Four time’s a charm for pop-u-lar ‘Wicked’ at PPAC

PROVIDENCE – There’s no place like home. But the touring production of “Wicked” has apparently found one in Providence.

The musical, which premiered in 2003 and is currently the fourth longest-running show in Broadway history (surpassed by “The Phantom of the Opera,” “Chicago” and “The Lion King”), will be making its fourth visit to the Providence Performing Arts Center (PPAC) since going on tour in 2005.

The show is based on Gregory Maguire’s bestselling 1995 novel “Wicked: The Life and Times of the Wicked Witch of the West,” which was inspired by L. Frank Baum‘s 1900 novel “The Wonderful Wizard of Oz” and its now-classic 1939 film adaptation.

“Wicked,” with music and lyrics by Stephen Schwartz and a script by Winnie Holzman, is a prequel to Dorothy’s arrival in Oz. It provides an intriguing backstory of the green-hued Elphaba, who eventually becomes the Wicked Witch of the West, and the very blond Glinda, who is destined to become the Good Witch and guardian of Oz. It also offers insight into the making of the Wizard, the flying monkeys, the Tin Man, the Scarecrow and the Lion.

The show was hailed by The New York Times as “the defining musical of the decade” upon its premiere. Time Magazine called it “a magical Broadway musical with brains, heart and courage.” 

But you no doubt know all this. Over 70 million people, including you perhaps, have either seen this show on Broadway or on national or international tour. And “Wicked” became the highest-grossing Broadway adaptation in box office history with $758 million when the film came out in 2024, with the second half sequel earning $523 million globally in 2025. 

Sure, the stage production is no match for the $150 million worth of cinematic magic in the film – the extensive use of CGI for environments, characters and over 2,200 visual effects; the finely crafted digital camera movement and placement; the precise editing and the massive and detailed sets.

But then, nothing can compare to the intimate, actor-driven emotional connection of a live performance and the ephemeral, real-time nature of a stage production.

Unlike film, which dictates what you see and how you see it, theater thrives on the power of the audience’s imagination. The comparatively simple production values of “Wicked” on stage are not a limitation; they are an invitation.

And by “comparatively simple,” the Broadway production still cost $14 million to mount. The show about to be onstage at PPAC, which is a 90% replication of what you see onstage in NYC, was created for about $11 million, with $2 million alone going to Susan Hilferty and Tom Watson’s creative costumes and colorful wigs. The stage is filled with Eugene Lee’s steampunk scenery that seamlessly flies in and out and is dramatically lit by Kenneth Posner.

Elaborate production numbers, including the party sequence at the Ozdust Ballroom, contain no shortage of eye-candy and Christopher Scott’s clever choreography. They are supported by a live orchestra spearheaded by five touring musicians supplemented by a sizable local team, all conducted by Faith Seetoo, who recently helmed the North American tours of Disney's “Frozen,” “Aladdin,” “Newsies” and “The Lion King.” 

Warner Bros. gave the filmmakers the rights to use highly recognizable elements from the classic “The Wizard of Oz” film that were denied to the unauthorized stage prequel. You won’t find Dorothy’s ruby-red shoes in the PPAC production, and you won’t find Dorothy. There’s no yellow brick road.

There is, however, talent galore performing live. Reports from the road suggest that Zoe Jensen as Glinda and Jessie Davidson as Elphaba – both of whom joined the tour last May – come fully equipped with world-class voices and astounding stage presence. The supporting players and ensemble members have plenty of Broadway and touring experience as well. This results in performances that are fresh and enthusiastic, which makes everything onstage seem spontaneous.

Fresh, enthusiastic and spontaneous are exactly what you want in a touring production of a popular musical. Expect goosebumps as well no matter how many times you’ve heard the high notes in “Defying Gravity” or the rich harmonies in “For Good.”

Bob Abelman is an award-winning theater critic who also writes for The Boston Globe. Connect with him on Facebook.