If you’ve seen it before, or know the soundtrack, you’ll be waiting in anticipation for that moment. If you’re a Wicked newbie, you won’t know what’s hit you. Either way, the closing moments of Act Two are some of the finest in musical theatre, anytime, anywhere. It’s one (but not the only) reason that Elphaba is among the genre’s most coveted stage roles and most beloved characters, because when she hits the high note to end ‘Defying Gravity’, the rest of the world melts away.

Which is why, as Laura Pick enters the stage, resplendent in green paint, she’s greeted by whoops and applause, even though it’s unlikely anyone in the audience has heard of her. It’s Elphaba the crowd loves, and for good reason. The person known only as The Wicked Witch Of The West in The Wizard Of Oz was once a young woman desperate to do good and affect change, and here’s where we first meet her. From a complicated birth and awkward student days to her fateful visit to the Emerald City, Elphaba’s tale is both a prequel to, and runs parallel with, the iconic 1939 film (so give it a watch before going, if you haven’t already done so). 

Equally compelling, is how Glinda became The Good Witch Of The North and, like Pick, Sarah O’Connor does a superb job of conveying the complexities of being pigeon-holed. To the people of Oz, Elphaba is bad and Glinda is good, but as the latter says, ‘are people born wicked or do they have wickedness thrust upon them?’ Such statements are perhaps why Wicked has continued to entertain the masses for 20 years, with repeat viewings enjoyed by many. For alongside the incredible vocals, fabulous costumes, witty script, catchy songs and (in this production as with every other) strong performances, Wicked’s caution against judgmental bigotry is as necessary now as it’s ever been. 

Wicked is on tour until Sunday 12 January 2025; reviewed at Edinburgh Playhouse.