Wicked celebrates its 20th anniversary on Broadway, having opened at the NYC’s Gershwin Theatre on Oct. 30, 2003. It is now the fourth-longest running production in Broadway history. To mark the occasion, the beloved musical hosted an anniversary weekend of events. There were special performances for fans and alumni of the show, as well as a block party outside the Gershwin and a panel discussion at the New York Public Library for the Performing Arts featuring Wicked book writer Winnie Holtzman, composer-lyricist Stephen Schwartz and producer David Stone. NYC’s Plaza Hotel offered a special Wicked-themed “Defying Gravi-Tea” Afternoon Tea throughout October. The anniversary weekend kicked off with a performance by the current Wicked company on Good Morning America and concluded with the Empire State Building lit green.
Based on the novel by Gregory Maguire, Wicked tells the story of the witches of Oz and the friendship between Glinda, the Good Witch and Elphaba, the Wicked Witch of the West, long before Dorothy enters the picture. When Wicked opened, it was critically acclaimed and embraced by fans. It was nominated for 10 Tony Awards, winning for costume design by Susan Hilferty, scenic design by Eugene Lee and Best Actress in a Musical for Idina Menzel in the role of Elphaba.
The original cast included Idina Menzel and Kristin Chenoweth as Glinda. Directed by Joe Mantello with musical staging by Wayne Cilento, the creative team included Scenic Design by Eugene Lee; Costume Design by Susan Hilferty; Lighting Design by Kenneth Posner; Sound Design by Tony Meola; Projection Design by Elaine J. McCarthy; Hair and Wig Design by Tom Watson; and Make-Up Design by Joseph Dulude II. The team was assisted by Associate Scenic Designer Edward Pierce; Assistant Scenic Designer Nick Francone; Oz Map Designer Francis Keeping; Draftsman Ted LeFevre; Associate Costume Designers Michael Sharpe and Ken Mooney; Assistant Costume Designers Maiko Matsushima, Amanda Whidden and Amy Clark; Associate Lighting Designer Karen Spahn; Associate Lighting Designer / Automated Lights Warren Flynn; Assistant Lighting Designer Ben Stanton; Associate Sound Designer Kai Harada; Assistant Projection Designers Jenny Lee, Michael Patterson and Jacob Daniel Pinholster; and Associate Hair Designer Charles LaPointe. The production supervisor was Steven Beckler; Technical Supervisor Jake Bell; Stage Managers Erica Schwartz; Assistant Stage Managers Chris Jamros and Bess Marie Glorioso. Special Effects by Chic Silber; Flying Sequences by Paul Rubin and ZFX, Inc.; and the Special Effects Associate was Aaron Waitz.
Stage Directions congratulates Wicked on defying the odds and wishes them another 20 years of flying high over Broadway!
The Stage Managers’ Association (SMA) presented its annual Del Hughes Awards for Lifetime Achievement in the Art of Stage Management to the distinguished 2023 honorees including theatrical production stage managers John M. Atherlay and Gwen Gilliam, and Opera Production Stage Manager Brett Finley. In addition, the SMA honored Elynmarie Kazle with The Founders Award. The Del Hughes honor is awarded to those who represent the finest qualities and artistic achievement in stage management throughout their lifelong career. Honorees are chosen from nominations submitted by industry members.
This year’s Special Recognition Awards celebrated honorees who are advocates for and uplift the stage management industry past, present and future. Robert J. Bruyr strengthened stage managers’ position in Actors’Equity and provided decades of dedicated leadership for stage managers. The organization Broadway & Beyond: Access for Stage Managers of Color, founded by Lisa Dawn Cave, Beverly Jenkins, Jimmie Lee Smith and Kenneth J. McGee, has created a resource to open doors of opportunity for stage managers and raised their voices in service of equity, diversity, and inclusion in the stage management profession.
Adrienne Wells, Chair of the SMA, said “This year we have seen change throughout the entertainment industry as professionals and organizations, alike, have evaluated what it means to work and exist in a post-pandemic entertainment environment. Through their steadfast and enduring advocacy for stage managers, via their life work, and by supporting inclusive industry-wide changes, our honorees this year embody the resiliency and compassion that are so very important as a stage manager. I celebrate these amazing honorees and continue to be grateful for their presence and continued engagement with long-standing colleagues as well as emerging artists.”
Honoree Atherlay reflected “I am thankful that I have been able to give back to this industry through my 20 years as a councilor for Actor’s Equity Association and help create work rules that benefit every member of AEA. Being blessed with so many wonderful associates over my career, it is so exciting to see them grow into full time stage managers or prosper in other aspects of the entertainment industry. Every day I live by my motto ‘If you have the knowledge; let others light the candles in it.’ I continue to work with young, up and coming stage managers on different shows and I also personally mentor one college senior per semester. I just feel blessed beyond all expectations to have made a lifetime in a career I have loved every day since I started.”
Honoree Finley spoke to mentorship “I mentored dozens of opera stage managers over the years, starting at the University of Michigan when I was teaching there. Every year we took our students to the Spoleto Festival, and then recommended them for other gigs. I think that through my can-do attitude, my love for the business, and my sense of humor, a lot of them were willing to give opera a try!”
In speaking personally about the start of her career and hopes for the future, Honoree Gilliam expressed “Looking back it seems so improbable that I would have a career stage managing. When I first started not only was it male oriented, there really was almost no one of color. But I guess ignorance is bliss and being a hardheaded Midwesterner I pushed ahead. I’m hoping that the small black theater companies I got my start in can continue to exist. Sadly, diversification is a two-edged sword and large cultural institutions have swallowed up the monies and talent away from these small organizations. These small companies were wonderful learning spaces and jumping boards for many stage managers, technicians and actors.”
Kazle, being honored for her steadfast leadership over four decades serving stage managers and the stage management profession, affirmed that “Advocacy is at the heart of the founding of this organization and also has been at the heart of my career. I believe I have been able to do the most good through advocacy and empowering others in their advocacy goals. I have learned and gained so much from the many gifted colleagues who have shared their time and knowledge with me. It has enriched every stage of my career. I count myself fortunate indeed. I am so pleased to be honored with The Founders Award from the Stage Managers’ Association.”
On receiving the Special Recognition Award, Broadway & Beyond: Access for Stage Managers of Color shared “To be acknowledged by one’s peers is an honor. To be recognized that we are a necessary part of the stage management community is long awaited. Since its first event in December 2020, Broadway & Beyond alumni have accepted more than 90 jobs across the country—including 15 in the 2022 Broadway season—via connections made through the organization and its networking events. The theater industry is a beautiful community to be a part of. We want to give BIPOC stage managers direct access to the people who are responsible for filling stage management positions, to eliminate the phrase ‘I don’t know where to find them’ from the hiring process and create necessary opportunity pathways for a group of folks who are woefully underrepresented on production teams around the country.”
On his Special Recognition Award, Bruyr stated “To be honored for pursuing a Stage Management career and, most important, advocating on behalf of Stage Managers for over 25 years while always earning a living wage doing so is remarkable. I am most grateful.”
