Something 'Wicked' comes to Broadway
By Elysa Gardner
NEW YORK — Remember the last time an original Broadway musical made you laugh, cry and think — in the right places, and for the right reasons?
Menzel in a scene from the theatrical stage production of Wicked, a new musical based on the novel by Gregory Maguire.By Joan MarcusI would have to go back to the 1970s and '80s, when two composer/lyricists named Stephen proved able, in very different ways, to entertain, move and intrigue mass audiences. Stephen Schwartz, who would also write music for popular films, never became an icon of Stephen Sondheim's stature. But Schwartz did enjoy such notable successes as Pippin and Godspell.
It's too soon to tell whether Schwartz's score for Wicked(***½ out of four), which opened Thursday at the Gershwin Theatre, will prove as enduring. But it's safe to say that this is the most complete, and completely satisfying, new musical I've come across in a long time.
The triumph is not Schwartz's alone. Adapted from a Gregory Maguire novel, Wicked offers a post-feminist, socially conscious reinterpretation of the story of Oz's Wicked Witch of the West. Though that may sound like a recipe for pretentious pedantry, writer Winnie Holzman, whose TV credits include thirtysomething and My So-Called Life, provides a libretto that juggles winning irreverence with thoughtfulness and heart.
Central to her account is the relationship between Glinda the Good Witch and the ostensibly wicked one, Elphaba, presented as would-be rivals bound by an unlikely sense of empathy and mutual admiration. Kristin Chenoweth is ideally cast as Glinda, a dizzy blonde whose peppy facade belies a fragile heart, while Idina Menzel's Elphaba is a powerfully human sorceress, particularly when delivering haunting new songs such as No Good Deedand I'm Not That Girl.
Norbert Leo Butz is compelling as a suitor who threatens to come between the witches, and Joel Grey and Carole Shelley shine as a somewhat ethically challenged Wizard and his press secretary. A fine ensemble helps ensure that even the most flagrantly cute and sentimental moments are hard to resist.
Add in tunes that you can actually leave the theater humming, and you have a thoroughly enchanting experience.
Menzel in a scene from the theatrical stage production of Wicked, a new musical based on the novel by Gregory Maguire.By Joan MarcusI would have to go back to the 1970s and '80s, when two composer/lyricists named Stephen proved able, in very different ways, to entertain, move and intrigue mass audiences. Stephen Schwartz, who would also write music for popular films, never became an icon of Stephen Sondheim's stature. But Schwartz did enjoy such notable successes as Pippin and Godspell.
It's too soon to tell whether Schwartz's score for Wicked(***½ out of four), which opened Thursday at the Gershwin Theatre, will prove as enduring. But it's safe to say that this is the most complete, and completely satisfying, new musical I've come across in a long time.
The triumph is not Schwartz's alone. Adapted from a Gregory Maguire novel, Wicked offers a post-feminist, socially conscious reinterpretation of the story of Oz's Wicked Witch of the West. Though that may sound like a recipe for pretentious pedantry, writer Winnie Holzman, whose TV credits include thirtysomething and My So-Called Life, provides a libretto that juggles winning irreverence with thoughtfulness and heart.
Central to her account is the relationship between Glinda the Good Witch and the ostensibly wicked one, Elphaba, presented as would-be rivals bound by an unlikely sense of empathy and mutual admiration. Kristin Chenoweth is ideally cast as Glinda, a dizzy blonde whose peppy facade belies a fragile heart, while Idina Menzel's Elphaba is a powerfully human sorceress, particularly when delivering haunting new songs such as No Good Deedand I'm Not That Girl.
Norbert Leo Butz is compelling as a suitor who threatens to come between the witches, and Joel Grey and Carole Shelley shine as a somewhat ethically challenged Wizard and his press secretary. A fine ensemble helps ensure that even the most flagrantly cute and sentimental moments are hard to resist.
Add in tunes that you can actually leave the theater humming, and you have a thoroughly enchanting experience.
Response to the Review
When I walked out of the Wicked musical, the first thing I thought was, "Wicked!". Elysa Gardner developed a somewhat successful review on the musical; however, there were many points missing. She did not deepen her opinions and criticisms about the actual performance, actors, music etc... and spoke about one thing - the plot. This brand new musical really stands out over the other broadway shows that I have attended with my family members in New York City because of its astound actors and the powerful and moving emotions that it brings to the mass audience. Furthermore, Gardner mentions some background information in her review to prepare the potential viewers. Needless to say, the flying monkeys and witches on broomsticks left me in awe. It was fifty-two dollars well spent!