Taking my daughter to see Wicked at the Belk Theater of the Blumenthal Performing Arts Center in Charlotte, North Carolina on October 19th was easily one of the highlights of my year. This stunning adaptation of L. Frank Baum’s timeless Wizard of Oz novels — and the legendary 1939 film — proves that there’s still new magic to be found in the merry old land of Oz.
This national touring production of Wicked is, without question, the most extraordinary piece of live theater I have ever witnessed. I say this after more than 20 years of reviewing local, regional, and national touring performances in the realm of musical theater. Once you factor in the breathtaking special effects (Chic Silber), the unbelievable talent of the cast, the impeccable vocals and acting, and the kaleidoscopic lighting design (Kenneth Posner), it’s impossible not to be awed. Every element — from the intricate costumes (Susan Hilferty) to the elaborate set pieces (Eugene Lee) to the enormous dragon that hovered menacingly above the stage — worked together to create one of the most immersive and vibrant productions imaginable.
My mother has seen Wicked multiple times — twice on tour and once on Broadway — and she has always spoken of its magic. My daughter Bella first introduced me to the film version one quiet afternoon when I had nothing else to do, and to my surprise, I absolutely fell in love with it. My wife Emily and I even attempted to read Gregory Maguire’s novel but couldn’t make it through — the book is far denser and darker than its musical counterpart.
The turning point came last year when Bella performed “For Good” at her fifth-grade graduation and cried while singing it. She told me she had to see the show live someday. I began searching months in advance and discovered that Wicked would be coming to Charlotte. I bought tickets for her birthday in the spring, and we’d been eagerly counting down the days ever since.
We attended the performance with our dear friend Jeremy Miller, who has long been my go-to companion for concerts and live shows — and my dependable chauffeur as well. Together, the three of us enjoyed this incredible production for just $41 apiece. As an 11-year-old immersed in today’s pop scene, Bella may have felt a little envy toward the 17,500 fans across the street watching Billie Eilish that same night, but I assured her that we got the better deal: a two-and-a-half-hour masterpiece for less than one-third the price of a 90-minute concert.
From our balcony seats, we had an exceptional view — one that allowed us to peek into the orchestra pit, where the musicians were tuning their instruments, many of them doubling on more than one throughout the evening. We could also see the stagehands climbing ladders to manage the dazzling lighting cues and the mechanics behind the Wizard’s imposing head and Glinda’s famous bubble.
After the show, we had the privilege of meeting several members of the cast, including Zoe Jensen (Glinda), who told us that the bubble used in this touring production was the very same one Kristin Chenoweth rode in during the Tony Awards. It was surreal to stand beside these extraordinary performers, especially since Wicked includes characters who use wheelchairs — a detail that holds deep personal meaning for me.
In an unexpected moment of serendipity, I met and was photographed with Jada Temple, who portrayed wheelchair-bound Nessarose, and Nicolas Garza, the actor who played her devoted boyfriend, Boq. We also met the leading man, Fiyero (Ethan Kirchbaum), whose chemistry with Elphaba (Jessie Davidson), brought a spark of humanity and tragedy to the show’s emotional center.
Davidson gave a soul-stirring performance that earned spontaneous applause the moment she stepped onstage. Her rendition of “Defying Gravity” was nothing short of breathtaking, and the roar of the audience when she hit that final note was enough to shake the rafters. Every performer in the ensemble was outstanding — from Dr. Dillamond (Drew McVety)’s heartfelt portrayal to the commanding presence of the Wizard (Blake Hammond) and the conniving Madame Morrible (Eileen T’Kaye).
What makes Wicked so powerful, beyond its spectacle, is its story. It pays loving tribute to Baum’s original Oz world while offering a thoughtful, modern reflection on society’s treatment of those who are “different.” Beneath its dazzling surface lies a commentary on inclusion, identity, and perception. In a world that claims to celebrate diversity, Wicked reminds us how easily acceptance can become patronizing and how often power hides behind the mask of goodness.
I’ve often been skeptical of adaptations that try to rewrite the boundaries of good and evil, but Wicked handles this balance masterfully. No one is purely wicked, and no one is purely good — each character is flawed, human, and relatable. That imperfection is what makes them real, and what gives color to the world they inhabit.
As a piece of modern theater, Wicked is an extraordinary achievement — a dazzling commentary on identity and power wrapped in unforgettable songs (Stephen Schwartz), choreography (James Lynn Abbott), and design. It’s no wonder the Broadway production remains a global sensation and the upcoming two-part film adaptation — featuring the Oscar-nominated talents of Cynthia Erivo and Ariana Grande — is already among the most anticipated releases of the decade. For anyone who doesn’t know, Part Two hits theaters next month.
Bella and I left the Belk Theater feeling like we had been given a glimpse of something timeless. To see it performed live, with such emotion and artistry, was an experience beyond words. Every number received thunderous applause, each one fully deserving of its ovation. It was a daddy/daughter experience I’ll never forget and will treasure for the rest of my life.
