The Gershwin Theatre is one of Broadway’s largest and most modern venues, with a proscenium width of about 20 meters and a second-floor auditorium. The stage design fully exploits its dimensions, using layered depth and side structures to create a three-dimensional world. Its high ceiling makes Glinda’s bubble entrance feel magical and Elphaba’s flight during “Defying Gravity” breathtaking. Trap doors, side stages, and even elements that break the fourth wall—like the flying monkeys and the massive, red-eyed dragon-like creature—were integrated so naturally they felt immersive rather than showy.

From the right balcony, however, the audio experience was uneven. Early in the show, Glinda’s microphone briefly malfunctioned, giving her voice an unnatural, mechanical tone similar to the Wizard’s. The issue was quickly fixed, but heavy reverb lingered, clouding diction and softening clarity for much of the performance. “Defying Gravity,” which should overwhelm the theater with sound and emotion, lacked the expected sonic lift. The song’s climax was visually stunning but acoustically muted, as though the sound failed to fully fill the space. This may have been partly due to my seat, as balcony acoustics often differ significantly from the orchestra.

The visual grandeur remained undeniable. The set’s layered dimensions—upper platforms, side stages, and moving elements—made the production visually spectacular. Even from afar, the ensemble’s harmonies and choreography filled the stage with coordinated energy, demonstrating why Wicked has sustained its magical grip for over 20 years.

The performances were strong across the cast. Glinda delivered a bright, clear soprano that covered the full vocal range with ease, paired with a charmingly Glinda-ish stage presence. Elphaba, beneath her green makeup, was strikingly beautiful, and although her microphone seemed slightly under-amplified from my position, her emotional delivery carried through. The Wizard exuded grandeur, and Madame Morrible brought theatrical command. Fiyero, tall and well-built like a storybook prince, was well cast, while Nessarose and Boq both held their roles with strength.

Despite the sound limitations from my seat, Wicked was still a worthwhile Broadway experience. The production’s sheer scale—its height, width, and layered depth—creates an immersive spectacle that is difficult to fully replicate in touring or licensed versions. I haven’t yet seen the Korean licensed production, and while the Broadway tour is currently in Korea, I plan to attend the licensed version later and compare.

Next time I return to Broadway, I’ll choose a mid-orchestra seat to fully appreciate the sound design. Sitting closer to the center should offer the balanced, enveloping acoustics that this show’s climactic moments deserve. Even with the balcony’s limitations, the magic of Wicked shone through.