Wicked

If you are a little jaded about a new production of Wicked, because you have seen the show before, then I have to tell you, you have NOT seen Wicked until you have seen the current remarkable production.

Beautifully cast and directed, opening night showed that there is always something new to discover in a classic musical, and Wicked reached the classic status some years ago.

All of the special effects we expect are there, with some extras for good measure. It’s glitzy and sparkly and all the things we want from our entertainment. But here’s the thing. The relationships have been redefined for the characters, a deeper, more subtle, and yet more overtly comic joyful sistership replaces the slightly bitchy edge that Glinda has exhibited in past productions. Some of this is due to vision and direction, but mostly it is because of the nature of the two very fine actresses involved.

Courtney Monsma – a Gold Coast girl who has risen to stardom in the past five years despite being only in her twenties, has the comic talents of a Lucille Ball. She is a natural physical comedienne who is able to get belly laughs from an audience and then follow it with gasps as she hits an F above top C (sic) effortlessly. Yes, her Glinda still has the shallow bitchiness we expect from the role, but Monsma brings a new and different vulnerability to the part which makes the sudden switch from jealousy to friendship credible where it has seemed forced in the past. She makes Glinda an endearing character, unsure of herself and thus out to attack, make an impression first, whilst harboring her own insecurities. Never has the bedroom scene and “Popular” carried more weight and truth. Never have we laughed so much at Glinda and Elphaba’s awkward dance (which seemed much longer than in the past), whilst at the same time fighting the lump in our throats at the poignancy. Never has a farewell, and the lyrics to “For Good”, been so deeply credible as an expression of sisters in spirit, if not blood. It’s a joy to behold.

Sheridan Adams is equally impressive, with a cool and resigned Elphaba. Yes, she smashes the vocal gymnastics of “Defying Gravity” and “No Good Deed”, but it’s the heart-wrenching poignancy of “I’m Not That Girl” that cements her claim as one of the greatest Elphabas we have seen. The two have very different voices and yet they blend beautifully.

And there is an added quality which enhances this production. DICTION. Every word is crystal clear and I promise you there are lines, both witty and scary, that you will never have heard before - it’s a delight to re-discover the book with all the blanks of swallowed syllables filled in by the entire cast.

Ainsley Melham proves yet again that the combination of talent and charisma results in stage presence that so many performers can only dream of. Every moment he is on stage is a delight, and he is another actor who seems to have found nuance and subtlety in a multi-layered character that we haven’t often seen. Add to that his lovely lyrical voice and a new fluidity to his dance moves (it’s a lifetime since the days of Hi-Five) and you have the perfect Fiyero.

Todd McKenney gives perhaps his finest performance ever, with an interpretation of the Wizard that must surely be what Greg Maguire intended in his novel. A quintessential music theatre performer, McKenney has been known to knock us sideways with huge “Eyes, Tits and Teeth” performances, but his Wizard is a Todd we have rarely seen before. Subtle, uncertain, needy, emotionally hidden behind a mask, this Wizard is a sympathetic character, which makes the reveal of his and Madame Morrible’s need for power truly shocking to anyone who hasn’t seen the show before (as in the case of those sitting next to me). I’ve always enjoyed McKenney’s OTT performances, but I absolutely adore his Wizard, with all the nuances of a truly fine stage performer.

Robyn Nevin, diminutive physically, shows her power as an actress in making Madame Morrible (rhymes with Horrible) a thoroughly evil, two-faced cow capable of shocking us with her rasping evil voice. She doesn’t need the gigantic stature of some past Morribles to convince us she is dangerous. Once again, it’s the subtlety and nuance of the performance that sets this production apart.

Adam Murphy is a sheer delight as Dr Dillamond. There’s a naturalness to his Goat which is doubly endearing, and he has the best bleat you will hear this side of a Greek Farm. But he also adds his own charm and sophistication to the role.

Shewit Belay has a glorious voice and fleshes out Nessarose beautifully. A real asset to any production, it’s hard to believe this is only her second major show. As Boq, Kurtis Papadinis is a young star on the rise, yet with a wealth of experience and (as mentioned above) with perfect diction so that we hear and understand every line of his dialogue. Since so much of Boq is narration to help the plot move forwards, it’s a delight to hear every word at the same time as enjoying his considerable stage presence.

And then there is Christian Ambesi, who gives us a high impact simian physicality as Chistery, the head monkey. I’m astonished by his versatility, since I last saw him in Priscilla.

It’s a large ensemble so I will not name them all. Suffice to say that once again the entire ensemble was brilliant and indicative of why our musical productions are so good and world beating. My companion (an old Musical Theatre performer himself) had just returned from seeing the current Broadway production of this show last week, and proclaimed last night’s opening – “Probably 50% better than the Broadway production, and the best version I have ever seen.” (He’s seen SIX different productions.)

Add to that David Young’s impeccable musical direction of a fine orchestra, and a sensational technical crew, and there is absolutely nothing lacking on stage.

At the risk of repeating myself, you really haven’t seen Wicked in all its realised glory, until you see this version. It’s simply STUNNING!

Coral Drouyn

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Photographer: Jeff Busby