, but it was clear the actors were “discovering” their moments rather than anticipating them. They weren’t just copying the original direction of Joe Mantello, they were doing the hard work to really give it a life of its own.

Whenever talk of the upcoming film adaptation comes up, I’ve rolled my eyes at the thought of the producers splitting the narrative in two separate movies. But watching the show for the first time in a decade, I can see how compressed the story is. Elphaba and Glinda’s friendship turns on a dime more than once and really only works because the audience is constantly distracted by another catchy showtune. Maybe, given extra space, their characters can develop a bit more organically.

This is Wicked. I’m pretty sure you already know if you’re interested or not. If you’re allergic to big musicals then steer clear, but if you like big Broadway belters as I do then definitely go see it. If you’ve never seen Wicked before, you’ll get to discover why it’s so beloved, and if you’re making a return visit, it’s a great reminder of how good it was in the first place.

This review is based on the final preview / “media night”, not the official opening night.