"A theatre goer since I was 2,
I am now 26, I can not recall being as moved in so many directions
as I was while watching Wicked."
- Matt B.
"If I could pick where I had
to die, It would be at a performance of Wicked. If I could pick
the last words that I heard, It would be the last note of the song
"Defying Gravity." This show is utterly amazing!"
- Jen M.
"Wicked is a musical that does
best what musicals are supposed to do: transport the audience beyond
the world they know. Whether you dream of being Galinda/Glinda,
the toast of society, or Elphaba, the beautifully misinterpreted
outcast, Oz inspires you. What more is theater for?"
- Hols F.
"Wicked did it all for me. Wit,
charm, excitement, romance, surprises, it's all there. If you're
going to see a show in New York, see Wicked."
- John H.
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Find Wicked Tickets by Venue
York City, NY- Gershwin Theater
MD - Hippodrome Performing Arts
MA - Boston Opera House
IL - Ford Center of Performing Arts
TX - Music Hall at Fair Park
CO - Temple Buell Theatre
Lansing, MI - Wharton Center
TX - Sarofim Hall - Hobby Center
England - Apollo Victoria Theatre
Angeles, CA - Pantages Theatre
PA - Academy of Music
OR - Keller Auditorium
RI - Providence Performing Arts
WA - Paramount Theatre
FL - P.A.C. - Carol Morsani Hall
AZ - Gammage Auditorium
ON, Canada - Canon Theatre
What's being said about Wicked the Musical
Time Magazine Wicked Review
"WICKED works because it has something Broadway musicals,
so addicted to facetiousness and camp, have largely given up on:
a story that adults can take seriously. Adapted by Winnie Holzman
from the 1995 novel by Gregory Maguire, the musical reimagines a
children's tale in grown-up psychopolitical terms a lot more successfully
than, say Stephen Sondheim and James Lapine did for 'Into The Woods'.
As the Wizard (Joel Grey) puts it, "The best way to bring folks
together is to give them a really good enemy." Imagine: a family
musical that might make the Bush Administration squirm. Which isn't
to say WICKED, under Joe Mantello's assured direction, lacks funs.
The show gets laughs by playing off famous bits from the movie.
It also provides a showcase for two fabulous Broadway stars. Kristin
Chenoweth, the Kewpie doll who won a Tony for 'You're a Good Man,
Charlie Brown,' is a perfect delight as Glinda. In the tougher role
of Elphaba, Idina Menzel is possibly even better, a mix of vulnerability
and feminist passion, with a rock voice to raise the roof. With
an awful lot of plot to establish, the show drags in spots. But
IF EVERY MUSICAL HAD A BRAIN, A HEART AND THE COURAGE OF WICKED,
BROADWAY REALLY WOULD BE A MAGICAL PLACE."
- Richard Zoglin, Time Magazine
The New York Times Wicked Review
As Glinda the Good Witch, Kristin Chenoweth is giving jaw-dropping
demonstrations of the science of show-biz aeronautics. She proves
that nothing can top undiluted star power. It's amazing how she
keeps metamorphosing before your eyes and ears. Her voice shifting
between operetta-ish trills and Broadway brass, her posture melting
between prom-queen vampiness and martial arts moves, she evokes
everyone from Jeanette MacDonald to Cameron Diaz, from Mary Martin
to Madonna. She turns one-liners into something so startling that
you have to laugh. Chenoweth is the real thing, melding decades
of performing traditions into something shiny and new. Be very grateful
that she has returned to the stage.
As the Wicked Witch of the West, the talented Idina Menzel is a
vocal powerhouse and a commanding presence. She will no doubt dazzle
Directed by the understandably in-demand Joe Mantello, WICKED'S
cast features gold-standard veterans, Joel Grey and Carole Shelley,
and bright rising talents, Norbert Leo Butz and Christopher Fitzgerald.
The top-flight designers include Susan Hilferty (costumes), Kenneth
Posner (lighting) and Eugene Lee, whose sets are an ingeniously
arranged technoscape of wheels and cogs overseen by the wondrous
metal dragon that rests atop the proscenium.
There are visual and verbal jokes aplenty in this recreation of
Baum's enchanted land where Glinda and Elphaba get to know each
other long before a little brat named Dorothy shows up. The contrast
between the young women, who wind up as reluctant roommates at sorcery
school, is used to examine a society that values surface over substance,
the illusion of doing good over the genuinely noble act. It goes
without saying that you don't have to squint to fine parallels with
a certain contemporary Western nation in which artful presidential
photo ops win more votes than legislative change."
- Ben Brantley, The New York Times
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