WITCH OF THE BEST
Both lead performances in Wicked dazzle in an already well-executed show,
Wicked K (out of 4) Starring Mary Kate Morrissey, Ginna Claire Mason. Directed by Joe Mantello. At the Ed Mirvish Theatre until August 5.
You can have all the bells and whistles you like but no production of Wicked is going to be truly successful if two vital components are missing.
The new touring production at the Ed Mirvish Theatre has both — two stellar performers in the roles of “wicked” witch Elphaba and “good” witch Glinda — plus all the aforesaid bells and whistles, in abundance.
The result is a show of exhilarating high energy that is also funny, fast, sweet and even soulful. Both Mary Kate Morrissey, who plays Elphaba, and Ginna Claire Mason, who plays Glinda, have plenty of experience in their roles — albeit as “standbys,” according to the program notes — and both amply demonstrate why they deserve their place in the spotlight. From the moment Mason appears in Act I as the young Galinda (she loses the “a” in her name later on) with a wagonload of luggage (and entitlement), she commands the stage with a great performance replete with vivacity and wellhoned comic timing. But the role calls for emotional growth that goes beyond Galinda’s shallow beginnings and Mason delivers here as well.
The arguably tougher role is Elphaba’s. It’s not easy being green and she’s spent a lifetime seeing others cringe in horror at her appearance while imputing inner “wickedness” because of it. Morrissey expresses that emotional burden throughout in a poignant, finely textured performance that conveys hurt, defiance, vulnerability and determination.
Both women have wonderful singing voices and Mason’s effervescent version of “Popular,” followed by Morrissey’s affecting “I’m Not That Girl” provides an ideal showcase for their contrasting styles.
There’s an astonishing attention to detail in every element of the staging, from the ironwork sculpture work — including a playful dragon overhead — to Eugene Lee’s artfully de- signed industrial-themed sets and flats that dizzyingly transform the stage from scene to scene with flawless precision.
That fine degree of execution reaches its peak at the end of Act I with the number “Defying Gravity,” a combination of lighting, dry ice and stagecraft that will send shivers down your spine, in the very best way.
The superior costume design by Susan Hilferty, drawing on a range of styles from the 18th century to the early 20th century, comes with a hint of Seussian whimsy. The supporting performances are uniformly of high quality, with a special shout out to Jon Robert Hall as love interest Fiyero and Jody Gelb as Madame Morrible. The versatile ensemble cast also deserves special mention for energetic dance numbers that smooth over scene changes and for making less than a score of performers seem like a throng.
There are some valuable and resonant themes tucked away inside the story about respecting differences in others and the value of friendship. So expect to come away from this superb production of Wicked enthralled, entertained and enlightened.