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Review by Larry
A Brechner
The musical Wicked
is new twist on the popular L. Frank Baum’s mythic American
fairytale, The Wonderful Wizard
of Oz. First published in 1900, it was part of a whole series of
fourteen books about the
Land
of
Oz. Best
known when it was adapted into the 1939 M-G-M motion picture, The
Wizard of Oz, which has developed a virtual cult following, itself
becoming an iconic fable firmly planted in American culture. In the
film version, the main story about being in Oz occurs as part of a
Technicolor dream that Dorothy has, after being injured during a
tornado. In Wicked,
Dorothy’s eventual, though incidental pivotal involvement, is only
related as an implied back story plot element.
She is never actually seen on stage.
Wicked
is an adaptation of the Gregory Maguire novel by the same name,
with the show’s book by Winnie Holzman.
It challenges the accepted story by exploring many hidden and
broader aspects of Oz before the arrival of Dorothy. The musical
departs in several ways from the novel, effectively condensing or
omitting many of the novel’s plot details, while retaining the
fundamental theme of the story. The
surprise conclusion is probably the greatest departure the musical
version has from the novel. Similar in concept to Stephen Sondheim’s
musical, Into the Woods,
that takes a well known fable, and by reworking the plot elements
showing the consequences of the characters’ behavior, it reveals a
different and deeper perspective thus adding drama action.
The protagonist is Elphaba, a green skinned girl born as a result of
an illicit tryst between her mother and a mysterious stranger,
drinking a strange green elixir, while her husband, the Governor of
Munchkinland is away. Elphaba’s appearance repulses her Governor
“father,” and she is a mistreated by her family and a social
outcast.
The story picks up years later when Ga-linda, a supporting
protagonist, arrives in style at the Shiz (“Old Shiz”), a college
for the citizens of Oz. Elphaba
arrives with her wheel-chair bound younger sister, Nessarose.
The other students are repulsed by Elphaba, treating her as an
outcast. She is sent
there by her Governor father mostly to take care of her sister. Madame
Morrible sensing an opportunity decides to take Nessarose into her
personal care to gain favor with the Governor. As a result, the widely
different Ga-linda and Elphaba are compelled to become roommates.
Elphaba during a commotion accidentally demonstrates some of her
untrained magical powers, and Morrible decides to personally tutor
her.
Resigned to their fate as roommates, Ga-linda seeks to transform her
dower companion into a more social being during her campy song,
“Popular.” Despite
their vast differences, they become friends. They visit the
Emerald
City
at the invitation of The Wizard who wishes to meet Elphaba, to exploit
her magical powers that have been revealed to him by Madame Morrible,
now his Press Secretary.
Elphaba can interpret and use the book of spells, but discovers the
Wizard’s and Morrible’s plot to use her power to help them
persecute the intelligent animals of Oz to create an enemy so they can
dominate the masses. Repulsed
by their motives, she rebuffs them, and the Wizard brands her as
wicked. Elphaba takes the book of spells, creates a flying broom and
becomes known as the Wicked Witch of the West in the Act One finale
song, “Defying Gravity.”
Glinda (as she is now known) is declared the Good Witch of the North
by Morrible for the Wizard. Fiyero,
now her fiancée, is not happy with the events and eventually goes off
the find Elphaba, his ture love. After the death of her father,
Nesserose becomes the bitter and unhappy governor of Munchkinland,
with Boq virtually her bond-servant.
Wicked endeavors
to explain how familiar situations and characters actually came into
being (The magic “ruby” slippers, Flying Monkeys, Tin Man,
Scarecrow, Cowardly Lion, and the demise of her sister by a falling
house during a tornado bearing a creature called Dorothy) and how
their various circumstances were blamed on Elphaba, despite her desire
to do good. She realizes
the wizard is a powerless fraud. He defends his charade in OZ telling
her, “Elphaba, where I'm from, we believe all sorts of things that
aren't true. We call it - ‘History’."
Thematically, Wicked
explores simple prejudice against marginalized beings in both the
personal plight of Elphaba, and in the larger overt persecution of the
sentient animals of Oz like, Dr. Dillamond (the goat professor at Shiz).
The matter of social acceptance and rejection within families
and in the larger community is demonstrated in the plight of these
characters.
With overtones of moral pessimism about the nature of good versus
evil, Wicked not only
questions the substance of truth, by asking what is actually true and
what is believed to be true on face value.
