Review: Wicked at Sunderland Empire
Review: Wicked at Sunderland Empire
Having done this job for the best part of 25 years, I’m really not sure how I’ve managed not to see Wicked.
I’ve seen Grease upwards of five times, for crying out loud. It really does not need to tell me any more.
Having premiered on Broadway in 2003, Stephen Schwartz and Winnie Holzman’s truly magical musical - based on the novel by Gregory Maguire - has won pretty much every award going and been seen by 65 million people. Its open-ended West End run has been going strong for over 18 years.
Read more: Review - Abigail’s Party at Northern Stage
And, following my introduction to the green-lit phenomenon at Sunderland Empire this week - where the UK tour’s yellow brick road has led the cast for a month-long stay - I can’t imagine anyone would bet on it ending any time, ever.
Imagining a captivating back-and-forward story for some of L. Frank Baum's beloved and most iconic characters from The Wonderful Wizard of Oz, Wicked unveils the fateful decisions and events that underpin the destinies of unlikely university pals, Garlinda and Elphaba… better known to us all as Glinda the Good and the Wicked Witch of the West.
Knowing how much I loved not knowing how the story would unfold, I’m absolutely not going to go say any more about the very nifty plot, which plays and twists around its source material wonderfully as it poignantly explores themes of acceptance, friendship and the complexities of a good vs evil narrative.
The chemistry between Elphaba and Glinda, portrayed by Laura Pick and Sarah O’Connor respectively, was beautiful… and only topped by their distinct vocal performances.
O’Connor pitched Glinda’s overt perfectness, well, perfectly, and relished the comic flourishes which popped up throughout her soaring vocals during stand out tracks Popular and Thank Goodness.
Pick’s delivery of Wicked’s deservedly biggest belter, Defying Gravity was fantastic - only topped for me by her final solo, No Good Deed, which I reckon would have had Frozen’s Elsa1 complimenting her on her pipes.
Meanwhile their near-finale duet, For Good brought a big tear.
The late Eugene Lee’s Tony Award-winning set design alongside Susan Hilferty’s costumes and Kenneth Posner’s lighting offer a glorious overload for the senses.
Oh, and James Lynn Abbott’s slick and stylish choreography just happens to be brilliant too.
As you may have picked up, while it may not be easy to be green (© Kermit the Frog 1970) from where I was standing (we couldn’t wait to give the cast the ovation they’d earned x10), it couldn't be easier to adore this show.
For the next few weeks, (until October 20 to be exact) there'll be no place like the Sunderland Empire.
Tickets available from the website.
*The voice of Elsa, Idina Mezel originated the role of Elphaba in 2003… can’t imagine the producers of the stage production of Frozen won’t be knocking on Laura Pick’s door if she ever manages to get the green face paint off.