It was not just Elphaba (Mary Kate Morrissey) who was “Defying Gravity” at the Gershwin Theater as every high belt from Morrissey sent me levitating from my seat. For over 20 years, “Wicked” has left audiences spellbound. Witnessing the rise and fall of Elphaba and her journey to becoming the Wicked Witch of the West reminds viewers to never judge a book by its cover. I was lucky enough to experience the magic of Oz with two of my best friends, and I can safely say I walked away with memories that will last a lifetime.
First, the vocals from all the actors were unbelievable. Any Broadway musical calls for showstopping singing, but even more so with “Wicked” because of its long run on Broadway and its famous musical scores. Almost everyone has heard of Elphaba’s famous riff at the conclusion of “Defying Gravity” as it’s considered the vocal pinnacle of the show. However, not everyone is familiar with the high ranges of other characters. I was completely unaware of how high Glinda’s (Alexandra Socha) register was – I almost swore she inhaled helium from a balloon before coming onstage. It was not just their range, I was also blown away by the vocal control of Socha and Morrissey: Their switches from lower to higher registers seemed effortless, all the while maintaining control of their breathing through every riff and harmony.
As for the songs themselves, my personal favorite is “No Good Deed.” After everything Elphaba has discovered about herself, the Wizard and the future of Oz, she feels defeated, unable to restore normalcy to the lives of those she cares about. None of her “good deeds” are recognized or actualized, and the song delves into that crisis. Morrissey’s vocals perfectly captured and conveyed Elphaba’s frustration, anger and desperation.
I’ve been a fan of “The Wizard of Oz” for as long as I can remember, and one of my most vivid memories of the film is the costumes and set design. Similarly, after seeing “Wicked,” it’s the set and costume designs that are still top of mind. From the eclectic hairstyles of the Ozians to the silver slippers of Nessarose (Micaela Martinez), the attention to detail is impeccable. Even the emerald-green of the Ozian costumes matching the set made all the difference. Susan Hilferty, the costume designer of “Wicked,” was also the costume designer for Taylor Swift’s “Speak Now” World Tour, so I knew the cast would be dressed to impress.
Other elements that I loved were the lighting and special effects. These can make or break a performance: Too much, and audience members are bombarded with sensory overload. Too little, and one can walk away feeling like something was missing. The technical additions must strike a delicate balance to be successful, and I’m happy to report that “Wicked” had the magic touch with both lighting and special effects. They enhanced the mood of the scenes, highlighted characters’ emotions and made magical moments – like casting spells and flying monkeys – even more captivating.
Seeing “Wicked” was a wonderful, enchanting experience. I recommend everyone hop on a broomstick, fly to Times Square, and see the magix for yourself.
