‘WICKED’ Review: The Most ‘Swankified’ Show in Town

“WICKED” is back in Boston — and those who haven’t secured tickets yet are sure to be green with envy.

A quick Ozian history lesson for those who have only seen TikToks of Ariana Grande and Cynthia Erivo “holding space” for the “Wicked” franchise: The musical “WICKED” is loosely based on Gregory Maguire’s book by the same name, which was itself conceived as a prequel to L. Frank Baum’s “The Wonderful Wizard of Oz.” Maguire’s story was adapted for the stage in 2003, and after years of popularity, it then served as inspiration for the two-part film adaptation, “Wicked” (2024) and “Wicked: For Good” (2025).

Each iteration reimagines the story of its two leading ladies, glamorous Glinda and green-hued Elphaba, as their initial hostility and apparent differences give way to a deep, enduring friendship. From their misadventures as roommates at Shiz University to their confrontation with the Wizard himself in the Emerald City, they must grapple with what it means to take a stand when it is difficult, embrace what makes one unique, and challenge the machinations of those in power.

The virality of the films, which featured a star-studded cast and snagged some of Hollywood’s most prestigious awards, brings viewers back to the musical with fresh eyes. Those considering investing in a ticket may be left wondering: What does the musical have to offer that the films don’t? Even more pressing, now that one can watch Jonathan Bailey dance through life for just $3.99 on streaming, what keeps us coming back to this beloved Broadway classic?

A night at Citizens Bank Opera House makes the answer obvious. From staggering vocals and vibrant costuming by Susan Hilferty to breathtaking special effects and that good ol’ fashioned musical magic, the show is utterly “thrillifying.”

The musical’s talented cast is led by Claudia Bennett as Glinda, who was born to play the role. Her performance in “Popular” is particularly memorable, a bubbly makeover moment in which Glinda and Elphaba’s friendship solidifies. Bennett injects attitude, effervescence, and a dash of lovable vanity into the character and provides a perfect foil to Aline Mayagoitia’s staid and drily witty Elphaba.

Other outstanding performances come from Pablo David Laucerica as the over-eager munchkin Boq and Cristina Sastre as Elphaba’s lonely, self-centered sister Nessarose. The push and pull of Laucerica and Sastre’s onstage dynamic is captivating, morphing from initially comedic to ultimately terrifying. In “The Wicked Witch of the East,” Sastre’s powerful vocals portray the humanity and desperation of a character corrupted by her own isolation and manipulation.

The show’s best numbers are, unsurprisingly, those that allow it to show off its leads’ incredible voices, its ingenious special effects designed by Chic Silber, and the lushly imaginative world of its sets by Eugene Lee and costumes by Susan Hilferty. “Defying Gravity,” for instance, is chill-inducing: Not only does it highlight Mayagoitia’s gorgeous vocals, but Kenneth Posner’s creative lighting design makes it seem as if the witch has genuinely overcome the rules of physics. “One Short Day” is an immersive number that whisks viewers away to the Emerald City, while the more minimalist set of “For Good” directs full attention to Elphaba and Glinda’s emotional goodbye. At other moments, the set design — as featured in Doctor Dillamond’s classroom and the Wizard’s receiving chamber, for example — leans into the lush, vibrant maximalism that defines Oz. Billowing smoke, levitating brooms, Glinda’s hovering bubble, and a life-sized dragon complete the show’s ambitious world-building efforts.

Overall, the show is a perfect balance of whimsical, lighthearted scenes and darker, more serious themes. The cast knows when to play a moment for laughs — drawing chuckles from Glinda’s quippy oneliners, Fiyero’s antics at Shiz, and Elphaba’s disastrous attempts to mimic Glinda’s classic hairflip during “Popular.” But audience members are also likely to find themselves struck by the show’s incisive social edge. In the year 2026, Wicked’s political undertones surface in a clear, unsettling way, reminding viewers of the theatrics of politics, the perils of scapegoating, and the power of propaganda. The show’s message about society’s pervasive fear and intolerance of those who are different remains chillingly relevant even thirty years after Maguire’s book was published.

All in all, “WICKED” is not a musical to be missed. It will feel familiar to fans of the films, but its accomplished cast and the captivating efforts of its creative team will make the story feel fresh and necessary for our current moment. Whether you’ve never seen the show or have seen it a hundred times, “WICKED”’s run in Boston is certain to thrill you, inspire you, and change you “For Good.”

“WICKED” runs at the Citizens Opera House from Sept. 23 to Nov. 15.

—Staff writer Makenna J. Walko can be reached at [email protected].