Defies gravity and expectations but sinks near a rushed ending.
There is a story—an untold story—that preceded Dorothy dropping into Oz. Wicked gives us Elphaba (played by Zoe Coppinger), a green-skinned outsider with potential to be a powerful witch. At Shiz University, she forms an unlikely friendship with Glinda (Courtney Monsma), the popular and ambitious golden girl. But when Elphaba challenges the rule of the Wizard, she and Glinda face uneasy choices that will put them in roles that readers are familiar with; reminding us that the truth is rarely black and white.
The Wizard of Oz never did much for me. Sure, it’s got technicolour wonder, evergreen earworms and a cautionary tale about chasing greener pastures, but Dorothy’s yellow-brick road always seemed too neat, too tidy. Then comes Wicked, a revisionist prequel by Gregory Maguire that tears off the veneer to reveal the stark origins of the so-called Wicked Witch of the West. This is a tale of prejudice, politics, and girlhood friendships that crack under the weight of ambition and circumstances.
This latest touring production, led by an Australian cast, makes a compelling case for why Wicked remains one of the most beloved musicals of the 21st century. As expected, the production is, a visual feast. Emerald City shimmers like a fever dream, Shiz University stands as an austere institution that's cracking under the strain of propaganda. The costumes are whimsical yet meticulously tailored. The familiar tunes sound bombastic thanks to the live orchestra. It is melodramatic, deeply satisfying; the kind of score that hooks into your subconscious, whether you want it to or not.
And the vocals. My God, Monsma and Coppinger still shine after so many runs. Monsma’s soprano soars with an almost inhuman clarity, each note sharp as crystal. You can't help but imagine Kristin Chenoweth smiling somewhere every time Monsma hits those high notes. You've also got to marvel at her impressive breath control as she cavorts about during her rendition of "Popular".
Coppinger's belt is thunderous, that sort of voice that commands attention. During "Defying Gravity", at the climax of the first act, when her character suddenly soars—it brought the whole room down. It was a powerful moment where you are reminded about the importance of theatre; how it can still hold an audience spellbound before the collective exhalation ensues when the lights cut to black.
The first act is sublime, sketching out Elphaba’s lonely genius and her uncanny friendship with Glinda, who, against all odds, develops a conscience. Their relationship is the show’s beating heart—funny, moving, and painfully real. The second act, however, starts to slip. Events unravel in a way that feels less like a deliberate narrative and more like someone realising they have 20 minutes left to tie up multiple loose ends.
Before you send angry letters, this is the first time that I saw the musical. Maybe the narrative pace, the glossing over plot points wouldn't have matter had I seen it back when it first staged but after seeing the film adaptation by Jon M Chu, seeing how certain part of the movie breathe and developed, the second act felt like I missed out on some key moments, in order to, cross the finish line.
Still, Wicked delivers where it counts. It’s grand without being hollow, emotional without being saccharine. And with the Wicked film, the musical’s cultural moment is far from over. If anything, this touring production serves as the perfect reminder of why this story endures.
I encourage you to watch the film adaptation of Wicked (or even read the book by Gregory Maguire) and see how different each versions is. The book is darker, in terms, of its ending; the musical opted for a lighter tone, while the film balances the book and the musical.
Wicked is now playing at the Sands Theatre
