Wicked in London: The Wizard of Oz Prequel and Must-See Musical

When you hear the opening notes of Wicked in London, something shifts. The air changes. You’re no longer just sitting in a theatre-you’re stepping into a world that rewrites the rules of magic, morality, and friendship. It’s not just a musical. It’s the story of how the Wicked Witch of the West became human. And it’s been pulling crowds to the Apollo Victoria Theatre since 2006, with over 7 million tickets sold in the UK alone.

What Makes Wicked So Different From Other Musicals?

Most musicals tell you who the villain is. Wicked asks you to rethink it. Based on Gregory Maguire’s 1995 novel, it flips the script of The Wizard of Oz. You know the story: Dorothy clicks her heels, the witch melts, everyone cheers. But what if the witch wasn’t evil? What if she was just misunderstood?

The show follows Elphaba, a girl born with green skin, who’s shunned from birth. She befriends Glinda-the popular, bubbly, glitter-covered future Good Witch. Their friendship isn’t just cute. It’s messy, complicated, and real. They argue. They betray each other. They grow apart. And somewhere in between, you start to see how society labels people as ‘wicked’ just because they’re different.

The music doesn’t just support the story-it drives it. Songs like ‘Defying Gravity’ aren’t just showstoppers. They’re anthems of self-acceptance. When Elphaba soars above the stage, arms wide, singing about refusing to be silenced, you don’t just hear a note-you feel it. The score by Stephen Schwartz blends Broadway tradition with modern rock energy. It’s why people come back year after year. It’s why teenagers memorize every lyric. It’s why grandparents bring their grandkids.

Why London? Why the Apollo Victoria?

London didn’t just host Wicked. It made it a home. The Apollo Victoria Theatre, tucked away near Victoria Station, has been its permanent stage since the UK premiere. It’s not the biggest theatre in the West End, but it’s one of the most immersive. The ceiling is painted like a starry sky. The stage rotates. The costumes change with every scene-Elphaba’s green skin gets more detailed, Glinda’s gowns get more outrageous, and the Wizard’s floating head? Still gives people chills.

Unlike New York, where the show moves between theatres, London’s version has stayed put. That means the production has had time to evolve. The lighting design now uses 200+ moving fixtures. The puppetry for the flying monkeys is more lifelike than ever. The ensemble dancers train for six weeks just to master the choreography. It’s not just a show-it’s a living, breathing machine.

And the cast? It’s not rare to see former leads from Les Misérables or Hamilton step into Elphaba’s boots. The role demands range: powerful vocals, emotional depth, physical stamina. One actress, Idina Menzel, originated the role on Broadway. In London, performers like Shoshana Bean and Kerry Ellis made the part their own. Every new Elphaba brings something new-not just a voice, but a perspective.

Who Is This Musical For?

You don’t need to have seen The Wizard of Oz to love Wicked. In fact, many people who’ve never watched the 1939 film say it’s the reason they finally did. The musical stands on its own. But if you know the original, you’ll catch the little jokes-the wink when the Tin Man says he’s looking for a heart, or when the Cowardly Lion trips over his own paws.

It’s not just for theatre fans. It’s for anyone who’s ever felt like an outsider. For the kid who got picked on for being ‘weird.’ For the adult who got passed over for a promotion because they spoke up too much. For the person who was told they were ‘too much’-too loud, too different, too intense. Wicked says: maybe you’re not the problem. Maybe the world just doesn’t know how to handle you yet.

Parents bring their teens. Couples on anniversaries. Solo travellers looking for something real. Even people who’ve seen it five times come back. Why? Because it doesn’t feel dated. It feels urgent. In 2025, with rising divisions and identity politics, the message hasn’t faded-it’s sharpened.

What to Expect When You Go

Arrive early. The Apollo Victoria has a small lobby, but the staff are friendly and efficient. No need to rush. The show starts at 7:30 PM on weekdays, with 2:30 PM matinees on Wednesdays and Saturdays. The running time is 2 hours and 45 minutes, including one 15-minute intermission.

Don’t expect to be handed a program. You’ll get one at the door-printed on recycled paper, with cast bios and production notes. There’s no mobile app for this show. No QR codes. Just the magic of live theatre.

Wear something comfortable. The seats are plush, but the theatre is old. The acoustics are perfect, so you don’t need to sit front row. Even the back balcony gives you a full view. The sound system is so clean, you’ll hear every breath Elphaba takes before she sings.

And yes, the green face paint? It’s real. The makeup team uses a special non-toxic formula that lasts all night. One fan once asked if they could buy the paint. The answer? No. But they’ll let you take a selfie with the cast after the show-on the rare nights they do meet-and-greets.

How to Get Tickets (Without Paying Too Much)

Tickets start at £35 for standing room in the upper circle. Front row? Around £150. But here’s the trick: don’t buy at the box office on the day of the show. Use the official website or the TodayTix app. They release discounted tickets every Tuesday at 10 AM for the following week. These are often £45-£65, even for prime seats.

There’s also a lottery system. Twenty minutes before curtain, you can enter a digital draw for £25 tickets. You need to be at the theatre with your phone. Winners get notified in 10 minutes. It’s not guaranteed, but people win every night. One student in 2024 saw the show three times using the lottery.

Group bookings (10+ people) get 20% off. Student IDs? You can get a £10 discount with a valid NUS card. And if you’re under 26, check out the National Theatre’s youth ticket scheme-sometimes they partner with Wicked for £20 tickets on slow nights.

Is It Worth the Hype?

Yes. Not because it’s perfect. Not because every song is a hit. But because it makes you feel something you didn’t know you needed.

It’s not just entertainment. It’s therapy disguised as glitter and grandeur. It’s a reminder that labels don’t define people. That good and evil aren’t born-they’re made. That sometimes, the most powerful magic isn’t in spells or flying brooms. It’s in choosing kindness when the world tells you to be afraid.

And if you leave the theatre with a little more courage, a little more empathy, or just a song stuck in your head? That’s not luck. That’s the point.