BWW Reviews: Vivino Shines As Elphaba But WICKED Underwhelms

I've been waiting years to see Wicked. Numerous times I've just missed the national tour as I moved from city to city and there were some unfortunately timed vacations along the way. For years friends and family have been telling me how much I have to see this show and the Original Cast Recording has played countless times in my car and office. So last night as three winged-monkeys turned a crank to raise the Wicked curtain during the Overture, my excitement could not have been higher. But I never imagined I would leave the theatre feeling...disheartened.

With all the hype surrounding Wicked I was expecting to be blown away by a masterful piece of American theatre. Instead, I found myself bored several times throughout the nearly three-hour production frustrated by lackluster scenes that dragged down Stephen Schwartz's majestic score.

Perhaps I expected too much? Perhaps there was no way Wicked could have lived up to years of hype and expectation? Or perhaps Wicked has a fundamental book problem.

The story of Wicked is an inspired prequel to The Wizard of Oz offering an intriguing explanation for how the Wicked Witch of the West (Elphaba) turned evil, how The Good Witch (Glinda) got her start and how the Tin Man, the Lion and the Scarecrow developed the deficiencies that ultimately place them on a path to meet Dorothy.

From the first brilliant, almost cacophonic chord progression of the opening sequence, Schwartz's catchy score builds anticipation and sets a perfect tone for the plot to come. However, any momentum the music is able to create is constantly deflated by unnecessarily long dialogue sequences and a few poorly placed music interruptions

To her credit, book writer Winnie Holzman ("My So Called Life", "Once And Again" and "thirtysomething") has created a more successful version of Gregory Maguire's story than his original novel Wicked: The Life and Times of the Wicked Witch of the West. Holzman has adapted and reworked the best aspects of the wearisome novel, but has done so in too many words.

The show's dialogue has some clever throw backs to the Wizard of Oz including an off the cuff statement by Elphaba that "there's no place like home" and a clever play on "Lions, and tigers and bears. Oh my!" during a party scene. But the book needs further editing to maintain only the lines necessary to advance the story. The rest of the fluff gets in the way

As a result the show never builds energy until the phenomenal "Defying Gravity" sequence but the following intermission kills any momentum that could saved the drawn-out press conference which opens Act Two. To make matters worse, last night's Act Two started with nearly half of the orchestra audience still trying to take their seats making it harder to focus on the scene.

After years of anticipation I can't help but feel disappointed and underwhelmed, but at least now I understand why Avenue Q reigned supreme at the 2004 Tony Awards.

Donna Vivino Makes a Phenomenal Elphaba

Despite Wicked's plot problems, there is something special about the story of Elphaba. Socially limited due to her green skin, Elphaba arrives at Shiz determined to overcome her "verdigris" to find acceptance and success beyond expectation. To her surprise, and that of her power-hungry professor Madame Morrible, Elphaba quickly discovers she has a remarkable natural ability for magic.

Through the betrayal of her teacher and as the victim of misfortune, Elphaba's goods intentions constantly cause negative, unforeseen consequences resulting in an evil reputation. The resulting frustration and pain from lost love cause her to believe she is as wicked as the citizens of Oz have been led to believe. The thought provoking conclusion is that ultimately society turned a motivated school girl into the Wicked Witch.

Donna Vivino (Saturday Night Fever, Hairspray and Martin Short: Fame Becomes Me) slowly portrays this tragic and absolute conversion with remarkable skill. Each lyric and line is delivered so genuinely with passion that Vivino makes the character come alive and every small moment feels as if Elphaba is truly experiencing it for the first time.

Vivino's smooth vocal quality is a delight throughout the show and while soaring high above the stage under bright, menacing lights during "Defying Gravity" she delivers a breathtaking climax to the first act. Vivino has phenomenal star quality that exudes off stage with every little moment. She deserves a chance to be green on the Great White Way.

Co-starting as Glinda, Chandra Lee Schwartz (Gypsy, Hairspray) demonstrates comedic skills as Elphaba's self-absorbed, popular roommate at Shiz. She is especially entertaining during "Popular" that she makes her own.

Brynn O'Malley (Sunday in the Park with George, Hairspray, Beauty and the Beast) takes advantage of every moment in the smaller role as Elphaba's wheelchair-bound sister, Nessarose. Having played the role on Broadway, she commands the only dialogue scene I felt was wholly successful. Unlike Vivino who has the entire show to portray Elphaba's transformation, O'Malley masters the challenge of believably taking Nessarose from an upset governor to the Wicked Witch of the East in one dialogue sequence.

Extravagant Sets and Beautiful Staging

Wicked is a pleasure for the eye as much as the ear.

A series of layered scrims and moving pieces creates the feeling of peering into an old-fashioned fairytale book. The detail within the set, designed by Tony Award winner Eugene Lee (Ragtime, Show Boat, Candide, Sweeney Todd), feels more like a Broadway staging than a typical national tour. The sheer number of set pieces allows each scene to have a unique feeling and the lighting effects perfectly complement the set and action on stage.

Surrounding the stage the proscenium arch is decorated with complex gears and branches that cleverly mask the production's speaker system. At the arch center is a large metallic dragon that moves throughout the production with smoke and fiery red eyes. Even though the dragon is impressive, I was left wondering what a dragon has to do with the Wizard of Oz? In the end it seemed the dragon was just an excuse for a cool effect without relating to the story.

One effect that was successful is the Wizard of Oz's large talking head. The head seems to magically float above the Wizard's chair and the corresponding booming voice recreates the intimidating feeling of the Wizard from the classic movie.

The costumes, designed by Tony Award winner Susan Hilferty (Spring Awakening, Into the Woods, Assassins), are also truly remarkable, especially the intricate detail of Elphaba's Act Two dress and the impressive sparkle of Glinda's bubble gown. The Tin Man, the Scarecrow and even a talking goat are convincingly brought to life; however, the production missed an opportunity with the cowardly Lion.

Near the end of the show with the characters now in their familiar forms from the traditional Wizard of Oz, the citizens of Oz rally before embarking on their witch hunt. The Tin Man makes a lame excuse that the Lion is too afraid to address the crowd while pulling on a ridiculously long lion tale from off stage. For this lavish production that takes the trouble to make flying monkeys and transport Glinda around in a bubble, how hard would it have been to make a lion costume?

Wicked Lottery Allows You to Win Orchestra Tickets for $25

Wicked runs at the Hobby Center from June 30-June 25. Each day, two-and-a-half hours prior to show time, you can go to the Hobby Center box office and place your name in a lottery drum. Winners are announced 30 minutes later and receive up to two Orchestra tickets for $25 cash a piece. With limited tickets available for the remaining performances, the lottery is a great opportunity for those who have yet to purchase tickets.

If you're not feeling lucky, tickets can be purchased at www.broadwayacrossamerica.com/houston, www.ticketmaster.com/wicked, all Ticketmaster outlets, at the Hobby Center Box Office or charge by phone at 800-982-ARTS (2787).

Photo Credit: Joan Marcus