One short day— here in Baltimore City— one short day— full of so much for you! Ev’ry way that you look at the city— there’s something exquisite— that you’ll want to visit— before the day’s through! And while it’s here for several short days (though not too many, only through January 11th 2026) that exquisite thing you’ll want to visit is Wicked on its triumphant return to Baltimore’s Hippodrome Theatre. Landing just in time for the holiday season, this musical spectacular defies gravity and welcomes audience of all ages to witness the joy, experience the magic, and absorb the spectacle of the untold story of the Wicked Witch of the West in all of its original live-staging splendor. Directed by Joe Mantello, with Musical Staging by Wayne Cilento and Musical Supervision by Stephen Oremus, this remarkable touring production brings all the magic of Oz to the most spectacular theatre in town just in time for Christmas!
You’ll marvel at the Clock Dragon, perched just above The Hippodrome Theatre’s iconic proscenium arch. It, like Glinda’s magical mobile bubble, and the whimsical head of the Wonderful Wizard of Oz come to the stage by way of Settings Master Eugene Lee (with an assist by Chic Silber on special effects and Kenneth Posner on lighting.) There’s too much grandeur and wonder to explain away in all of the visual astonishments awaiting the audience for this production— simply put: it’s a must-see. (There’s a reason that Wicked hasn’t ever really stopped touring the country since the first National tour was launched in 2005; this present iteration is in it’s 14th or 15th year touring.) The special effects, the scenery, the magic, the lighting— the glorious & green sartorial selection (Costumes by Susan Hilferty) are extraordinary and every bit the sensation that all the hype intends them to be. (Special shout out to Sound Designer Tony Meola, Technical Supervisor Jake Bell and Head Sound Engineer David Romich for creating the most flawlessly executed soundscape on any recent touring production visit The Hippodrome this side of the pandemic. Not one imbalance, not one dropped, blown, or feedback-ed mic; total equilibrium and a true unsung hero of the production’s overall value.)
The show itself is a true wonder for everyone in attendance, whether you’ve seen it before, never seen it before, have only seen the movie, have only read the book— this current tour is every bit the jubilation of live theatre with earnest heart in its narrative storytelling, vibrant spectacle in both the dancing and the performative scenery and special effects, and true gifts in the talents that are upon the stage. If there’s a complaint or two to be had with the present iteration it’s that this tour’s Fiyero (Ethan Kirschbaum) was a tad bit pitchy when singing (most notably in the duet with Elphaba, “As Long As You’re Mine”) and this tour’s Glinda (Zoe Jensen) had some vibrato issues in the opening of “No One Mourns The Wicked”, most of which were heavy-handed on the vibrato during her sustained notes, which made the lyrics surrounding those moments somewhat indecipherable. But if those are the only two complaints for a touring production, then the production— which glitters in all of its emerald resplendence otherwise— is far, far ahead of the game.
The ensemble, responsible for playing Monkeys, Students, Denizens of the Emerald City, Palace Guards, and Other Citizens of Oz (at this performance— Jennifer Mariela Bermeo, Sam Buchanan, Sean Burns, Reagan Davidson, Olivia Dei Cicchi, Matt Densky, Ali Deucher, Ben Diamond, Kelley Dorney, Darriel Johnakin, Taylor Quick, Jackie Raye, Donivyn Riley, Anthony Sagaria, Brett Stoelker, Melissa Victor, Justin Wirick) provide so many glorious moments of entertainment, whether it’s dancing during “Dancing Through Life” or bouncing around as ‘Wiz’ bobble-head characters during “One Short Day.” And when the ‘Monkeys’ are revealed after their transformation, that whole scene with them placed and ‘moving’ as they are is a spine-tingling wonder. The ensemble carry as much of the experience as the principal players and are all too often overlooked, particularly in national tours; their work and sincerely dedicated efforts to this production of Wicked are in part, if not half, of what makes it so exceptional.
The refined accent on Drew McVety’s Doctor Dillamond is of note, particularly when he’s singing his side-along with Elphaba during “Something Bad.” McVety’s Dillamond feels more prominent in this production, perhaps because he carries the character with such unwavering confidence that the Dillamond track isn’t so readily pushed into the narrative background, as has been the case in previous touring iterations. The same is said for that brief moment that the Governor of Munchkinland, Elphaba’s Father (at this performance Keith A Bearden) makes an unforgettable mark on the show’s existence. Though his lines in the role are brief, Bearden lands them with exacting, albeit restrained malevolence, directed solely at Elphaba (it’s such a minute moment and yet so very powerful a catalyst to really fuel the background of both of these characters’ trajectories inside the framework of the story.) And while his true moment to catch the eye of the audience isn’t really until near the finale, Chistery (at this performance DJ Smart) has a grace about the way he moves— that loping human-hybrid physicality that showcases the desperation of wanting to move and be like the human characters that surround his monkey character; it’s really beautiful.
With a simple felicity about her during her initial existence on stage, Jade Temple’s Nessarose is a complex character, who is perhaps the most volatile when it comes to change. You see sweetness and demure shyness, awkward self-oppression and quaintness in Temple’s approach to Nessarose, though by the time the character is reintroduced in the second act there’s a heinous bitterness that has festered in the character’s soul, one that Temple takes full advantage of, both in her vocal cadence and in that rare gem of a number, “The Wicked Witch of the East.” Her play-dynamic opposite Boq (Nicolas Garza) has a frenetic strain to it, which only adds to the tension once heartless endeavors are encountered. Garza has a powerful voice, which is really showcased during “March of the Witch Hunters” and should be noted for his clear, pitch-sustaining capabilities.
