Here's the rest! I made some additions above in brown. It wouldn't let me put everything in the first post, though, cause it was too long.
Thanks to everyone who left a comment!
-WITF: Something I thought was really cool was how Mackey and Roscioli illustrated the differences in their characters by how they held their letters: Mackey held hers out in front of her in a very theatrical, poised, elegant manner and Roscioli held hers close to her chest, being more guarded and defensive. Like WickedLou said recently, Roscioli's timing of "Blonde" is perfect: Glinda sort of whispers her intro and she listens, mulls it over for a bit, and then delivers the perfect judgment. One aspect of WITF that I loved was all the little nuanced physicality that the two women bring to it, all these little twitches and things that line up perfectly with the music. Glinda snapped her mirror at Elphaba after she mocked her leg kick. The boo was pretty convincing, and they did some adlibbing while the scene transition finished. Which brings me to my next point:
-There was so much inaudible adlibbing throughout the Shiz scenes between Elphaba and Nessa, Elphaba and Glinda, and Glinda and her posse, that it was driving me crazy that I can't read lips. I tried to pick up on some of it, but alas, no luck. Would have loved to know what they were saying (especially between Elphaba and Nessa in the room assignment scene).
-Classroom scene: Glinda was very animated with the students next to her. Elphaba did her facepalm at Glinda's "I don't understand why you can't just teach us history…"
-SB: This is a scene that I've noticed doesn't tend to leave a lot of strong impressions on repeat viewers, and I'm no exception, but this whole first act was just so magical for me that this scene, too, had me hanging on every word. As I noted above, I'm not sure who the Dillamond actor was. His "Baaahhh" was a little weak, but I liked him a lot. When Elphaba told him "someone's got to tell the Wizard, that's why we have a Wizard" he gave her such a warm smile, like her concern and reassurance meant a great deal to him and she'd just brightened his day.
-DTL: Glinda seemed rather nervous around Fiyero at the start of DTL with her restrained swaying, like she was unsure exactly how to act, but I could be misinterpreting this. Brightman was a good Boq. When Glinda suggested someone invite Nessa, he thought hard for a sec before exclaiming "I know" or whatever the line is, as if he'd just had a brilliant idea. When Elphaba walked into the ballroom, the whole thing was really painful to watch (i.e. really, really good). Fiyero, with "it's not like it's your fault", was
really making the whole thing worse for Glinda. Elphaba's initial dance was jerky, out of anger and as if she was forcing herself to dance. When Glinda stepped in, she threw out her hand, daring Glinda to continue, not sure of her motives. I remember Elphaba starting to walk out stage left as Glinda moved stage right and was blocked by her 2 friends, but then being drawn back in (I wasn't sure if Glinda was trying to leave (but then why would her friends stop her) or if her friends were just confronting her about what she was doing. Can anyone shed some light?).
-Popular: I thought Mackey did a great job with this. She was not OTT and didn't overdo it, but still brought a lot of spunk and laughs to Popular. I really liked that she played "Fiyero and I are going to be married" realistically instead of going OTT (though I find Alli's pillow scream hilarious). At one point when she's kneeling on her bed with Elphaba there, she rocks back and forth continuously banging her hip into her, and they just sell it as a pair because Elphaba mirrors what I would think is the audience's impression: the first couple times its cute and they are having fun and then Glinda keeps doing it to the point of annoyance which makes it hilarious to watch. She delivers "to…think…of" with her lips stretched over her teeth, showing Elphaba what to do as she applies the lipstick. Also, when she indicates she wants to put lipstick on her, Roscioli gave a distinct shake of her head and possibly an audible "no", which I LOVED.
-From here on in, the friendship between Elphaba and Glinda was so tangible. Like I said, I finally understood Wicked as the story of their friendship. Just an unbelievable pair. I would even go so far as to say that maybe Elphaba becomes a somewhat softer character because of their friendship.
-Lion cub scene: Kern mimicked Mackey's toss-toss when he says Elphaba's been Galindafied. I love the way Roscioli moves as she casts a spell. It sort of thrusts out of her with a "woosh" like all of a sudden this power she has no control over demands a fervent discharge. Also, it seemed that her movements were somewhat correlated with the jerky, bewitched movements of the students, which I thought was cool.
-OSD: The 'no one's staring' bit was really touching and Glinda seemed really genuinely happy for her.
