Five years after the Broadway debut, Wicked is still a fan favorite and well-respected by critics. The adaptation of Gregory Maguire's by Winnie Holzman continues to shine, even, at times, more so than the original novel. 

Built around the idea of a reinterpretation of the events leading up to the "melting" of the Wicked Witch of the West, looking beyond the surface and delving deep into the psyche of characters as individuals with dual interests and the controlling of the presentation of information by less than dubious sources. 

A modern look at the classic American tale of good versus evil and the chaste versus perverse, Wicked provides with those with theater tickets to re-examination of the simplest ideas and representations of good without attracting a label as a militant feminist re-imagination of the a story so ingrained into the cultural landscape. 

Fiyero may be the love interest of both Elphaba and Galinda, but he consciously chooses the girl with green pigment over the girl with the pretty eyes. His transformation does not come from a calamity of events, but from a slow maturation. This lack external gimmicky influences make his decision truly his own, and not the imagined, inconceivable series of overtly contrived situations by a writer trying desperately to make a point. 

Although, the musical is not a new mainstream friendly feminist manifesto, it most definitely caters to its audience with strong female characters. This is not a bad thing. The strength of the play and of the performances comes through the exploration of the wants, desires, and plots of those characters. 

Broadway tickets will see Galinda as she strives toward power and manipulates all those around her with her beauty and charm, including a munchkin, Boq, who would later become the Tin Man. His fate comes at the very real peril of unrequited love and adoration. 

Nessarose, Elphaba's sister, is confined to a wheel chair and yet yearns for independence. She also desires a return of true love from Boq, who is torn between Galinda and good intentions. Her struggle and her following abuse of power as the governess of Munchkinland, more than earn her the title the Wicked Witch of the East, as she tries to hold onto Boq. 

Elphaba, the eventual Wicked Witch of the West, struggles with the alienation that comes with having green skin and the power possessed deep inside her. Her struggle to control herself and to do what's right is actually the most powerful force in the land, much more powerful than her own magical prowess. 

The performances are simply brilliant. The new cast owns their parts and is able to allow adults enjoy the cultural and political commentary while young adults (and, well, adults too) can revel in the love stories. Even the small children who have Gershwin Theatre tickets can marvel at the transformations of these new characters with odd names into the beloved recognizable characters from the movies. 

Kerry Ellis, as Elphaba, shines as the mezzo-soprano in collaborative performances with Kendra Kassebaum, as Glinda, in unforgettable numbers like "One Short Day", "Defying Gravity", and "What Is This Felling?" 

Her solo performances are just as stellar as "I'm Not That Girl". It is a treat to see a mezzo-soprano in the driving role, after they seem to have been banished to secondary roles by composers in favor of the soprano for so long. 

Wicked's soprano, Kassebaum, or Galinda, could easily carry the musical herself. Her tongue in cheek dialogue and her singing ring crisply and effortlessly throughout the Gershwin Theatre. 

Keeping much of the set and costume from the original production has not hindered the newest run's ability to own their individual performances and the story as a whole. Fans who ran to purchase Wicked tickets the first time would be wise to do so a second time to enjoy a new cast filled with new, minor interpretations of motives and characters' tics. The show has really flourished under the direction of Joe Mantello and the musical staging of Wayne Cilento. 

Gershwin Theatre continues its tradition of bringing excellent, entertaining musicals that are accessible to all. Wicked in 2008 is just the treat it was in 2003.