{"id":38193,"date":"2026-09-24T08:05:02","date_gmt":"2026-09-24T15:05:02","guid":{"rendered":"https:\/\/bostonartsdiary.com\/wordpress\/?p=38193"},"modified":"2026-10-04T14:51:22","modified_gmt":"2026-10-04T21:51:22","slug":"wicked-2","status":"publish","type":"post","link":"https:\/\/bostonartsdiary.com\/wordpress\/2026\/09\/wicked-2\/","title":{"rendered":"Wicked"},"content":{"rendered":"

Musical (2003)
\nMusic and lyrics by Stephen Schwartz
\nBook by Winnie Holzmann
\nBased on the novel Wicked<\/em> (1995) by Gregory Maguire
\nIn turn, based on the novel The Wizard of Oz<\/em> (1990) by L. Frank Baum
\nDirector: Joe Mantello
\nMusic Director: Faith Seetoo
\nBroadway in Boston<\/a>
\nSeptember 23 – November 15, 2026<\/strong><\/p>\n

Dance Arrangements: James Lynn Abbott; Settings: Eugene Lee; Costumes: Susan Hilferty; Lighting: Kenneth Posner; Sound: Tony Meola; Projections: Elaine J. McCarthy; Wigs & Hair: Tom Watson; Special Effects: Chic Silber; Production Manager: Franklin Swann; Music Arrangements: Alex Lacamoire & Stephen Oremus; Music Coordinator: Michael Keller; Associate Set Designer: Edward Pierce; Associate Director: Lisa Leguillou; Associate Choreographer: Corinne McFadden Herrera; Production Stage Manager: Dawn Fenton; Orchestrations: William David Brohn; Music Supervisor: Stephen Oremus; Musical Staging: Wayne Cilento<\/strong><\/p>\n

With Claudia Bennett (Glinda); Aline Mayagoitia (Elphaba); Ethan Kirschbaum (Fiyero); Tom McGowan (The Wonderful Wizard of Oz); Drew McVety (Doctor Dillamond); Susan Cella (Madame Morrible); Cristina Sastre (Nessarose); Pablo David Laucerica (Boq); Wayne Schroder (Witch\u2019s Father); Bea Catacutan (Witch\u2019s Mother); Kelley Dorney (Midwife); Wayne Schroder (Ozian Official); Konnor Kelly (Chistery); Monkeys, Students, Denizens of the Emerald City, Palace Guards and Other Citizens of Oz: Jessie Jo Aka, Jennifer Mariela Bermeo, Sam Buchanan, Sean Burns, Bea Catacutan, Olivia Dei Cicchi, Matt Densky, Ben Diamond, Kelley Dorney, Rose Iannaccone, Paola Morales, Sydney Revennaugh, Donivyn Riley, Brett Stoelker, Melissa Victor, Justin Wirick<\/strong><\/p>\n

\"Cast\"<\/a>
Claudia Bennett as Glinda
Aline Mayagoitia as Elphaba
with the cast of “Wicked”
Photo: Joan Marcus
Courtesy of Broadway in Boston<\/a><\/figcaption><\/figure>\n
A wonderfully energetic and dynamic production of the now classic musical celebrating the unexpectedly good side of the Wicked Witch of the West.<\/div>\n

Glinda (Claudia Bennett) comes to visit a group of inhabitants of Oz after the death of the Wicked Witch of the West and barely acknowledges their association but does begin to relate how they knew one another. It actually turns out to have been quite involved.<\/p>\n

Elphaba (Aline Mayagoitia), born green and an embarrassment to her father (Wayne Schroder), comes to Shiz University at the command of her father who wants her to accompany and take care of her younger sister, Nessarose (Cristina Sastre), who is disabled and travels in a wheelchair. Shortly after arriving at Shiz, the headmistress, Madame Morrible (Susan Cella), recognizes Elphaba’s native talent for wizardry and begins to take her under her own tutelage. Elphaba is set up to room with Galinda – who later changes her named to Glinda – who is a real goody-two-shoes and completely the opposite in character and quality from Elphaba who is much more quiet, self-reflective and self-possessed. Fiyero (Ethan Kirschbaum), a studly guy, comes to Shiz, and Galinda makes a play for him, but there seems to be a sweeter, deeper kinship between him and Elphaba. Before long, Galinda and Elphaba do become good friends.<\/p>\n

When Elphaba, who has been desperate to meet the Wizard of Oz (Tom McGowan), comes to meet him and realizes that there is something not quite right with his administration of Oz, decides to go off on her own. Things become quite complicated at that point, as Elphaba comes to the defense of the animals in the kingdom, including her professor, Doctor Dillamond (Drew McVety), whose rights are gradually but decidedly being eliminated. Fiyero and Elphaba encounter one another and that relationship begins to develop. With Elphaba’s increased alienation from the Wizard, she is identified as the Wicked Witch and regarded with horror.<\/p>\n

