Wicked

Presented by Tauranga Musical Theatre

Now a global sensation both on stage and screen—following the hugely anticipated film adaptation, Wicked—this beloved musical reimagines the land of Oz from a fresh perspective. It follows the unlikely friendship between two young women: Elphaba, a fiercely intelligent and misunderstood girl born with emerald-green skin, and Glinda, a popular and ambitious socialite. Despite their differences, the two form a powerful bond at Shiz University—but as their lives take dramatically different paths, their friendship is put to the ultimate test.

Possibly the Emerald of the season…

A coming-of-age tale following emotional rags-to-riches, self-actualisation and acceptance, literally rising above adversity, plus a generous handful of glitter, iridescent lighting, complex set design, and that’s before even mentioning acting, comedy, dance and music… something WICKED this way definitely comes.

Tauranga Musical Theatre with Barfoot&Thompson have opened their season of WICKED, which kicked off with a bang. To refresh the plot, the story follows Elphaba (Ashleen Fahy) and Glinda (Morgan Kitching) - the witches of Oz - sharing the untold story of their relationship long before their land was threatened by that girl from Kansas, and her little dog too.

Even before the opening, the stage curtain presents a map of the world of Oz, bathed in a blend of mixed lighting, a map in the centre showing the Emerald City, twinkling with bright green LED lights, alluding to the location being both the heart of Oz and a key part of the city journey.

Before the curtain rises, three monkeys scramble and leap across the stage; their textured body suits, gaunt faces and springy hair hint at the calibre of costuming ahead. The world of Oz and scope of the story take us from Munchkinland, through the school of Shiz to the Emerald City. Each locale has an individual aesthetic style. Costuming in any production is a valuable way to layer meaning and connection to groups of people, and we see such variation here. The Munchkins are muted in tone, yet really know how to make use of fur. The entrance of students to Shiz somehow gives nods to both Madeleine and the Von Trapp children.

The Ozdust ballroom gives flapperesque opulence, while the crowds of Oz are resplendent in every shade of green and what seems to be a minimum of five glittering elements. Costuming for our leads progresses well, from simpler school wear to their final witch evolutions; Glenda’s starting campy and brash, developing into a far more graceful style. This is a perfect foil to Elphaba's dark, muted, almost frumpy aesthetic, growing into a well-defined and fully owned look as she enters her “wicked” era. Special mention to the comically oversized bustle of Madame Morrible (Marilyn Collins-Smith) and its tassel-embellished trim. I’m not sure if it once lived a life as a curtain, but it certainly helped what appeared to be Collins-Smith channelling the legendary Hyacinth Bucket.

Transporting the cast and the audience was a solid combination of smoke, lighting effects and set design. Large full-scale set pieces seamlessly transitioned between scenes. Glinda’s bubble impressed in both design and height as it travelled above the stage. Use of projection on the back screen really tied the elements together, and LED lighting on set pieces and as backdrops added a sense of realism and immersion. Notably, the almost blinding brilliance of green as we are introduced to the Emerald City. The mechanical face employed by the wizard reminded me of the Monopoly Man, which, considering the role of the wizard, feels apt. The props department must be commended for this creation, especially with its articulation. Props coming in a close second and third purely for their comedic effect would be the green baby and the mechanical cat.

Often some productions lean heavily on the dramatic, others on the comedic. Here we have a skilled balance of both, clearly demonstrated. The portrayal of each of the witches is conveyed genuinely. Their slower, more sombre moments are gentle and reflective, allowing the audience a glimpse into the mind of these women as they navigate their world. Overall, the supporting roles are well acted. Some moments, like Boq (Aadit Tandon) losing his heart during his transformation, appeared almost Shakespearean in style, but were consistent with the appropriately over-the-top awkward energy required for the character. This energy was consistently delivered by Tandon in his performance. Fiyero (Fletcher Oxford) from his first appearance reads as a trust fund brat. Aloof yet charming, his role as the emotional support idol for both witches is endearing. His moment in Shiz of “Dancing through life” is a perfect summary of the character’s presence in this story.

Of note, Oxford’s conditioned locks should be credited, and I do wish they were incorporated into the iconic “Toss toss” manoeuvre at some point. Fahy plays the emotional breadth of Elphaba’s journey incredibly well, pretty much a straight trajectory from the shy, geeky girl with glasses to the power boss She-EO of Oz energy at the story’s conclusion. Dear reader, please indulge me for a moment. Kitching portrays Glinda’s calm, reflective moments very well. However, it is her uncanny skill in comedy, both physical and in delivery, that she shines.

My notes during “Popular” (which I think also got one of the loudest mid-show applauses) include the phrase “Manic Shirley Temple”. Her timing was on point, including a moment when her hatpiece fell at a perfect musical beat while walking across the stage. Her shimmy moves and exaggerated “Toss toss” were perfection - which, thanks to costuming, the scene was heightened by a wig that looked less than ideal, ironically making it even more ideal for the scene, and ultimately even more perfect perfection. This description is not in any way hyperbole. If you see it, you will understand.

The whole experience of WICKED is tied together by the music of Stephen Schwartz. Powerful, comedic, comical, uplifting and moving. Yet only fully realised if properly performed. In this production, Tauranga Musical Theatre delivered. The live music was performed well, special mention to the violin and to the shimmering glissando of the percussionist Mark Tree (the instrument best described as making a shimmery magic wand noise) that always sets a magical scene. Vocally, our leads here are solid. Harmonies and duets are incredibly clean, and yes, those high power points of pitch this score is famous for are landed with precision.

The Wizard (Tim Chiari) performing “Sentimental Man” had an energy similar to Amos Hart in Chicago singing “Mr Cellophane”, which gave a sense of the character’s patheticism. Note: the characters - as the acting nailed the essence of a failed TV show host turned politician finally realising he’s on the way out. Amy Van Leeuwen owned the role of Nessa Rose. With her clean, full vocals, I just wish Nessa had more to sing about. I will say, the moments of the whole ensemble singing on stage, reaching points of climax with the orchestra to create a rich wall of sound, were joyous. They created a lush depth that reinforced the truth that there really isn’t anything that can beat seeing, hearing and ultimately feeling this production performed in person, by a live cast.

As an opening night performance, was this 100% flawless? No. However, issues with sound cues, mics and synchronisation are technical and part of the journey along the yellow brick road of production. This was a wonderful performance, fully utilising the capabilities of Baycourt Theatre. Tauranga Musical Theatre should be commended on a production that definitely will not be referred to in hushed tones as a “local production”. Top-notch, totally wicked; enjoyment is unlimited (but tickets are not; last show Oct 3rd).

The season of Wicked runs from 17 September to 3 October 2026 in Tauranga’s Baycourt Theatre

Review written by Matt Holster