High drama, wink-wink comedy, first-rate scenery and costumes. This tour of Wicked has it all, and in spades. We've misplaced our Playbill from last night, so we'll give props by name where deserved in a future entry. But for now, we'll stick to overall impressions.

You could tell the set was going to be huge on first entry into the theater, and we were not disappointed. In addition to well-conceived design and stunning visual effect, set changes were handled with aplomb and abetted by transitional choreography so well-done you almost wish it hadn't been "transitional."

The Beat, being a musician and conductor of very low standing, checked out the pit and came away duly impressed. The sound crew endured a few hiccups, and we could have stood for a bit more presence from the orchestra, but in all, very satisfying.

The performances were as impressive as any touring show we've seen, including that of the Elphaba understudy (again apologies for not having names.) Best to save more thoughts for when we can give fair credit.

It's the music that makes the musical, and, as we explained earlier this morning to a Critic Crony (who, while no musical theater fan, expressed thorough enjoyment with the show), The Beat is a big fan of songs full of pomp and circumstance, and of female belters, so what's not to like?

A great night at the theater. An we met a couple folks who won the daily lottery, so it does work. Get down there, folks.