As Wicked nears its 20th anniversary on Broadway, audiences around the world have been captivated by this untold story of the witches of Oz for nearly two decades. 

Based on Gregory Macguire’s original novel of the same name and directed by Joe Mantello, Wicked tells the story of Elphaba (Olivia Valli) and Glinda (Celia Hottenstein) as they make their mark on Oz, becoming the women we have come to know as The Wicked Witch of the West and The Good Witch of the North. Serving as a prequel and explanatory companion for the beloved The Wizard of Oz, the roles of Glinda and Elphaba have become some of the most coveted in modern theater history as performers around the world dream of filling those silver slippers. 

Fortunately, our leading ladies fill them with ease, creating a masterful tale of friendship, acceptance, love, and courage. Valli radiates passion as the quirky, lovable Elphaba and has mastered the character’s signature clomp around the stage. While she stays loyal to the music as written (thank goodness- while adding new riffs can sometimes work in other shows, I have found the case is not so for such an iconic, well-known character) her performance of “Something Bad” with Boise Holmes (as Doctor Dillamond) is almost surprising. Often an underrated song in the show, Valli seizes the opportunity to play on Elphaba’s softer side, singing with a delicate sweetness not often heard in such a character. The moment is unexpected, but adds a little something to the song without taking her own spin so far that it is unrecognizable. 

The rest of Elphaba’s big belt numbers do not disappoint. “The Wizard and I,” “Defying Gravity,” and “No Good Deed” have all the frantic, fervent, goosebump-raising moments we have come to expect, and Valli glides through each one with ease. The moments before “Defying Gravity” were filled with sort of an electric energy as audiences waited to see Valli take on one of the most recognizable Act I finales in theater history. With a classic sort of elegance, Valli shoulders the responsibility of such a character and flies high above the stage in a moment of theatrical perfection, earning her broomstick for all to see. 

In contrast to Elphaba’s studious intensity, Hottenstein prances around the stage in a feat of comedic gold. Her chemistry with Valli is unmatched, particularly during their number “What Is This Feeling?” Their physicality and taunting back and forth are fairly simple, but the effect is undeniably charming and effective.

As Glinda flits around a bit like a drunken fairy learning to fly, Hottenstein is her own kind of gawky in all of her flouncy, flirty, Glinda glory. With foot pops and hair tosses galore, Hottenstein artfully combines Glinda’s operatic notes with an edgy, grungy growl and pouty princess whine. Her perky school girl giggles in particular are comedic genius, especially during her hip wiggling, hair flipping number “Popular.” 

As she swoons over new student Fiyero (Christian Thompson), he swoops in with a sort of bad boy effortlessness. Suave and flirtatious, Thompson’s voice is silky smooth and jazzy in his number “Dancing Through Life.” Full of swagger, he dances with ease as he flirts with the room, filling it with joy and fun as the Ozdust Ballroom comes to life. As Fiyero faces his own character arc, Thompson’s effortless chemistry with Valli easily carries them through their duet “As Long As You’re Mine.” This sexy number is full of longing and hope as Thompson and Valli match each other note for note, bringing a heated intensity to the edgy, seductive scene. 

Kyle McArthur and Tara Kostmayer are perfectly charming together as they take on the roles of Boq and Nessarose (respectively). McArthur’s Boq is a sweet little dweeb, but brings a surprising amount of swagger to the character. As he charms the tragically beautiful Nessarose, their performance during “Dancing Through Life” is so hopeful and endearing you can’t help but root for them. This schoolyard sweetness is a sharp contrast to their Act II performances as they are each given their own edgy moment to show off in “The Wicked Witch of the East” and “March of the Witch Hunters.” 

Wicked may have first graced Broadway stages nearly 20 years ago, but the technical elements of this production are as good as it gets. Costume designer Susan Hilferty has created things of beauty. Glinda’s iconic bubble dress may be the most obvious example, but every single detail of the citizens of Oz is a visual feast, particularly in the number “One Short Day.” As we see the Emerald City in all its Ozmapolitian glory, the ensemble is decked out in truly artistic pieces. Full of ruffles and sparkles and bright green accessories (oh my!), it is a shame we do not get longer to take in Hilferty’s beautiful creations. 

Speaking of that bubble dress…Glinda’s bubble entrance is a moment of unrivaled theatrical magic, except perhaps by the production’s flying monkeys, featuring Chistery’s (Mitchell Tobin) aerial, acrobatic feat. The audible gasps from the people around me speak for themselves.

When put all together, this beloved production has become quite the swankified classic. 

Wicked will run at the Durham Center for the Performing Arts through Sunday, September 17. Children under the age of 6 are not allowed at this performance. Not recommended for children under 8 years of age. Parental discretion is advised.

All photo credit to Joan Marcus. Additional production photos can be found below.