To call Wicked a global phenomenon at this point would be an understatement. Since 2003, this musical tale of the witches of Oz (loosely based on the novel of the same name) has drawn huge audiences on Broadway, in the West End and practically every theatre district in the Western world. The recent duology of films has only solidified its status as a pop culture icon. This year, the show embarked on an exciting new tour of the East, playing in multiple countries for the first time. Three London Studio Centre alumni have been cast in this new tour; Ebz Alicia, Serafina Barbieri and Alice Elwood.
Having only graduated from the Jazz & Commercial pathway on the BA (Hons) Professional Dance Performance programme last year, we were keen to talk to Ebz Alicia about their experience on tour so far, and find out whether this truly is the dream-job that it seems to be…
Ebz Alicia photographed by Simon Derviller, 2025
As a member of the Ensemble, Ebz plays a dizzying number of roles and appears in many of the show’s most iconic numbers. To give a sense of just how busy they are throughout a run, here is the rundown that Ebz gave of their roles:
This production of Wicked is a non-replica version based on the production in Brazil. My roles include a munchkin, a monkey and several others. I appear in the opening number, in which you see me as a munchkin, before swiftly becoming a Shiz student for ‘The Wizard and I’, ‘What is This Feeling’ and ‘Dancing Through Life’. As we continue, I become a waitress in ‘One Short Day’ before ultimately playing a munchkin again for ‘Defying Gravity’. It is amazing to be on stage to watch Elphaba fly every night above our heads and into the audience!
In Act Two I start as a munchkin in ‘Thank Goodness’, watching the celebration of Fiyerro and Glinda’s engagement. I then transform into a monkey who is locked in the cages. I really enjoy being a monkey and getting to “monkey around!” I would say the monkey dance is definitely the most challenging as we are wearing heavy wings as part of the costume. For the rest of Act Two I am in my munchkin costume and do ‘March of the Witch Hunters’, which is my absolute favourite number. We can express how much we want to kill the witch before we get to the finale…Phew!
With such a demanding production, and a relatively short turnaround between casting and tour, we wanted to hear how Ebz found the rehearsal process.
Because it was a non-replica version based on the Brazil production, the rehearsal process felt much more collaborative. We weren’t just copying an existing blueprint, we were shaping this interpretation of Wicked. It gave us more creative ownership while still respecting the scale and structure of this popular musical.
There was still structure, of course. Wicked is a machine of a show, but the movement language felt slightly different in tone and dynamic. We spent time discovering how this specific version wanted to move and breathe, rather than fitting ourselves into a pre-set mould.
I won’t lie; it was difficult at times during the rehearsal process to see how it would all come together, especially during ‘Defying Gravity’ as Elphaba flies into the audience, or when Boq transforms into the Tin Man, but in the end it has all worked and has been amazing to experience from the inside.
We asked Ebz how they feel their training helped prepare them for this job. While at LSC, Ebz was known for their strong work ethic as well as high-energy, high-attitude approach to dance. Here is what Ebz had to say:
Ebz (right) with fellow LSC alumna Alice Elwood and two other castmates backstage
London Studio Centre really prepared me for Wicked because it built my versatility and stamina. The training was so well-rounded. I learned strong technique, acting through movement, and the discipline of working at a high level every day. Wicked demands consistency and storytelling in everything you do, and LSC really instilled that work ethic and performance quality in me.
It was during the Jazz Co Agent Week, when all Jazz Co students are given an opportunity to audition for multiple agents on-site at London Studio Centre, that Ebz signed with Alliston Taylor and MS Represents.
I had never heard of either of these agents, but by the end of agent week it felt right for me to sign with these two. Alastair from Alliston Taylor helped me get Wicked and I’m eternally grateful to be represented by him.
Of course, when you are performing in a touring production, the performing is only one part of the whole experience. It involves travelling to new places and possibly tasting entirely new cultures, particularly on an international tour such as this one. It seems that Ebz has certainly found it eye-opening so far.
Life on tour is such a unique experience. It’s intense, exciting and constantly changing.
One of the biggest highlights is getting to bring a show like Wicked to different audiences. Every city feels different. The energy shifts, the reactions change (some cities are LOUD!) and that keeps the show feeling fresh. There’s something really special about performing in new theatres and feeling how each audience connects with the story. It is also amazing to be doing this in the Middle East, with us bringing the show to Riyadh, Bahrain, Dubai and soon to Mumbai for the first time ever.
Life on tour builds such a strong company bond. When you’re touring together, you’re not just colleagues – you’re navigating a complex mix of travel, new cities, routines and show weeks together. That creates a tight-knit family dynamic. My cast is amazing and we all get on so well. I’m eternally grateful for them. Personally, I feel that this experience has really help me to build adaptability as a professional performer and even as a person.
Ebz (centre) performing in ‘Youth’, choreographed by Dane Bates, in London Studio Centre Spring Showcase 2024
Readers may have noted that Wicked is of course a Musical Theatre production, but Ebz graduated from the Jazz & Commercial pathway on the BA (Hons) Professional Dance Performance. Ebz said the following about their training:
The training was never just about dance. It really bridged dance and musical theatre.
The Jazz & Commercial pathway gave me strong technical precision, musicality and performance confidence, but alongside that we were constantly developing our singing and acting. That crossover has been essential in a show like Wicked, where you’re not just executing choreography, you’re telling a story vocally and physically at the same time.
The Jazz training gave me:
- Clean lines and attention to detail
- Stamina for demanding choreography
- The ability to pick up and retain material quickly
But the Musical Theatre training ensured I could:
- Sustain vocals while dancing
- Act through movement
- Stay connected to character within the ensemble
In Wicked, the ensemble isn’t just background. We help build the world of Oz, so being able to bridge strong dance technique with storytelling and vocal control has been such an asset.
The Wicked international tour continues until late April, with dates in India and Kuwait still to come. We were eager to find out what Ebz might be hoping to do next, and whether they have any dream-roles in mind.
I’d love to continue working in musical theatre and push myself in productions that challenge me physically and creatively. Hamilton and Cabaret are definitely dream-shows of mine. They’re both so different stylistically, but that’s what excites me. Hamilton demands insane stamina, precision and rhythmic musicality that really speaks to my dance background. Cabaret has that raw, intimate storytelling that feels so actor-driven and layered.
Both shows feel like they sit right at the intersection of strong movement and deep character work, which is where I feel most at home.
Long term, I’d love to move into TV and film as well. Expanding into screen work really excites me, exploring more subtle, close-up storytelling and developing that side of my craft alongside live performance.
Reflecting on their time at LSC and the journey from undergrad to professional touring performer, Ebz had one more message to pass on to all the teachers and staff they interacted with at London Studio Centre:
I’m really grateful to the teachers at LSC because they genuinely pushed and believed in me. They didn’t just train technique, they shaped my work ethic and confidence. I wouldn’t be where I am now without that foundation, and I still carry those lessons with me in Wicked.