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Musical's costumes, songs, scenery and lighting add up to spectacle that's electric
By Elaine Guregian
Beacon Journal arts and culture writer
Published on Sunday, Feb 10, 2008
People jammed the State Theatre of Playhouse Square on Friday night to see Wicked, and what they got lived up to this musical's reputation.
Since opening on Broadway in October 2003, this prequel to The Wizard of Oz has been a hit. No wonder. The story has enormous heart, tempered by a sense of humor that keeps sappiness at bay. And the spectacle! Grand opera would be glad to live up to this standard.
Looks count in Wicked, in more than one way, so let's start there. Set designer Eugene Lee begins before the curtain even goes up. Hanging in front of it is a huge, old-fashioned drawing of a map with Oz glittering at its center. Glinda (the Good Witch) makes a dramatic arrival in a delicately wrought metal bubble. Later, the Emerald City shows up as a gluttony of green. Add the energy of a crowd of hyped-up townspeople and Kenneth Posner's lighting, and the effect is electric.
The costumes by Susan Hilferty are over-the-top extravagant, especially for those flying monkeys. Glinda, or in her earlier schoolgirl incarnation, Galinda, sparkles in whites and pastels, crowned by an insanely perky coif of gold curls. Kudos to Tom Watson for his wigs and hair, including that macho pouf he designed for the evening's heartthrob, Cliffton Hall as Fiyero.
Watson and Hilferty also struck gold — make that green — with Elphaba (Carmen Cusack). Early in the story, before she becomes known as the Wicked Witch, she stands apart from her classmates with her green skin, broomstick-straight black hair and equally severe black dress. What's a relief, and maybe key to this musical's success, is that Elphaba doesn't beat herself up about being different.
In the song I'm Not That Girl, Elphaba laments not being the pretty, popular type that boys such as the studly Fiyero like. Amazingly, Elphaba doesn't change herself to attract Fiyero. Fairy tale or not, it's the kind of story you want to believe and would gladly tell your adolescent girls. Cusack's cocoa-colored voice is enormously appealing whether she's talking or singing.
Katie Rose Clarke plays Galinda/Glinda in Reese Witherspoon mode. She's proud of her popularity and unashamed of being bubbly. Still, we don't hate her because she has a sense of humor, and her share of problems.
Canton native Lee Wilkof sounded great in his big tune, I'm a Sentimental Man. His portrayal of the weak Wizard found a good foil in Alma Cuervo's opportunistic Madame Morrible. As Elphaba's wheelchair-bound sister, Nessarose, Deedee Magno Hall made a believable character change after a spell went bad.
Both local musicians and a touring group are used in the pit, led by conductor Boko Suzuki. The orchestra kept up its power and musicianship throughout the 2 3/4-hour show.
High-volume amplification has become the norm for shows like Wicked. It's possible that distortion from too much amplification can be blamed for the words sung by the ensemble being hard to distinguish. There was never a problem following the plot, but too often it was tough to make out what the crowds of gesturing, dancing people onstage were saying. Individual characters projected clearly.
From the buzz in the audience on Friday, not to mention the bags of merchandise that patrons stashed in the theater, it seems that this winning show will have a loyal audience for its long Cleveland run.
Elaine Guregian can be reached at 330-996-3574 or eguregian@thebeaconjournal.com.
People jammed the State Theatre of Playhouse Square on Friday night to see Wicked, and what they got lived up to this musical's reputation.
Get the full article here.
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