By JESSICA NEU
When I interviewed Wicked ensemble member Just Wirick, he noted, “You never forget the first time seeing Wicked.” The show leaves such an indelible mark that the experience becomes a core memory. I first saw Wicked at the Benedumin 2006. My friend and I drove down from Allegheny College after triumphantly procuring tickets despite the Cultural Trust’s website crashing during presale. At intermission, we walked outside for a cigarette, slack-jawed at what we just experienced (specifically the execution of “Defying Gravity”). After a brief silence, my friend exclaimed, “I want to do it again!!” Even though we still had Act 2 ahead of us, we wanted the show to start over.
From the first dramatic chords that foreshadow Oz’s grandeur, Wicked transports you to a mythical world for a story you thought you knew. Based on Gregory Maguire’s 1995 book, Wicked serves as a prequel to The Wizard of Oz. We learn how Elphaba and Galinda met and eventually became known as the Wicked Witch of the West and Glinda the Good Witch of the North, respectively. Written by Winnie Holzman and with music and lyrics by Stephen Schwartz, the critically acclaimed musical is celebrating its 22nd anniversary on Broadway, has played in 16 countries worldwide, and has been translated into six languages. Currently the 6th-longest-running show on Broadway, Wicked’s songs, characters, and lingo have permeated the cultural zeitgeist, and the show is beloved by audiences of all ages.
Directed by Joe Mantello, the current touring production stars Jessie Davidson as Elphaba, the mysterious yet magical green witch, and Zoe Jensen as Glinda, the pretty in pink, but introspective witch. Together, the two witches form an unlikely, but indelible bond when they meet at Shiz University. Glinda is attending as a student, and Elphaba is there to care for her disabled sister, Nessarose (Jada Temple). As if her green skin did not make her enough of a spectacle, Elphaba’s magical powers draw even more attention, specifically from regal headmistress Madame Morrible (Eileen T’Kaye). Madame Morrible takes Elphaba under her wing and promises to help her meet the Wizard (Blake Hammond), who Elphaba believes is all-knowing and all-powerful and can “de-greenify” her.
Both Davidson and Jensen lead with a commanding presence. They shine individually as Davidson’s take on Elphaba’s “I want” song, “The Wizard and I,” which lays bare her insecurities but also presents hope for her future. Jensen floats with the up-tempo syncopation of “Popular,” delighting audiences with the light-hearted yet thought-provoking lyrics. Together, they match wits and harmony in the colloquial “What is This Feeling,” but their dynamics as a duo is especially telling during the Act 2 ballad “For Good.” Jensen and Davidson’s chemistry offers a sturdy foundation for the show’s major themes of acceptance, identity, self-discovery, and heteronormative power dynamics. Subtle glances, playful banter during “Popular” and “Dancing Through Life” allow for “Defying Gravity” to have both an orchestral and emotional crescendo. Both Davidson and Jensen convincingly establish their characters so that by the end of the first act, we are truly remorseful to see them grapple with their own self-interest and their love for each other.
Rounding out the dynamic ensemble, Ethan Kirschbaum is the seemingly aloof and arrogant, but actually deeply thoughtful, Fiyero. Kirschbaum uses his palpable charisma to carry the kitschy number “Dancing Through Life,” but matches Davidson in perfect harmony for the torrential love song “As Long as You’re Mine.” Nicolas Garza is the delightfully quirky munchkin Boq. His unrequited love for Glinda leads him into a relationship with Nessarose. Garza’s altruistic Boq pairs wonderfully with Nessarose’s yearning to be seen and loved. As Nessarose, Temple commands a strong presence throughout the show, bringing a depth to the character unparalleled by previous portrayals.
Eugene Lee (Settings) brings Wicked to life with the iconic set design that has become emblematic of the show over the past two decades. The intricately clockwork-designed gears move along automated tracks to enable immersive transitions between scenes. Special effects, including smoke, mechanized panels, and the ominous time dragon affixed above the stage, add to the show’s grit and drama. James Lynn Abbott (dance arrangements) brings the citizens of Oz to life with rich, storytelling movements. Punctuated with fluid partner work, stylistically diverse routines, and intense acrobatics, each ensemble member responds to the physical demands of the show with ease and grace.
Beyond the wonder of the storytelling, singing, and dancing, Wicked carries a powerful message that resonates with any audience member. We have all certainly heard the adage “don’t judge a book by its cover,” but not only does Elphaba and Glinda’s unlikely bond exemplify that message, but the political allegory that moves through the show’s undercurrent also reminds us to question propaganda set forth before us. A sense of “othering” occurs as animals and munchkins were once integral parts of Oz’s society, but are slowly being silenced for their dissent. When the Wizard proclaims that truth is not fact or reason, it’s just what everyone agrees on, we are reminded that truth has been subjective long before the term post-truth became a widely recognized concept in 2016. The themes of distracting the public, scapegoating, and seeking a common enemy to blame amid societal upheaval run through the plot. Our common enemy has certainly shifted since Wicked’s Broadway debut, but the Wizard’s decree to send his monkeys out into Oz to serve as spies and report any subversive animal activity feels eerily timely.
Amidst an unpredictable and unrelenting 2000s theater culture, Wicked has become part of the conversation about all-time great musicals. With a clever plot that pays homage to The Wizard of Oz, songs and characters that shifted the cultural zeitgeist, and a set that defied odds, Wicked remains an unforgettable theatrical experience. Even 20 years later, as technology has advanced and theater has become a more tech-savvy and immersive medium, Wicked remains a singular experience. Even though I no longer smoke and spent intermission taking my 8-year-old to the restroom, I still wanted the show to start from the beginning again, just as I did all those years ago as a first-time audience member.
Read Sharon Eberson’s feature on thre enduring popularity of Wicked here.
TICKETS AND DETAILS
The Pittsburghh Culturat Trust’s PNC Broadeway in Pittsburgh presentation of Wicked is at the Benedum Center now through February 15, 2026. For tickets visit: https://trustarts.org/production/100705/list_performances
Read Sharon Eberson’s feature on thre enduring popularity of Wicked here.
Categories: Arts and Ideas, Reviews
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