Backstories from Oz cast their spell at Boston's Opera House with ingenious twists, flying monkeys and singing that soars

01:00 AM EDT on Saturday, April 15, 2006

BY CHANNING GRAY
Journal Arts Writer

It's amazing how the creative forces behind Wicked have made so much out of so little. The untold story of the witches of Oz?

But the award-winning musical opened at the Opera House Thursday and cast its spell over Boston in a smart, sweet production with to-die-for leads, and a heart-felt score by Stephen Schwartz.

Trinity Rep's resident designer, Eugene Lee, takes credit for the menacing wizard face, the intricate walls of gears and cogs, and a fire-breathing dragon that looms out over the proscenium.

Then there are those flying monkeys that dart about the stage.

No wonder Wicked is the top-grossing show on Broadway right now.

It is, however, one of those shows that sneaks up on you, that takes its time to weave its magic and pull you in. It's not, in other words, a blockbuster along the lines of The Lion King or Phantom, where spectacle wins out over substance.

Wicked, based on the best-selling novel by Gregory Maguire, is much more subtle than that, with truths that become apparent only as the show unfolds.

And while the premise may be unassuming, the plot, with all its twists and turns, is ingenius.

The show opens to find the citizens of Oz celebrating the death of the Wicked Witch of the West, a scene familiar to the many of fans of L. Frank Baum's book and the classic Judy Garland film. Glinda the Good Witch sails in on her bubble to take part in the festivities.

"Isn't it true you were her friend?" one of the onlookers asks Glinda. At that point, Glinda tells her life's story in one long flashback.

THE TWO YOUNG witches meet at college, long before Dorothy and Toto arrive on the scene. Glinda is an airhead, but popular and ambitious, while feisty Elphaba the outcast, is smart, talented -- and emerald green.

It seems her cheating mother had a roll in the hay with a man who gave her a green elixir. Nine months later, she gave birth to Elphaba.

From college, we follow the journey of this unlikely pair as they become fast friends and rivals in love. Glinda becomes consumed by fame, while ethical Elphaba learns the Wizard of Oz is up to no good, and becomes the target of a smear campaign. Turns out, she's not as wicked as everyone thought.

At some point the flashback begins to mesh with the book, with the arrival of Dorothy, the origin of the ruby slippers and the creation of the Tin Man and Scarecrow -- all of which is very cleverly done.

But clever wouldn't cut it if it weren't for a talented cast led by Julia Murney as Elphaba and Kendra Kassebaum as Glinda. Neither have particularly impressive credits, but boy, could they belt out a tune.

Murney was particularly seductive, with that throaty contralto of hers, and her ability to really sell a song. Her "I'm Not That Girl," in which she laments the fact that dashing prince Fiyero seems to be hooking up with Glinda, was beautifully shaded.

AND "DEFYING GRAVITY," which capped off Act I, was sensational. Murney, whose Elphaba has honed her spell-casting chops and is now floating high above the stage in a blaze of light, just kept giving and giving.

Kassebaum had no trouble matching Murney in their duets together, and her solos were cutting and confident. But it was her acting, her ditzy blonde routine, that got the most attention.

"It's good to see me, isn't it?" she says, as she arrives in a cloud of bubbles at the start of the show.

Sebastian Arcelus got to show off his fine tenor as Fiyero, who describes himself as "deeply shallow," but in the end falls for Elphaba and proves to be a man of substance.

And P.J. Benjamin turned in a nice soft-shoe routine as the Wizard of Oz, in his song "Wonderful."

IN LESSER ROLES, Alma Cuervo made a perfectly detestable Madame Morrible, the ring leader in the plot to bring down Elphaba. Jennifer Waldman, Elphaba's wheelchair-bound sister, had her moments, but didn't have the vocal firepower of Murney or Kassebaum.

Schwartz's score, all 21 songs, deserves a hand, too. There is nothing particularly novel about his writing. It follows the formula of many a Broadway hit. But his music is well crafted, with soaring melodies.

As for Susan Hilferty's costumes, they looked like something out of Elton John's closet, leftovers from his green period.

Wicked runs through May 14 at the Opera House, 539 Washington St., Boston. Tickets range from $30 to $90, and $132.50 for premium seating. Call Ticketmaster at (617) 931-2787, or visit BroadwayAcrossAmerica.com.

cgray@projo.com / (401) 277-7492