Wicked! Apollo Victoria, London, 10/08/09
After watching a production of Wicked! a year ago, I immediately became a huge fan. Though I haven’t read Gregory Maguire's novel, Wicked: The Life and Times of the Wicked Witch of the West upon which the show is based, the sparkling script and alternative underdog story makes for an amusing, sprightly and thoroughly enjoyable musical. The story of the Wicked Witch of the West is imaginatively told in this show, where an amusing and sometimes cruel turn of events allow a different perspective on ‘wickedness’ itself.
Having previously seen a production of Wicked! two years before this, it was difficult not to compare the two shows and their casts. The 2007 production featured Kerry Ellis as an effervescent Elphaba, and her magnificent and powerful voice teamed with an overwhelming stage presence made a lasting impression. This year it was the turn of Alexia Khadime to depict the green-skinned, ill-fated young witch, and she had big shoes to fill. Although a hugely talented performer, Khadime did not quite have the vocal power which Ellis exuded, nor was her stage presence as evident. Although I agree that there is a certain beauty in an understated performance to match an understated song, I could not help but feel that Khadime was somewhat let down by the production and direction. I’m Not That Girl, for example, arguably one of the tenderest pieces in the otherwise vivaciously energetic piece, was played down with a bare set and a dim spotlight, whilst Khadime herself barely moved. Rather than understated, it was rendered unexciting and uninteresting. Defying Gravity too, the climax of Act One failed to deliver its usual goose bumps for me, and even the dramatic staging and ascension of the young witch failed to impress as it should. It all seemed a little stale and in need of some rethinking.
Where Khadime did, however, succeed was in her delivery and accent. Wicked! is Americanisation to the extreme: high energy scenes, the typical American high school element, and characteristically nasal, over-the-top songs. Elphapa however was one of the few cast members to maintain a strong American accent. Boq the munchkin, for example, played by Alex Jessop, seemed determined to transport the audience to the North-West of England, and also missed a few key comic moments which could have been better capitalised on.
True of both performances, however, was the shining performance of Galinda, otherwise known as Glinda the Good. When we left the 2009 performance, the very first thing my companions, having seen the show for the first time commented upon, was just how irritating Glinda was. Job done, I thought. The screechy, girly, annoying character of Glinda was perfected by both Helen Dallimore of the 2007 and Dianne Pilkington of the 2009 production. If possible, Pilkington managed to bring even more comedy and melodrama to the role of Glinda, making even potentially poignant moments, such as Elphaba’s quest for her dead sister’s shoes, undercut by humour, and making Popular an even more irritatingly catchy and funny song.
On the whole, the 2009 production was pulled through by two strong, confident female lead performances, underpinned by a solid script and fantastic music. The production at times let this performance down, proving that you can’t rely on a brilliant adaptation to make a performance memorable. Perhaps the show is in need of some new staging concepts and direction to match the new cast, who I am sure will grow into their roles more with each performance.
Verdict: Still a fantastic show, but no longer a Wicked! production.
After watching a production of Wicked! a year ago, I immediately became a huge fan. Though I haven’t read Gregory Maguire's novel, Wicked: The Life and Times of the Wicked Witch of the West upon which the show is based, the sparkling script and alternative underdog story makes for an amusing, sprightly and thoroughly enjoyable musical. The story of the Wicked Witch of the West is imaginatively told in this show, where an amusing and sometimes cruel turn of events allow a different perspective on ‘wickedness’ itself.
Having previously seen a production of Wicked! two years before this, it was difficult not to compare the two shows and their casts. The 2007 production featured Kerry Ellis as an effervescent Elphaba, and her magnificent and powerful voice teamed with an overwhelming stage presence made a lasting impression. This year it was the turn of Alexia Khadime to depict the green-skinned, ill-fated young witch, and she had big shoes to fill. Although a hugely talented performer, Khadime did not quite have the vocal power which Ellis exuded, nor was her stage presence as evident. Although I agree that there is a certain beauty in an understated performance to match an understated song, I could not help but feel that Khadime was somewhat let down by the production and direction. I’m Not That Girl, for example, arguably one of the tenderest pieces in the otherwise vivaciously energetic piece, was played down with a bare set and a dim spotlight, whilst Khadime herself barely moved. Rather than understated, it was rendered unexciting and uninteresting. Defying Gravity too, the climax of Act One failed to deliver its usual goose bumps for me, and even the dramatic staging and ascension of the young witch failed to impress as it should. It all seemed a little stale and in need of some rethinking.
Where Khadime did, however, succeed was in her delivery and accent. Wicked! is Americanisation to the extreme: high energy scenes, the typical American high school element, and characteristically nasal, over-the-top songs. Elphapa however was one of the few cast members to maintain a strong American accent. Boq the munchkin, for example, played by Alex Jessop, seemed determined to transport the audience to the North-West of England, and also missed a few key comic moments which could have been better capitalised on.
True of both performances, however, was the shining performance of Galinda, otherwise known as Glinda the Good. When we left the 2009 performance, the very first thing my companions, having seen the show for the first time commented upon, was just how irritating Glinda was. Job done, I thought. The screechy, girly, annoying character of Glinda was perfected by both Helen Dallimore of the 2007 and Dianne Pilkington of the 2009 production. If possible, Pilkington managed to bring even more comedy and melodrama to the role of Glinda, making even potentially poignant moments, such as Elphaba’s quest for her dead sister’s shoes, undercut by humour, and making Popular an even more irritatingly catchy and funny song.
On the whole, the 2009 production was pulled through by two strong, confident female lead performances, underpinned by a solid script and fantastic music. The production at times let this performance down, proving that you can’t rely on a brilliant adaptation to make a performance memorable. Perhaps the show is in need of some new staging concepts and direction to match the new cast, who I am sure will grow into their roles more with each performance.
Verdict: Still a fantastic show, but no longer a Wicked! production.
Next to be reviewed......Oliver! at the Theatre Royal, Drury Lane.
