Wicked

There can’t be anyone who doesn’t know Wicked’s story of the alternate view of Oz and the two witches at its centre, or who hasn’t heard at least one of Stephen Schwartz’s great show tunes. So it takes a special company to make the musical fresh and full of surprises.

The stunning trio of director Danny Ginsberg and set designer Mike Fletcher, with Brad Alcock as lighting designer – responsible for PLOS’ extraordinary production of Legally Blonde a couple of years ago - have joined forces again to stun us with this production of the already iconic show.

You know from the second you see the visual feast of Fletcher’s Steam Punk set with its moving cogs and clock and two revolves, that this will be something special…and it is.

Musical Director Sue Fletcher leads an 18 piece orchestra which even the great Kellie Dickerson would be proud of, and the overture actually produces goosebumps for what is to come.

The cast is as good, and sometimes better, than any we have seen in Main Stage productions of this show, and proves, yet again, that the line between “professional” and “amateur” is now all but erased. In particular the ensemble choral work is quite exceptional.

Nadia Gianinotti is no stranger to Community Theatre audiences, having been nominated for MTGV awards in 2015 and 2016, both for PLOS productions. She is quite remarkable as Elphaba, not least because she brings exceptional warmth and acting skills to a role which is easy to define only by its vocal gymnastics. Gianinotti has more richness and roundness than Idina Menzel, and that takes the witch-like shrillness out of the astonishing range of ‘Defying Gravity’ … it’s up to individuals to decide if that’s a good or bad thing. But I welcomed an Elphaba with a fully realised emotional arc, and part of that emotion comes through the voice itself. Her Elphaba is a gawky misfit that most teenagers will identify with, and seeing her suspended alone in mid-air on stage for those last few notes of ‘Defying Gravity’, was a very special experience.

PLOS has found the perfect Glinda in Britni Leslie, and it doesn’t hurt that she hails from Alabama and has worked extensively professionally in the USA. She has great comic flare, no doubt honed through her own cabaret performances, and I’ve never laughed so much at the role. She is quite delicious with an intimidating stage presence and an amazing vocal range. She has a heavy Dolly Parton style vibrato but, again, she makes it work for the character rather than against.

Blake Testro brings great stage presence and a remarkable voice to the role of Fiyero and Tom Green, a twenty one year old from Wonthaggi who wowed us with his voice in Miss Saigon earlier this year, nails the role of Boq. It’s unsurprising that Tom won two awards in his very first show, which was a mere two years ago.

Madame Morrible is given a slightly different take by the impressive and experienced Jennie Kellaway; and John Tacey brings considerable musical chops to the role of The Wizard, though I personally would have liked to see a little more lightness of touch in the performance.

Steven Rostrum’s choreography is always impressive and this time there’s a freshness and originality that allows the dancers to shine. His contribution to this production can’t be overstated.

Once again the indefatigable Brett Wingfield proves he is truly The Wizard of PLOS, with stunning costume designs which are beautifully complemented by Trent Whitmore’s excellent wigs.

Alcock’s lighting is innovative and superb throughout and Marcello Lo Ricco’s sound design has never been better.

Through all of this, Ginsberg is at the helm and, as always, pushes his cast that extra yard (metre) in the pursuit of excellence.

The show ran a half hour longer than it should at the opening 5pm performance, but that will tighten up considerably this week, and be even better for it.

The success of PLOS is that they have created a family pool of talent that is selfless in its dedication to the work itself. There are no “Star turns” - everyone does whatever is needed. For example, impossibly young Daragh Wills - now twenty and with a wealth of award nominations behind him -  has moved to production and is assistant to the director this time round.

If you live anywhere near Frankston you shouldn’t need any prompting to go to the Frankston Arts Centre for this superb production. And if you don’t….get the car out! It’s the perfect way to start 2017.

Coral Drouyn