Wonderful, yes he is wonderful, in fact— Blake Hammond fills out the framework of the Wonderful Wizard of Oz swimmingly, there’s almost a ‘no worries’ air to his approach. Hammond transforms this Wizard character (originated by the incomparable Joel Grey) into a unique enigma, half-befuddled, half-charlatan, all charming. It’s a wild approach but one that services this production extremely well. “A Sentimental Man” is equal parts sincere and hokey, a curious approach to the number but one that Hammond really makes work for his character choices. And the dynamic tension between him and Elphaba during “Wonderful” is truly loaded. She never gives up holding him at Broom-point, even as he’s singing and dancing his way through the song, which adds this layer of fascination to the scene on the whole.
If you’re looking for a commanding stage presence amid a sea of green, look no further than Eileen T’Kaye’s take on Madam Morrible. There’s something refreshing and exhilarating about her approach to the Head Shiztress that’s almost indescribable— unyielding confidence that’s gently tempered with seasoned wisdom? It’s difficult to describe but every time she’s on stage you find yourself enthralled with her movements, ensnared by her words, be they spoken or sung, and simply captivated by the way she directs and redirects moments as they unfold. The dynamic she creates between both her character and Elphaba, her character and Glinda, and later the pair of them with the Wizard is theatrical brilliance, no question.
There’s a raw mesmerism to Ethan Kirschbaum’s Fiyero, tempered with that cocky confidence and cooled with the intrinsic capability to evolve as a character. Though struggling just a clock-tick with pitch consistency, Kirschbaum puts all of the pizazz and panache into “Dancing Through Life” in that effortless ‘too-cool-for-school’ fashion and the meet-cute chemistry with Glinda is almost delivered so heavy-handedly that it reads as a send-up to ‘love at first sight’ (which actually works surprisingly well in this production.) Limber and gifted with a keen dancer’s intuition, Kirschbaum’s Fiyero glides somewhat effortlessly through dance moves, particularly during that aforementioned number, and gives his emotional all during the duet “As Long As Your Mine”, played opposite of Elphaba.
A more high-octane, hyper-animated, over-the-top, bubbly and effervescent Glinda would be difficult to put your hands on, Zoe Jensen is bringing the energy of a million wind-farms, the exuberance of every lit-Christmas tree this festive time of year, and the excitability of ten-thousand children eagerly awaiting the arrival of Santa Claus; she’s a sugar-spun bubble of vivacity, comedic over-the-topness, and sparkling intensity that just doesn’t quit. She certainly earns the laughs from the audience, especially with her overly-engaged physicality, which 100% matches all of that indefatigable effervescence; she’s like Niagara Falls and Vesuvius had a fairy-bubble-baby that makes mini explosions every time she speaks, sings, moves, or breaths. When singing, particularly in duet opposite of Elphaba, Jensen is sublime, carrying those clear blends, higher ranging notes, and overall eager intentions into each lyric. Watching her shift into those more somber moments— few and far-between though they are for the Glinda character— is truly a theatrical gift because you watch them being internalized and then presented on Jensen’s face, in her voice, and her overall body language in live time; it’s a remarkable and breath-taking experience, knowing that her versatility is so all-encompassing. “Popular” is a fantastically feral experience all its own and Jensen makes it the second most exquisite number in the first act.
Jessie Davidson, as Elphaba, delivers an extraordinary performance as Elphaba. She’s richly connected to the emotions of the character, dynamically invested in exposing all of the myriad of feelings that Elphaba possesses, fully utilizing her body language, her facial expressions, and her rich, hearty vocal capabilities to do so. There’s an easy modernity to Davidson’s sound as well; almost like her singing is living in the moment with her and each note and lyric are being discovered for the first time as she delivers them. This is particularly true for “Defying Gravity” and “No Good Deed”, which becomes a heady, headlong dive into the searing pathos of her wounded and twisted soul in that moment. “What is This Feeling?”, “One Short Day”, and “For Good”, the three duets Davidson’s Elphaba shares with Jensen’s Glinda, are this sensational arch of character growth; the first ripe with Davidson’s sarcasm, stitched neatly into her flawless delivery of the lower-line harmonies, the second brimming and teaming with optimism that radiates as brightly as all the greenery in that song, and the third so beautifully weighted with heartbreaking pathos that it brings a tear to the eye. Everyone measures an Elphaba against her sky-soaring ‘aa-aaah’ belt at the end of “Defying Gravity” and Davidson’s is powerhouse, no question, but there are so many other deeply satisfying moments where Davidson is making unique, if sometimes subtle, choices to make Elphaba truly her own that make her performance extraordinarily noteworthy.
The chance to defy gravity at Baltimore’s Hippodrome Theatre will not linger forever; January 11th 2026 is when Wicked must soar back out of Charm City— do not miss this gloriously green extravaganza this season!
Running Time: Approximately 2 hours and 40 minutes with one intermission
Wicked plays through January 11th 2026 at The Hippodrome inside The France-Merrick Performing Arts Center— 12 N. Eutaw Street in Baltimore’s Bromo Arts District. Tickets are available by calling the box office at 410-837-7400 or purchasing them in advance online.