According to a newly established myth, the Wicked Witch can be melted with water, and as Elphaba’s relationship with Fiyero develops and as she is scorned by the people of Oz, it remains a question of how she can pursue a life that makes sense. (See spoilers section for more.)<\/p>\n

\"The<\/a>
The Wizard of Oz (1900)
by L. Frank Baum<\/figcaption><\/figure>\n

This beautifully designed and choreographed production is full of pizzazz and endless visual stimuli that keep one’s attention fully alert while the wonderful series of songs and the interesting and inventive narrative unroll.<\/p>\n

As Glinda, Claudia Bennett is particularly scintillating, with a good deal of humorous moves and a sparkling stage presence. She is funny, and has a great voice that can handle the striking coloratura parts that show up from time to time. As Elpheba, Aline Mayagoitia is also very good, with a good solid voice and a nice stage presence. She delivers well on her solos, and though no one can quite match the original Elphaba, Idina Denzel, in terms of volume, power and dramatic voice, she does a very creditable job.<\/p>\n

As Fiyero, the buff and handsome Ethan Kirschbaum does a very good job, conveying the initial glibness and underlying complexity of his role.<\/p>\n

\"Wicked<\/a>
Wicked (1996)
by Gregory Maguire<\/figcaption><\/figure>\n

The choreography in this production is notably good, not just in the dance numbers themselves but in all the very many coordinated movements onstage. One could imagine a full-time choreographer being assigned to Glinda’s constant array of gestures alone, and there are many more such gestures supported for the cast at large. It gives a real perk to the production and is carried off very well by Claudia Bennett and the whole troupe.<\/p>\n

The band plays excellently well, and the design of the production is superbly colorful and inventive, with lighting, stage design and all the various and sundry effects contributing to a great effect overall. Costumes and hair are brilliantly done and the whole affair is visually stimulating and imaginative.<\/p>\n

<\/span>Extra info: contains spoilers<\/div>
Elphaba does not really get killed by the kid who throws water at the end – as she does in The Wizard of Oz<\/em>, but pretends to die and runs off with Fiyero who has transformed into The Scarecrow. It turns out that Elphaba’s biological father is The Wizard, who had an affair with her mother back in the day.<\/div><\/div>\n

Overall: A great production with exceptional choreography, staging, and some great acting and singing.<\/p>\n

– BADMan (aka Charles Munitz)<\/p>\n","protected":false},"excerpt":{"rendered":"

Musical (2003)
\nMusic and lyrics by Stephen Schwartz
\nBook by Winnie Holzmann
\nBased on the novel Wicked<\/em> (1995) by Gregory Maguire
\nIn turn, based on the novel The Wizard of Oz<\/em> (1990) by L. Frank Baum
\nBroadway in Boston<\/a>
\nSeptember 23 – November 15, 2026<\/strong>
\nA wonderfully energetic and dynamic production of the now classic musical celebrating the unexpectedly good side of the Wicked Witch of the West.<\/p>\n","protected":false},"author":1,"featured_media":38196,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[18],"tags":[],"class_list":["post-38193","post","type-post","status-publish","format-standard","has-post-thumbnail","category-musicals","entry"],"_links":{"self":[{"href":"https:\/\/bostonartsdiary.com\/wordpress\/wp-json\/wp\/v2\/posts\/38193","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/bostonartsdiary.com\/wordpress\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/bostonartsdiary.com\/wordpress\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/bostonartsdiary.com\/wordpress\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/bostonartsdiary.com\/wordpress\/wp-json\/wp\/v2\/comments?post=38193"}],"version-history":[{"count":29,"href":"https:\/\/bostonartsdiary.com\/wordpress\/wp-json\/wp\/v2\/posts\/38193\/revisions"}],"predecessor-version":[{"id":38491,"href":"https:\/\/bostonartsdiary.com\/wordpress\/wp-json\/wp\/v2\/posts\/38193\/revisions\/38491"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/bostonartsdiary.com\/wordpress\/wp-json\/wp\/v2\/media\/38196"}],"wp:attachment":[{"href":"https:\/\/bostonartsdiary.com\/wordpress\/wp-json\/wp\/v2\/media?parent=38193"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bostonartsdiary.com\/wordpress\/wp-json\/wp\/v2\/categories?post=38193"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bostonartsdiary.com\/wordpress\/wp-json\/wp\/v2\/tags?post=38193"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}