WICKED might be the toast of West End musicals but, just like there is no place like home, there is no substitute for the story that inspired it.

This really is a wonderful whiz of a show that positively fizzes and pops with energy, enthusiasm and commitment.

Director Ben Occhipinti has injected some imaginative new touches – I loved the many-headed hydra that the wizard uses as his disguise – and draws some fine performances from his 70-strong cast.

He is also responsible (with assistant director Tiffany Powell) for the musical staging of the show and manoeuvring vast numbers of feet around the stage.

All credit to him, and to them, that they do it with precision, discipline and impeccable timing.

This is, of course, a musical where virtually every song is a classic and musical director Rob Hiley ensures that it sounds good, cleverly disguising weaker voices and ensuring that the big chorus numbers are just that.

Like the film, designer Karen McKeown starts the show in monochrome and then transforms it into brilliant colour when the twister whisks Dorothy to Oz.

It’s a feast for the eyes with some clever lighting and stunning costumes – especially the one lucky Hannah Anderson gets to wear as the Wicked Witch.

There are excellent central performances from Ella Dunlop, feisty and fearless as Dorothy, Holly Jasper as the brainless Scarecrow, Craig Phelps, stiff and creaky as the Tin Man, and Amy Job, whose military British Lion was magnificent.

Others shine in smaller roles – Emily Arnold’s Glinda oozes goodness and glamour and Charlie Liddington is a malevolent Miss Gulch.

Sam Basinger’s Professor Marvel and Nicky Bretherton’s softhearted Emerald City Guard also stand out.

But no one lets the side down – even Dexi the Jack Russell cross, playing Dorothy’s beloved Toto, was on top form on opening night.

In short, this Wizard of Oz is truly wicked.