Malapropisms abound in Wicked’s light, quick-witted script, and trademark showstoppers are delivered with panache, though Liam Head’s rendition of Dancing Through Life is curiously understated. Shewit Belay imbues the thorny, often unlikeable character of Nessarose with depth, while Robyn Nevin’s lack of singing is offset by her grandiosity as Madame Morrible.

Not enough plaudits can be bestowed on Susan Hilferty’s elaborate costuming and Eugene Lee’s ornate set, a spectacle itself. The multidimensional stage peels back like an onion to reveal further layers, transitioning effortlessly from humble classroom to fairy-light-studded ballroom to the resplendent green of Emerald City.

Special effects enliven Wicked, whether it’s Elphaba’s mother’s burgeoning belly in the space of seconds, students cartwheeling haphazardly around the room whenever Elphaba’s temper rises and her magic is unleashed, or the Wizard’s machine, through which his sonorous voice projects.

Wicked’s best songs are concentrated in its first half, and while the second half contains big emotional payoffs, the tension inevitably sags. But this fan favourite’s reprisal is likely the most extravagant production you’ll encounter in Melbourne theatres this year, and it’s a sight to behold.
Reviewed by Sonia Nair