Wicked at the Apollo Victoria Theatre

Everyone has a 'gateway' musical; that one show that opens your eyes to the magical world of musical theatre. For me, 12 years ago, that show was Wicked: The Untold Story of the Witches of Oz. Winnie Holzman’s writing made the characters immediately resonate with me, Stephen Schwartz's music was nothing short of magical, and visually it had more than enough spectacle to keep my ADHD-riddled brain focused and alert throughout the show. It is no surprise that this show’s success has led to it currently going into its 19th year at the Apollo Victoria Theatre in London. And with the popularity of the movie drawing in whole new crowds to the musical, I felt there was no better time to revisit the show - and the theatre - that started it all for me.

*POSSIBLE SPOILERS AHEAD*

My Review:

The story of Wicked originally started as a book by Gregory Maguire. ‘Wicked: The Life and Times of the Wicked Witch of the West’ aimed to tell the story of how the Wicked Witch became Wicked, discussing themes of discrimination, sexuality, reputation, the dangers of propaganda, and the rise of fascism. While the musical has kept true to the book’s core themes and the broadest strokes of the plot, those familiar only with the musical or the movie will find themselves hard-pressed to recognize their favourite characters in Maguire’s words, and I urge caution to young readers wanting to give this work a try. For the show, Winnie Holzman has drastically reworked the novel’s leading players, and by centralizing the tale’s core thesis – What does it really mean to be Good or Wicked? – through the eyes of Elphaba Thropp (the Wicked Witch of the West) and G(a)linda Upland (Glinda the Good) she has created a timeless story of friendship, sacrifice, and the true meaning of morality.

Surrounding all this is a true visual and musical spectacle, that starts as soon as you even approach the theatre. The Apollo Victoria is a shining green beacon on the edge of Westminster, and upon entering you feel immediately transported to the Emerald City, so grand and green is everything you lay your eyes on. This inevitably helps the immersion, the show welcoming you into its world before the first note has even played. Cringe to some, perhaps, but certainly awe-inspiring to others. Adding to this grandeur is the opening number. As the time-dragon clock at the top of the stage marks the start of the show, an ensemble laden with confetti streamers proudly announces the death of the Wicked Witch and the introduction of Glinda the Good (played by Lucy St. Louis). Impressive choreography and Schwartz's timeless score purposely distract the viewer from Glinda's emotional state upon her arrival to the festivities, and St. Louis does a marvellous job balancing the public persona of Glinda the Good with the emotional turmoil experienced by the Glinda Upland who has already went through the events of the show and has been changed for good by them.

The choice to start the show at its end works incredibly well as a framing device, and allows for a degree of rewatch potential in Wicked. As Glinda the Good sets the scene for us, after asking us the question "are people born Wicked, or do they have Wickedness thrust upon them", we are introduced to our other protagonist: Elphaba Thropp, soon to be dubbed the Wicked Witch of the West. At my performance I was privileged enough to see Charlotte Anne Steen, the company's second cover for Elphaba, though you never would have guessed she does not perform this role on a regular basis. Her Elphaba is idealistic and naively hopeful, and Steen's vocals solidly carry all of her big numbers. Where she really shines, however, is in the bond her Elphaba shares with her sister Nessarose (played by Rebecca Botterill, another second cover stepping into the role). Both Thropp sisters share a strong bond of sisterly love that I've rarely seen portrayed between the characters, and it makes their story and subsequent tragedy all the stronger for it. Botterill's Nessarose, like most characters in the show, is trying her best within a doomed narrative, more a victim of circumstance rather than a young woman already showing signs of the brutal dictator she is destined to be. Her rendition of the Wicked Witch of the East is heartbreaking, and you cannot help but see how young and, most importantly, how utterly alone Nessarose has always been.

Also introduced to us in this scene are Madame Morrible (Sophie-Louise Dann), the University’s headmistress (or: head Shiz-tress, if you will), a young Munchkin boy by the name of Boq (Joe Thompson-Oubari) who will go on to cause more trouble than he’s worth, and the younger version of Glinda the Good (now Galinda Upland. Of the Upper Uplands). The animosity between Elphaba and G(a)linda is strongly established from the start, as is the fact that both girls still have a lot of growing up to do. Over the course of the show, Steen and St Louis do a marvellous job at displaying that growth, and by the time For Good rolls around you cannot help but feel the irrevocable impact these characters have had on each other. The choice to end the show on Elphaba and Glinda still singing together in perfect harmony, despite the fact they will never be able to see each other again, wonderfully highlights this and it never fails to bring me to tears.

Completing the main cast is Felipe Bejarano (first cover for the role) as the 'scandalacious' Winkie prince Fiyero Tiggular. His introduction scene is different from the movie, but no less entertaining. Sleeping during the daytime and sharing a ridiculously extensive handshake with his best friend slash driver Avaric, the tone for Fiyero's lighthearted 'Dancing Through Life' attitude is immediately set, and he performs the eponymously named number with impressive skill. While often overshadowed by Elphaba and Galinda, Fiyero’s character growth is no less impressive, and Bejarano strikes a wonderful balance between retaining Fiyero as a ‘beloved himbo’ and showing how he too has been changed for good by his relationships with both Elphaba and G(a)linda.

Underlying the impressive character work is a sinister story of oppression and discrimination. We don’t just see this in people’s reaction to green-skinned Elphaba, but also in the disappearance of Animals (talking animals) throughout the Land of Oz. A still idealistic Elphaba is certain that the Wonderful Wizard of Oz will make this all right, but when we are finally introduced to Michael Fenton Stevens’s Wizard it becomes clear the opposite is true. Often played as a sentimental man and a bit of a pushover compared to his newly appointed press-secretary Madame Morrible, this particular portrayal of the Wizard shows a clear malicious intent and dark ambition. He will retain his reputation as the ‘Wonderful Wizard of Oz’, and he does not care who he has to harm in the process. And when this results in Elphaba and Glinda first parting ways, one blinded by principles and one blinded by ambition, we see how easily people can be swayed by propaganda.

It is in these moments that Wicked truly shows its longevity. Beyond the spectacle, the many brilliant casts, the gorgeous costumes by Susan Hilferty, the soaring score and stunning choreography, Wicked is a story that remains relatable and relevant. It celebrates the underdog, sure, but it also urges us to see beyond that. It urges us to see beyond the smoke and mirrors, to remember that things are rarely as they appear at first glance, and to remember that everyone, always, has the capacity for change. It lures you in with its spectacle and grandeur, but after walking the yellow brick road with these witches you’ll find yourself hard-pressed not to want to return and pick up on all the more subtle details you might have missed on your first viewing. Wicked remains a triumph, and I’m certain we will see it celebrate its 20th year on the West End come 2026.

Content Warnings:

I could not see any content warnings displayed around the theatre, however I did make note of some moments during the show that I felt should be mentioned, which are as follows:

Haze - particularly during Act 2 in the first few rows of the stalls
Loud Noises
Bright Lights
The time dragon atop the stage and the wizard head on stage occasionally move around in ways that can be scary for children under 5.
The show deals with the following themes: ableism, racism, corruption, discrimination, propaganda, manipulation, and death.

Thank you for taking the time to read and I hope this review has proved interesting and helpful for you :)

- AnxiousTheatregoer