‘Wicked’ @ Fair Park (Broadway Dallas)

Photos by Joan Marcus

Carol M. Rice

I find it hard to believe that Wicked: The Untold Story of the Witches of Oz has been with us now since 2003. Loosely based on Gregory Maguire’s brilliant 1995 novel of the same name, the POPULAR (see what I did there?) musical has a book by Winnie Holzman and music and lyrics by Stephen Schwartz. It essentially acts as a prequel to the 1939 film, The Wizard of Oz, which was in turn based on the writings of L. Frank Baum. And now, of course, we can circle back around to the recent two-part film version of the musical.

That’s a lot of adapting!

I’ve seen Wicked at least twice on prior tours, and if Broadway Dallas’ Thursday night crowd at The Music Hall at Fair Park is any indication, the fan base for the show has only grown larger and stronger over the years. Pink and green were worn by probably a third of the audience members, and the instant, enthusiastic cheering at the end of every number was constant. It’s hard to believe this show lost the Tony to Avenue Q. (Not that I don’t love Avenue Q, too, though there’s really no comparison….But I digress.)

The idea that Glinda the Good and Elphaba (the future Wicked Witch of the West) were once college roommates and grew to be best friends—before politics in Oz and a mutual love interest tore them apart—that’s the gist of Wicked. But there’s so much more to it than that, and I’m not just talking about the amazing songs, incredible staging, and stunning spectacle. It doesn’t matter what time period you’re in or whether it’s reality or fiction, somehow there are always groups being persecuted and silenced.

In Oz, it’s the animals.

The Wizard has decided that he needs to take attention away from the fact that he doesn’t actually have any powers. To do so, the animals are stripped of their rights and put in cages. Sound familiar? And then, because Elphaba tries to call him out on his evil behavior, she’s the one labeled wicked and the witch hunt begins. Literally.

While the show’s lighter (but important) plot line focuses on friendship, specifically that between Elphaba and Glinda, I think the reason Wicked has proved a draw for so long is the audience’s sense of the deeper meaning behind it all. Face it—without the oppression-of-the-animals subplot, there wouldn’t be a real conflict other than two women fighting over a man. Yawn.

Don’t get me wrong—Jessie Davidson and Zoe Jensen as Elphaba and Glinda respectively do a fabulous job in their roles. These are two powerhouse singers who also have the acting chops to pull off all the emotions required, from loathing (“What Is This Feeling” is exceptionally strong) to pity to jealousy to acceptance and everything in between. All of this growth makes “For Good” even more meaningful.

Ethan Kirschbaum brings casual masculinity to the initially carefree Fiyero, making his arc to becoming a caring, loving person more dramatic. His chemistry with both women—Jensen in “Dancing Through Life” and Davidson in “As Long As You’re Mine”—is palpable

Nicolas Garza and Jada Temple play Boq and Nessarose with the perfect amounts of disdain and obsession.

As Madame Morrible, understudy Kelley Dorney seems a bit young for the role but did a nice job on the night I attended. Her cool indifference as Shiz University’s headmistress develops sharply as she moves into the role of the Wizard’s vile right hand, feeding him all the information he needs to implement his plans. (Sidebar: I’ve always wondered this, and it’s no fault of Dorney’s, but how does a college headmistress suddenly become a press secretary overnight?)

Tom McGowan portrays the Wizard with a fatherly sweetness that belies his true intentions; he’s such a stark contrast to Drew McVety’s Doctor Dillamond, who is much more intelligent (and probably should be running Oz). As Chistery, Konnor Kelly has remarkable physical control as he climbs all over the stage.

The ensemble of Wicked is chock full of talent; most of them play multiple roles involving I can’t tell you how many costume changes. Susan Hilferty’s costume design combined with Tom Watson’s wigs and hair makes each actor seem like a half dozen, they all look so different as they switch from one role to another. I will say that I was surprised to be able to see Jensen’s (Glinda’s) dark hair peeping out at the neck in her up-do wig.

Eugene Lee’s gear-ridden set, combined with lighting by Kenneth Posner and projections by Elaine J. McCarthy, makes it hard to look away at any time. The round inset false proscenium, the Wizard head puppet, and Glinda’s bubble machine are just a few of the unique scenic items to keep your eyes on.

Joe Mantello directed Wicked on Broadway, and it has transferred beautifully to not only touring versions worldwide, but to more permanent installations in the West End and many other foreign countries. The show’s songs are memorable and hummable, the story is fun and creative with thoughtful ideas behind it, and the performances at Fair Park are strong, although at times some of the mics seemed a little too quiet.

If you’ve only seen the movie, come and discover why Wicked is such a global phenomenon. There’s nothing like like live theatre! And if you’ve seen it onstage before, maybe it’s high time for a refresh.

WHEN: May 6-June 14, 2026
WHERE: Music Hall at Fair Park, 909 1st Avenue, Dallas
WEB: broadwaydallas.org