Having seen the 11/22/03 matinee performance of "Wicked" on Broadway with my son (11 yrs. old) and his cousins (11 and 9), I (45 yrs. old) can vouch for the fact that, similar to "The Wizard of Oz," this brilliant play--and its accompanying sound track--is truly one for the ages: all ages.





Why?





Well, I trust that we are all somewhat familiar with Lyman Frank Baum's "Wizard of Oz," having read the book or, more likely, viewed it on TV or video. (Its broadcast being standard fare around the holidays when I was growing up, I can honestly say that I've seen it no less than 15 times in entirety.) Assuming my guess is correct, "Wicked - Original Broadway Cast Recording," will spark the interest of both the young and old. For, not only does "Wicked" take us back to the glorious Land of Oz, serving as both a prequel and a sequel to Baum's initial creation, it references characters--Tin Man, Scarecrow, Wizard, Toto, et al.--who are as well known to some of us as our family and friends: characters we hold dear in our hearts; familiar, almost familial.





The play is based on the novel "Wicked: The Life and Times of the Wicked Witch of the West," by Gregory Maguire, who provides his comments about the Broadway production in the CD's liner notes. But, know this, if you have not read the book neither your enjoyment nor your understanding of the play will be compromised. (To that end, I had not read the book, neither had my son nor his cousins, and none of us were at a loss while watching the play.)





"Wicked" opens with Glinda, (played by the remarkably gifted Kristin Chenowith: picture a miniature, mega- talented, Energizer-Bunny version of Cameron Diaz), who we all know as the "Good Witch," and the Citizens of Oz, singing the haunting yet majestic "No One Mourns the Wicked." The foreboding number--sung subsequent to Glinda's airborne arrival and her delivery of a short monologue clarifying the State of Oz and the Wicked Witch's demise--alerts one and all to the fact that what we think we know about the Wicked Witch isn't all there is to know, the song title a somber plea and testimonial that the "wicked" are oft forgotten and their stories seldom wholly known.





We also learn that the Wicked Witch's name is Elphaba (derived from Mr. Baum's initials: L.F.B.); her character played by the sultry, tom-boyish, Idina Menzel, from "Rent" fame, who is dazzling, dauntless, and fiery throughout both Acts.





The story progresses/regresses as we are taken to a time just before Dorothy arrived in Oz. There, we find Galinda (the etymology of the Good Witch's name change to "Glinda" is one of the show's many delightful, historical background nuggets) and Elphaba at The Shiz, a university of higher learning. The green-faced Elphaba has been unceremoniously sent there by her dad to care for her crippled sister, Nessarose, who is restricted to a wheelchair. (Nessa is subsequently gifted with the famed "ruby slippers" that Elphaba tries in vain to procure, their magic powers allowing Nessa to walk, dance, etc., free of a wheelchair's confines.)





Enter Madame Morrible (played by Carole Shelley), who promises to get Elphaba an audience with the Wizard of Oz. She sings the opening to "The Wizard and I," in which Elphaba is made aware that the Madame notices her unique gifts and that the Madame fully intends to get her an audience with the Wizard. Ms. Menzel completes the song, expressing her surprise that a "weird quirk I've tried to suppress" is a "talent that could help me meet the Wizard." Her surprise blossoms into full-fledged gratitude by song's end, with Ms. Menzel belting out the final stanza. (The number served as the first show-stopper at the performance I viewed; Ms. Menzel bringing the packed house to its feet with her riveting coda.)





Shortly thereafter, we also learn that all is not exactly honky-dory between Galinda and Elphaba via "What Is this Feeling?" The two trade off verses in this witty yet telling tune laced with sarcasm. Overly, the melody is light but the tone is, need I say, wicked. "There's a strange exhilaration, in such total detestation. So pure, so strong!" These two don't like each other, and they don't spare us the details as to why.





Next up is "Something Bad," sung by Doctor Dillamond (William Youmans), who lets Elphaba know that things are getting "Baaaaaahhhhddd!" in Oz for the Animals, many of whom are turning back into animals, inclusive--slowly but surely--of the good Doctor, a hybrid lamb of sorts.





"Dancing Through Life," introduces Fiyero (played by Norbert Leo Butz), a swaggering playboy who arrives at The Shiz on yet another mission of partying and womanizing. The ensemble song includes the other feature players and the cast (it also includes an amazing little musical-within-the-musical: "Wiz-o-Mania"), and sweeps along to a rousing finale.





The next two numbers feature Galinda and Elphaba, providing us with insight into the easy life that Galinda has always relished, and the painful one that Elphaba has endured.





"Popular" is Galinda's number, and it is a playful romp, and perfectly suited for Ms. Chenowith's cheery presence, her exaggerated pronunciation of "Pop-u-lar" showing us her sheer delight in being the chosen one who has always gotten what she has wanted.





Elphaba's "I'm Not That Girl" is next up. As the story goes at that point, we know that Galinda, of course, has won over the handsome Fiyero, and this song presents Elphaba's life in a nutshell: forever ignored, passed over, and hurting. "Don't wish. Don't start. Wishing only wounds the heart. I wasn't born for the rose and pearl."





A tender lament from a wounded soul.