-In the Wizard's Chambers: You could tell the implications and severity of the situation were just not registering with Glinda. She just swallowed what she was fed. Benjamin played a neat false card where, when Elphaba tells him "You have no real power" he seemed very threatening and you're not sure what he's going to do to her before answering nicely "Exactly. That's why I need you."
-DG: Again, Roscioli brings so much raw emotion to this, as one would expect from Elphaba's situation, in her face, in her body, and in her voice, which just penetrates your body and gives you chills. She's terrified and crushed and almost to tears, but also somewhat numb. I think my favorite thing that she does is in the middle of the Elphaba and Glinda section. After she asks "Are you coming" and Glinda steps back, she adds "Come on" as a quick, desperate, on-the-emotional-brink plea to Glinda and thrusts the broom at her for emphasis. This KILLS ME every time, it just twists my heart up into a thousand knots because it comes from such an instinctual, emotional core. She is leaving behind her whole life as she knew it, she's scared, and she would do anything to have Glinda with her. The whole flying part is sort of a blur for me, it just went by way too quickly, so I can only recount a generic fantasticness. I didn't feel the really big belting moments were as powerful as I expected them to be, however, and same with NGD. Now, since Roscioli was recently sick, I guess it might have been her holding back a smidgen, but at times I also didn't feel the ensemble felt as powerful, too, and so it also could have been a difference in the sound dynamics between the Gershwin and the Oriental in Chicago.
Act 2 Whereas act 1 had me on the edge of my seat the entire time, act 2 didn't do as much for me. I ended up following it more with my head than my heart, and for this reason I think I'm done seeing Wicked for a long time because I do not want to damage its specialness to me by seeing it if its emotional impact is diminished. Because it was Elphaba's story and tragedy that I cared about the most, I was much more fixated on act 2 than act 1 in the past (in the final Chicago performance I recall almost wanting to get act 1 out of the way to get to act 2). It is what I've analyzed, turned over and over in my mind, picked apart, etc. and so I think by the time I saw this performance it was harder to live in the moment with it. My experience was more like "Oh, here's the part where this happens to Elphaba, lets pay attention to her hand gestures", etc. Also, I think part of it was the fact that, having seen the show a couple times already, my attention span for living in the moment just didn't make it through the 2
nd act. I can take individual scenes and still be enraptured by them, but it was hard for me going through the whole 2 ½ hour musical. Finally, I might have been more disconnected from act 2 because was attention was so heavily focused on Elphaba and Glinda that I wasn't paying enough attention to what was going on around Elphaba in act 2, which is integral to following her emotional journey.
As such, not as much was as memorable, so I'll just mention a few things and then I'll move on to Federer's Nessa and few other comments.
-TG: Mackey did a fantastic job. Reed was very threatening as she learned forward to intimidate Glinda when she got too far "off-script".
-TWWOTE: See Nessa section at bottom. Roscioli was very visibly shaken and upset with what happened to Boq.
-W: Benjamin is a very animated Wizard! He has all sorts of little gestures to color Wonderful with. Roscioli really creates a nice evolution for the character, and Elphaba's more soft-spoken and reserved with the Wizard here in contrast to her in-your-face fire at Shiz. During tense confrontation scenes like when Glinda and Fiyero are present here and the cornfield scene when the guards arrive, Roscioli's Elphaba is unwaveringly focused, standing, watching, taking everything in. She isn't displaying a lot of big, obvious emotion, but it works so well with her well-thoughtout characterization of Elphaba.
-ALAYM: Elphaba was in awe and disbelief at first, but IMO she quickly became the leading presence in the song because, again, Kern as Fiyero was rather, not timid, but not take-charge in his presence either. They did kiss once. It wasn't as intimate as in Chicago, but once they did kiss, they seemed drawn together like magnets. What really stood out for me this time more than before was Elphaba's visible and audible worry that they would never see each other again as she made to leave.
-Cornfield: Both of them played it on the dramatic side despite the comedic moments, which I really appreciated. As Elphaba comes toward Glinda, becoming more demanding and intrusive ("He never loved you…"), you could just see the hurt and pressure building in Glinda, like a rubber band stretched tighter and tighter, and she was trying so hard to block it out and keep it together, that the slap was completely believable as the involuntary snap! of the metaphorical rubber band. Mackey just pulled that off very well, and she seemed abashed at what she did in her "Yes I do". There's been some talk of Glindas walking toward Fiyero's gun now, but I can't recall that happening. Mackey took a long pause of coming to acceptance between "He just" and "loves her". She was just so badly hurt by Fiyero's abandonment.
