Wicked

Despite mixed reviews upon its premiere in 2006, Wicked has been running strong for more than five years and, this week, it became one of the first West End shows to announce its extension into 2013. The production bucked naysayers by winning the Olivier Audience Award in 2010 for Most Popular Show. I was looking forward to seeing the production for the first time to see why this theatrical juggernaut has survived despite an underwhelming critical reception.

Based on the best-selling novel by Gregory Maguire, Wicked charts the journey of the witches of Oz, Elphaba and Glinda, from their early days as rival sorcery students to their forming of an unlikely friendship, before ultimately being ascribed the monikers of Wicked and Good. Maguire provides a witty social commentary, as the Wizard’s fascist government succeeds in convincing the populace that talking Animals are the cause of all their woes and begins stripping away their civil liberties. When Elphaba rises up against the oppressive regime, she is the victim of a tactical smear campaign that culminates in Dorothy and her entourage being offered a reward for her murder.

Winnie Holzman’s adaptation of the book manages to anesthetise much of its darker political allegory, instead favouring cutesy scenes with bubbly Glinda. Although this may be a reasonable tactic in creating a musical version that appeal to families, her invention of an unexplained and entirely illogical happy ending fails spectacularly. After a long career of being Broadway and Hollywood’s go-to composer for pure schmaltz, Stephen Schwartz has managed to write three palpable hits in an otherwise forgettable score with “Popular”, “For Good”, and the show-stopper, “Defying Gravity”.

Rachel Tucker’s powerhouse performance as Elphaba is, by far, the most accomplished element of the production. Her soaring voice and electric energy grab you from her opening notes, and she demonstrates a highly-skilled flair for comedy. She imbues Elphaba with wry wit and gives a heartfelt performance that certainly makes you question which witch is wicked. Gina Beck fails to hit the same comic notes as a one-dimensionally vapid Glinda, but she has a beautiful voice and extraordinarily wide vocal range.

There’s strong support from an ebullient ensemble, and Desmond Barrit’s acerbic turn as the Wizard deserves special praise, as does Adam Pettigrew’s endearing portrayal of Boq. I’m a Celebrity, Get Me Out of Here’s Matt Willis makes a fairly uninspired Fiyero, but he has a pleasant voice and a dashing smile that serve the role adequately. The costumes and sets, designed by Susan Hilferty and Eugene Lee respectively, are spectacular, and magically bring to life the wondrous land of Oz.

Whilst the moral message of the piece may remain thin, the high production values and Rachel Tucker’s impressive performance in the central role make this an enjoyable evening at the theatre.

Where I sat: B32-33. Second row of the stalls on the left-hand side. The Apollo Victoria Theatre is one of the largest West End venues and boasts a very wide auditorium. Seats on either extreme of the hall will have slightly restricted views, but I missed very little even though I was all the way to the left.

Recommended: Yes, for a splashy musical and a pleasant night out, this is a good choice.