DETROIT – This is my 17th time seeing WICKED.
When I heard the cast album for the first time, I knew I was listening to something special. I was in high school then and YouTube didn’t exist yet, so I was filled with wonder trying to imagine what they would do for a song like “Defying Gravity” live on stage.
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I finally got the chance to see it when they opened a sit-down production of WICKED in 2007 at the Pantages Theatre in Hollywood with Megan Hilty and Eden Espinosa. And so it began, it was the beginning of my obsession with Broadway.
I always tell people that WICKED is the best show to introduce someone to the world of musical theater. It’s been about five years since I last saw the show and hearing the dramatic overture in the Detroit Opera House brought back some of those first-time feelings.
This production, back in Detroit for its sixth time, is a well-oiled machine. Oftentimes, long-running tours can begin to feel stale. This is not one of them. That is due, in great part, to this fantastic, young cast.
Olivia Valli, who last graced Detroit in Pretty Woman: The Musical in 2021, is misunderstood green girl Elphaba. The granddaughter of Frankie Valli, Olivia flies high in the role both figuratively and literally (see: ‘Defying Gravity’). Valli hits every note with confidence and her version of “No Good Deed” will be permanently etched into my mind. Valli also isn’t afraid to be goofy. Her playfulness in the beginning of Act I makes her even more likeable, and she has one of the best solo dances in “Dancing Through Life.”
Celia Hottenstein is a firecracker Glinda. Never missing a beat, Hottenstein’s comedic timing had the audience erupting with laughter. She makes the role her own and is just a pure joy to watch in “Popular.” Her high sopranos are beautiful and Hottenstein makes it part of her comedy.
Valli and Hottenstein share a beautiful chemistry of sisterhood. Their friendship is the backbone of the story and you can feel their connection, even in catfights. When you hear their perfect synchronization and harmonies in “For Good,” it’s a beautiful moment that serves justice to one of Schwartz’ best songs.
Christian Thompson’s Fiyero is as charming as a Disney prince. Tara Kostmayer makes for a heartbreaking Nessarose. Timothy Shew and Kathy Fitzgerald made a deliciously devious duo as The Wizard of Oz and Madame Morrible. Boise Holmes is the best Dr. Dillamond I have ever seen.
The WICKED set is as much of a character as the actors on stage. Eugene Lee’s clock-themed design with exposed gears is still one of the grandest and most intricate sets out on tour today, even though the show is over 20 years old. It’s amazing how many different fantastical locations it can take audiences to without the use of heavy projections and screens.
The beauty of having seen the show so many times is that you get to see different interpretations of the same text. That, to me, is the joy that keeps me returning to this show. Performers might sing the song just a bit differently. I pick up on themes and storylines that I might not have paid much attention to before. On this night in particular, the show’s political themes stuck out more than usual, but we are in a much different world now than we were five years ago.
Judging by how packed it was at the Detroit Opera House, WICKED is still as popular as ever. A quick search through their ticketing website shows only a few available seats left for their month-long engagement.
Whether it’s your first time or you’re a repeat Oz-ian, WICKED is just one of those shows that makes you fall in love with live theater all over again. From its clever storyline to the beautiful music of Stephen Schwartz, WICKED whisks you away from the real world to the stunning fantasy created by L. Frank Baum. There’s no place like home, but there’s also no place like the theater.
WICKED is now playing at the Detroit Opera House through February 18, 2024. The show was a run time of 2 hours and 45 minutes with a 15-minute intermission. Tickets start at $59. For showtimes and tickets, visit BroadwayinDetroit.com.