Wicked the Musical has survived
five years of what borders on over-exposure, a beginning that could
have been marred by lukewarm critical response, and the debut in what
can only be described as a wasteland for musical theater (if you were
not produced by Disney Theatrical). The enduring musical now must weather
the storm brought on by a faltering economy, the debut of another alienated
Green monster in Shrek
the Musical, and
yet another round of cast changes.
On November 9, Kerry Ellis
and Kendra Kassenaum sang their last duet as Elphaba and Glinda, Aaron
Tveit gave his last longing look at the Wicked Witch of the West, and
Cristy Candler had the last house dropped on her as Nessoarose.
I was skeptical that the performance
just two days later would be able to hold its own. The productions of
Wicked had long been announced in Chicago and Los Angeles and the movie adaptation
was becoming more and more realistic as the timing was becoming right.
I have seen the end, but this
new rotation of players- with Marcie Dodd as Elphaba, Alli Mauzey as
Glinda, Kevin Kern as Fiyero, and Brynn O?Malley as Nessarose- was
able to convince me that the end is a bit farther off in the distance.
From Elphaba?s first sneer
at Galinda it became obvious that Dodd was more a victim of a city on
the West Coast unable to appreciate musical theater than an actress
not fit for the role. She shines alongside Jayne Houdyshell as Madame
Morrible as brightly as Ellis. Her voice is fit for the mezzo-soprano
demands and her songs hit the belt with an individuality that will serve
her well in her time as perhaps the most powerful female character in
entertainment today.
Gershwin
Theatre?s production
of Wicked will live on, even if Shrek is less than a mile away at the
Broadway Theatre. Dodd was able to find a steady of rhythm of give and
take with Mauzey as that first Broadway show continued. As the actresses?
nerves settled their performance became more and more natural and I
was whisked away to Oz, a land of magic and political intrigue.
As important as the burgeoning
friendship in Wicked that finds Elphaba comfortable with society is
the story of her and Fiyero, where she finds comfort with herself. Kevin
Kern brings the boyish charm that served him well in the musical adaptation
of the Wedding Singer, but he also brings the intensity to convey the
troubling conflicts deep within him.
Kern simply delivers as the
tenor and the male romantic lead. He shines as a giant in the world
of munchkins and his gaze Elpaba?s way becomes more and more sympathetic
and true as all of Oz quickly turns on Elphaba and brands her the Wicked
Witch of the West.
Obviously, I was pleasantly
surprised by the almost seamless transition from the last a cast of
leads to the next. I will be glad if each cast alteration of this production
can occur so smoothly. The performances more than warrant a second viewing
of this cultural phenomenon and even a third and a fourth. With fewer
and fewer tourists coming to Broadway for a first time viewing, the producers
of Wicked again found the right talent to continue the magic and keep Wicked tickets at the top of the box office list.
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'Everyone Should Take A Paycut'; 'It feels like putting a pet to sleep' and other closing quotables
Your Favorite Star Blogs? 
Broadway Grosses: Week Ending 1/4 & Algonquin Round Table Quote of the Week
