Nomdeplume, you're positively brilliant! The thought of Our Mr. Morrison as a warlock would explain so much, especially his abilities with metamorphosis. As a wickedwitch myself, I know I have always felt an otherwise inexplicable kinship with the man.
Warlocks definitely fly, and if Matthew Morrison doesn't, I'll lend him my broom. Merlin, at least, was a notorious shape-shifter, so the thought of warlocks with feathers is well within the realm of possibility. No wonder everyone is clamoring to work with him. He probably magics up his own costumes, sets, and lighting. I also wouldn't be surprised if he used some sort of astral projection to superimpose himself upon the roles he's left behind, explaining your experience with
Hairspray. Can anyone who's seen
The Light in the Piazza since his departure confirm this?
As far as operatic roles for our beloved warlock, the best I've been able to come up with is Prokofiev's
The Fiery Angel, although there is a rather sinister coloratura aria about birds in
Tales of Hoffman, and I'd love to see an all-bird production of
Turandot, in which failed suitors get pushed out of the next and eaten by cats rather than having their heads chopped off.
Of course, the thought of Mr. Morrison as warlock could be potentially dangerous. Is the spell he weaves on his audiences due to his abilities as a performer, or are we literally under his spell? The fact that I am able to ask that question would seem to point to the former option, but perhaps that's part of his sheer, diabolical genius as a warlock.
"Wilkins, after all these years, are you trying to be funny?"