-NGD: Roscioli owns this scene. Period. Again, she gives an emotional 110% to everything, making NGD a roller coaster ride for the audience. She's pretty violent with the Grimmerie. She doesn't bring as much cutting, shouty vocal "wickedness" to the end as, say, Harrison does, but the distortions in her face are very wicked. She did her 2
nd Fiyero riff, so she must have been feeling better, and it is, in the most literal sense, breath-taking. My chest tensed up and just wanted to soar with the note.
-FG: Mackey, again, delivers the shoe line pretty naturally rather than trying to sell it for laughs. Chistery was reluctant to give Elphaba the Grimmerie when she goes to retrieve it for Glinda, which I thought was a very nice touch, since Chistery doesn't get a whole lot to work with. Their harmonizing was gorgeous.
-Melting scene: One thing I would like to be different is the melting scream. Even though I know Elphaba's not dying, I would love to be able to trick myself into thinking she is and experience the emotional adrenaline rush of the moment, but for me to do that the scream needs to be a sincere, someone-just-stabbed-me-with-a-knife scream, and it is not that. It's more of a moan/whine that I just can't connect to the thought of Elphaba dying, so I can't get past a 'meh' feeling. That probably wouldn't be good for her voice, though. So I spent most of the time watching Glinda's reactions, which is what you're probably suppose to be doing as an audience member anyway, and she was just heartbreaking to watch.
-Liked how Mackey confronted the Wizard and Morrible at the end. In the past, I was ambivalent about the appropriateness of Glinda mocking Morrible given what just happened, but Mackey spun it well. When the Wizard finds out the truth, it is like all his strength and energy is just sucked out of him.
-Final scene: The most powerful image I took away with me from the entire performance was Elphaba staring out into the audience from downstage when she sings her final harmony with Glinda. She just looked so forlorn, it is one of those things that really haunted me. It really drove home the tragedy of the end.
Additional Comments So I've neglected to talk about Nessa so far because I'd rather sum up Federer's characterization as a whole. I loved Ms. Federer's nuanced performance. Her Nessa gives the impression (deliberately or not) of someone who is outwardly passive and content to let her sister speak for her and let whatever will unfold, unfold. It's just how things are, and why should she try to change anything? She's at a place in her life where, without much power or autonomy and lacking any ambition for herself, acceptance is just easier. She cares about her sister and I think she appreciates her at least to some degree, but she also depends on her just because it is easier. In DTL, when Boq says he has something to confess, she tries to deliver her lines as matter-of-factly as possible, hiding her disappointment. After all, why would he love her? Just something else to accept. The way she plays Nessa in act 1 sets up act 2 perfectly therefore because, after all the internalizing and passivity, she comes into power and ends up abusing it because she doesn't know how to handle it, and then in TWWOTE when she finally explodes you know it is really significant for her character.
Finally, I wanted to comment on how Mackey and Roscioli's performances are both so appropriate for the age of their characters. They both are 100% believable as two college girls and they look the right age, and I think that adds a little something to the show and the way one perceives the show. Obviously, Mrs. Mackey is not much older than a college student herself, so she brings the perfect youthful aspect to Glinda, even when she's regal and a public figure and feeling grown-up. She fits the role so well. Roscioli as well does a fantastic job of bringing a type of youthfulness and measure of inexperience to Elphaba. Even in act 2, she plays Elphaba's coming into her own and being forced to mature by tragic circumstances well, but you still see that she's young and inexperienced. She took her life into her own hands and set out by herself to do what she needed to do, but now that she's out in the world, how does she do it? When she confronts the Wizard, she's uncertain how to handle it. I think Roscioli does a great job of finding that balance and creating a wonderful characterization and arc for Elphaba.
Summary: Roscioli + Mackey =
when I heard that Roscioli would be leading on Broadway, as I'd resigned myself to the fact that I'd seen her for the last time in Chicago. It was such an unexpected gift: one more chance to experience a performance that had blown me away, and I gladly drove 5 hours with my friend specifically to see her.
Love the way Mackey plays the "You're too good" "No I'm not". I can still hear her say it and she casts the comment off with a cute little flip of her purse. 
. Part of it was probably that I'd already made the connection in my head between Elphaba and Fiyero-that-looks-like-Cusick. Again with interviews that suddenly clicked with me, I felt I experienced the Grimmerie's description of Fiyero as sort of an out-of-place character in this story of the two girls, which isn't surprising given how strong the chemistry was between Mackey and Roscioli.