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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 dramatic 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 green 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
and gain insight into her magical abilities.
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
she discovers the
Wizard’s and Morrible’s plot to use her power to help them persecute
the intelligent animals of Oz in order 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 true 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. While 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, Morrible seemed to have very limited
magical powers. |