It also attempts to
demonstrate the corrupting nature of power and how absolute rulers or
governments can determine what is perceived by the masses as good or
evil, real or illusion.
The juxtaposition of the plot’s many tragic ironies like: the
childless Wizard’s relationship to Elphaba, revealed as his
illegitimate daughter, the irreversibility magic spells cast, meeting
and fulfilling the expectation of others despite the character’s
intrinsic nature, and how deception, even if not true, may believed by
the masses. All these point coalesce into a cynical satire of Oz and
by extension to our own world.
Finally, central to this musical’s premise is the resilience of
love, friendship, loyalty and hope, despite the betrayal of these due
to the stresses of the surrounding circumstances and self-interest.
Spectacle has become the expectation for these large scale corporate
musicals, and Wicked is no
different delivering a breathtaking visual treat.
The action is virtually continuous with scene changes generally
blending seamlessly into the each other.
Composer Stephen Schwartz interest in tackling conceptual projects
like Wicked is well known: Pippin,
Godspell, Working, The Magic Show, Children of
Eden
and others are among these types of projects. His score for Wicked
is stylistically different from offerings found earlier in his career.
Both Godspell and Pippin
used a mix of musical styles in their scores, which became an early
trademark of the composer. Much
of his music can be both energetic and introspective.
In Wicked,
Schwartz’s music follows more of a singular thematic form.
In some ways the show leans toward a more “sung-through
song” form, along the lines of Sondheim, where much of the story is
told in the music, and less in the dialog.
Though not nearly as dark as later Sondheim scores or as
operatically styled as a Webber score, Wicked
has elements of both present representing a significant departure from
his earlier works, which are greatly enhanced with sweeping
orchestrations by William David Brohn.
Ana Gasteyer, best known to national audiences
for her six season stint on Saturday Night Live as an improvisational
styled comedienne, plays the green-skinned Elphaba. She delivers a
very strong vocal and acting presence in the role of the distressed
woman who becomes known to the denizens of Oz as the Wicked Witch of
the West. It is an
impressive effort, deserving of this dynamic yet self-effacing
character that is on par with the performance of the original Broadway
cast by Idina Menzel.
Balanced by an equally stunning performance with her rendition of
Glinda was given by co star, Kate Reinders. Careful not to just copy
Broadway’s original Glinda, Kristin Chenoweth’s interpretation,
but capturing the essence of the character, Reinders brings a her
considerable vocal and acting talents to the role of conflicted,
reluctant socialite friend of Elphaba.
In a one week guest appearance, the current Broadway Wizard of Oz, Ben
Vereen, appeared in the production.
Consistent with character’s original Wizard, Joel Grey,
Vereen brings into the role his own uniquely styled presentation,
showing that the 59 year-old Broadway veteran still has the moves.
This is sort of a reunion with Schwartz, first appearing as the
enigmatic Leading Player in the original Broadway version (and several
touring versions) of Pippin.
Though only a supporting role in the show, seeing the venerable Vereen
on the boards again is inspiring for long-time theater fans.
Strong Broadway-level performances by Telly Leung as Boq, Kristoffer
Cusick as Fiyero, Heidi Kettering as Nessarose, Rondi Reed as Madame
Morrible, supported by an outstanding and energetic cast round out the
production.
The set is creatively styled based on various clockwork mechanisms.
With a proscenium fashioned on the same theme, suggesting a large
clock housing that frames the stage action, with a large ornamental
dragon over hanging the arch which
punctuates the on stage action by moving at several times
during the show. Many of
the sets use simple track or roll on units only suggesting the scene
are effective while keeping the scene changes to a minimum.
Lighting is creative thematically suggesting the clock metaphor. Using
a Broadway Jewel-styled design, plus the use of image projections and
computer controlled lights are evident, but not overwhelming always
supporting the story. Many
times shows over use technology causing them to become light shows.
Costumes suggest a darker view of Oz sometimes reminiscent of
Dickens’ characters. Glinda,
the blond socialite, glamour girl, is the exception who always is
featured in bright or pastel colors in contrast to the other
characters. The key elements of Elphaba’s costume are drab earth
tones gradually building as the story unfolds toward the classic
pointed hat, caped, all black witch attire.
One partially
unresolved plot point is the question of how the
animals of Oz, like Doctor Dillamond, were losing their power
of speech. As a plot
point it served to create a group of “enemies” giving the people
of Oz something to fear, thus serving to adding to the political power
of the Wizard and Madame Morrible.
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