Most of the audience members who attended opening night would agree that the wait was worth it. A stunning cast was led by Anne Brummel as Elphaba and Natalie Daradich as Glinda. This is one of two national tours making the rounds. Other productions of Wicked currently on the boards include the Broadway version (still packing them in at the Gershwin Theater), the London and Australia casts, and Japanese-language and German-language casts. The tour now performing in Milwaukee features Vicki Noon as Elphaba, but on opening night she was replaced by standby Brummel

For the few who’ve yet to hear about this show, it is the “back story” of the “Wizard of Oz,” a story by Frank Baum immortalized in the 1939 film starring Judy Garland as Dorothy. Do not fear: Dorothy and her little dog, Toto, also show up in Wicked (sort of), as do the Tin Man, Cowardly Lion and Scarecrow. But the musical’s focus rests on the relationship between the socially awkward (and very green) Elphaba and the bouncy blonde, Glinda. Their journey and eventual metamorphosis into the Wicked Witch of the West and and Glinda the Good become the heart and soul of this tuneful show. One of the show’s main themes is to accept yourself the way you are, a lesson that proves difficult to learn for Elphaba, Glinda and the man they both love, the trim, athletic and handsome Fiyero (Chris Peluso).

The actors are spot-on in their various roles, with singing as an especially strong component of their various talents. Brummel, looking for her first break as Elphaba, sings her heart out in “The Wizard and I.” But the best is yet to come as she solidly scores with Elphaba’s hit number, “Defying Gravity.”

Natalie Daradich as Glinda is as effervescent as one could wish. She demonstrates a strong voice as well. The only minor disappointment is that her charisma cannot match the magic of Kristin Chenoweth, who originated the part on Broadway. Brummel, however, evokes all the desperation and longing conveyed by Broadway star Idina Menzel. Brummel has earned her chops in Chicago and elsewhere as Elphaba’s understudy, and she certainly has earned the right to make the part her own. One cannot imagine a more poignant rendition of “I’m Not That Girl,” in which Elphaba reluctantly extinguishes her romantic feelings for Fiyero. The fact that Elphaba later wins Fiyero’s love gives audiences hope in this unlikely romance.

In one of the lesser roles, Don Amendolia creates a Wizard of Oz who is much more believable than Broadway’s Joel Grey. Although the diminutive Grey is completely adorable throughout, Amendolia is physically and vocally more persuasive as the battered old salesman who wandered by helium balloon into the strange land of Oz. Amendolia is an old pro, and it shows in his characterization of the Wizard.

Production values are excellent, though the tour’s sets and props necessarily have been downsized from the gigantic Gershwin Theatre. As previously suggested, performances across the board are top-notch, including the ensemble that serve as Munchkins and the residents of Oz. Choreography sizzles and the lighting completes the scene. However, all the dazzling production elements would be pointless without the strong rivalry and eventual friendship between the two witches. Thankfully, there are no glitches between this talented twosome. They cement their relationship in their final number, “For Good.”