26
Nov
When Wicked opened on Broadway 21 years ago, famed New York Times critic Ben Brantley provided the musical with one of his typically backhanded notices. While giving high marks for Kristin Chenoweth’s undeniable talent in creating Galinda, as well as specific elements of the production like Eugene Lee’s sets, the Times arbiter remained cool toward the musical’s songs, book, and even its allegorical ambitions. “As a parable of fascism and freedom, Wicked so overplays its hand that it seriously dilutes its power to disturb,” Brantley wrote when comparing the show’s vividly technicolor subtexts to the more opaque leanings of L.…