After an upbeat "One Short Day," sung by the majority of the cast, introduces us to the famed Emerald City,


Joel Grey, the Wizard, makes his highly-anticipated entrance, singing "A Sentimental Man," a slightly low-key though playful tune, after meeting the principals. The number shows us that the Wizard, at face value, is something of a normal guy who possesses a dubious talent for recognizing what people want. Something of an egomaniac, he is not above lying to people to give them what they want or to further their belief in him, which altogether furthers the degree of fame he enjoys.





The show's next high point is delivered mainly by Elphaba, with some accompaniment of Glinda, the Oz Guards, and its Citizens, in Act One's closing number, "Defying Gravity." A soaring number, it sports Menzel and the orchestra in full regale, bringing Act One to a dramatic, jaw-dropping close. (The staging is absolutely eye-popping, Elphaba rising high above mid-stage, her skirt fanning out below her, becoming--with lights and wind machines engaged--a giant, billowing curtain.) Ms. Menzel sings with great fervor, "Nobody in all of Oz, no Wizard that there is or ever was, is ever gonna bring me down!" while "flying" on her magical broomstick high above center stage, Glinda and the Citizens of Oz below, watching in envy, and a touch of alarm.





This number is a bonafide showstopper!!! You'll get goosebumps as Menzel brings the song to its dramatic close, backed by the orchestra in full crescendo. (Crank your CD player up to highest volume for maximum effect!!)





Act Two begins with "Thank Goodness," sung by Glinda, Madame Morrible, and the Citizens of Oz. Aptly, the song puts us right back into Oz, setting up the remainder of the action.





After The Wizard and Elphaba finally meet, "Wonderful," bringing us up to speed on that exchange, we learn that Fiyero is now in love with Elphaba. Glinda sings the reprise of "I'm Not That Girl." In this version we get a glimpse of Glinda in the unfamiliar role of "second best" as she discovers that Fiyero has his heart set on Elphaba. Chenowith handles the swing in moods without over-dramatizing the hurtful emotion, showing that Glinda might just have a heart after all.





Elphaba and Fiyero celebrate a moment alone in "As Long As You're Mine," a sweet, romantic ballad telling of their longings for each other in spite of all the odds stacking up against them having any future together at all. The song ends with Elphaba's declaration, "It's just--for the first time, I feel wicked."





Next, the wicked doings of Madame Morrible and The Wizard, prompted by an idea hatched by Glinda (who advises them to kidnap Nessarose), force Elphaba and Fiyero to part, with both knowing that it could be...forever. This action sets the scene for a searing number entitled "No Good Deed." This fiery number is sung by Elphaba, who, at this point in the story, has discovered the true, darker depths of her powers: "I'm wicked through and through," and the breadth of her rage: "I promise no good deed will I attempt to do, again, ever again."





As a furious and tempestuously irked Elphaba, Ms. Menzel really lets loose in this dramatic, poignant number. Comparisons to Sinaed O'Connor ("Mandinka") and Alanis Morrisette ("You Oughta Know") come immediately to mind. One might also assume, for a moment, that the orchestra has morphed into a rock-and-roll band, such is the sonic level and high-intensity deliverance of this song. But, appropriate to the story, and all the wrong-doing going Elphaba's way, there is not a misplaced note or lyric to be found. (Again, at song's end, the Gerschwin audience erupted in unison following Menzel's rocking rendition.)





The close of "No Good Deed," points towards the conclusion, which is anything but predictable, and sets the stage for the hunt and the hunted. After that number, Boq, (or is that Biq? played by Chris Fitzgerald) a lovelorn, transformed suitor--to Glinda and then Nessarose--and the Ozians, join in on "March of the Witch Hunters," a rousing song announcing that Elphaba's future is certainly doomed.





Or is it?





"For Good," a duo sung by Glinda and Elphaba explains some of the outcome. More so, the number shows us that these two "witches" have made up, and that what comes next will be the result of the pooling of their unique gifts; Elphaba's knack for persevering against all odds; and Glinda's knack for always getting her way.





"Finale," sung by one and all, sends us off in grand fashion, reproving once again, there's no place like Broadway, there's no place like Broadway.





Of particular note, guitars played by Ric Molina and Greg Skaff are eloquent and evocative, especially in "Defying Gravity."





Steven Schwartz's songbook is in the very able hands of Conductor Stephen Oremus and an extremely gifted orchestra. Handling the deft, comic nuances of "Popular," the rocking "No Good Deed," and the rousing ensemble numbers, such as "Dancing Through Life," the orchestra always rises to the occasion.





An Emerald performance by one and all.





Prediction: "Wicked" will be a Broadway staple for years to come, Elphaba's role being sought after by the likes of Ms. Morrissette, Sinaed O'Connor, Joan Osborne, et al.





See it now, so you can say you saw it when.....





6/8/04 Update: Idina Menzel won a Tony Award for her portrayal of Elphaba, egding out Kristin Chenowith in the category of Best Leading Actress in Musical.





2/13/05: "Wicked" wins Grammy Award for best Best Musical Show Recording. Take that "Avenue Q"!!





10/16/2006: Funslinger finally gets around to reading, and finishing, Mr. Maguire's book. Happy to note; though it provides more depth to the overall story, not reading will have little to no impact upon one's understanding of "Wicked."





























































































































































Recommended: Yes

Great Music to Play While: Listening