Embedded Files
Key knowledge Ways to analyse and evaluate a theatre production Contexts of the written script and how they have been interpreted in the productionTheatre styles in the written script and in the play in performanceEvidence of decisions taken by a creative team of theatre practitioners to interpret the written script for performanceProduction roles and their application in developing the written script for performanceTheatre technologies and their use in the productionElements of theatre composition and their use in the production Terminology and expressions used to describe, analyse and evaluate a theatre production
WICKED: BRIEF SYNOPSIS
"When Dorothy famously triumphed over the Wicked Witch of the West, we only ever heard one side of the story. Gregory Maguire‘s acclaimed 1995 novel, ‘Wicked: The Life and Times of the Wicked Witch of the West’, re-imagines the Land of Oz, creating a parallel universe to the familiar story written by L. Frank Baum and first published as ‘The Wonderful Wizard of Oz’ in 1900."
Source: https://www.wickedthemusical.co.uk/synopsis/
Listen to this podcast for more special exam help (Start at 5mins 30secs in)
UNIT THREE WICKED EDUCATION RESOURCE
WICKED-VCE-Theatre-Studies-Unit-3-Materials.pdfBelow is a UNIT FOUR resource, but it still has some great info in it that could help you with Section B on the exam.
WICKED-VCE-Theatre-Studies-Unit-4-Materials-.pdfTHEMES AND INTENDED MEANINGS
From an interview with Karen Mortimer, the Australian Director for the 2024 Australian tour of Wicked
What do you believe are Wicked's key messages or themes?
True friendship can be found despite people having opposing views in many areas.
Always to be true to yourself and to your own moral standards.
The general media and social media can be sources of propaganda and twisting of the truth.
Simple but true, never judge a book by its cover.
CONTEXTS
Contexts of the written script and how they have been interpreted in the productionThe musical WICKED is based on the 1995 Gregory Maguire novel Wicked: The Life and Times of the Wicked Witch of the West. Gregory Maguire’s novel is based on L. Frank Baum’s novel The Wonderful Wizard of Oz published in 1900 and the 1939 film The Wizard of Oz. Maguire's novel explores the untold story of the Wicked Witch of the West. The musical WICKED (2003), with its book by Winnie Holzman and music and lyrics by Stephen Schwartz, is based on this revised telling of the classic tale of Oz.
The written context for WICKED is rich as there is contextual and creative influences that run over a century of Oz inspiration, from the original Baum book to this incredible mounting of the show. When WICKED premiered in 2003, the world was experiencing significant social and political changes. Post-9/11 sensitivities, concerns about political leadership, and issues of discrimination and social justice were prominent. These themes resonate in WICKED, as the musical touches on topics such as the nature of evil, the complexity of morality, the misuse of power, and the dangers of propaganda.
Winnie Holzman’s description of the process of writing the Wizard exemplifies the way they were inspired by the world around them: “When we started writing WICKED in early 1998, the Bill Clinton scandal had just broken out. Everyone was reeling with the absurdity and horribleness of what we’d all been through with that scandal. And we ended up talking about the Wizard a little bit like Clinton, somebody who had these weaknesses. Then, while we were developing the script, George W. Bush took power. And the Wizard changed. He became more dangerous. We were just responding to what was going on around us. I mean, in the middle of writing, New York City was attacked on September 11. And you would have to have been living under a rock not to see what was going on around you. We already had a story that had to do with power and the nature of using power. We had to ask, ‘What does it mean to be powerful?’”
Stephen Schwartz, too, describes the influence of American politics on both the musical and the Maguire book: “Gregory’s book is firmly set in Oz, but it parallels events and political situations that we know of on earth, both current and from the more overtly fascist days. We were very aware of them when we wrote. I’m not trying to imply that references in a song like “Popular” are as dark as that, although I think “Wonderful” is pretty dark. Gregory’s Oz is basically a fascist society. We didn’t push that far – we made it more about American politics. Depending on what colour state you live in, you have a view of how close to fascism we are right now.” Producer David Stone echoed the sentiments: “What’s fascinating to me is that Gregory wrote the novel in 1995, as a response to the ways in which our government lies to us, from Watergate through the Gulf War. Stephen and Winnie started writing it in the late ‘90s. And then it became more relevant after September 11 and this particular administration.”
The plight of Doctor Dillamond and the other animals clearly references the context of Nazi Germany and the treatment of Jewish people during the Holocaust. Holzman and Schwartz would have picked up on these contextual references in Maguire's novel. Throughout the production we see Oz slowly decay into a totalitarian fascist state where the 'animals' are gradually deprived of their rights. Holzman and Schwartz present the Wizard as a manipulator, subjugating the animals for the greater good of the people of Oz. Of course, it becomes clear that he is actually doing this to remain in power. As Doctor Dillamond observes, "the best way to bring folks together, is to give them a really good enemy." (Act One, Scene 13)
The context of the-world-of-the-play is harder to pin down precisely. The world of WICKED is set in the fictional Land of Oz, an imaginative and fantastical realm first created by L. Frank Baum in his Oz book series, starting with The Wonderful Wizard of Oz. The setting of WICKED is prior to, and eventually concurrent with, the events of Baum's original story, specifically the arrival of Dorothy from Kansas.
This fantasy world is characterised by its vivid and diverse landscapes, ranging from the emerald-green opulence of the Emerald City to the other parts of Oz. The society in Oz is complex and stratified, featuringa variety of creatures, races, and magical beings, each with their own cultures and histories.
In terms of time, WICKED doesn't specify a particular period in relation to the real world; it exists in its own timeless fantasy setting. However, there are elements that might remind the audience of different historical periods, such as the twisted Edwardian sophistication of the Emerald City.
The political and social context of Oz is critical to the plot of WICKED. The story delves into themes of power, corruption, prejudice, and propaganda. Oz is under the rule of the Wizard, who, despite his charming public persona, runs a repressive regime, particularly against talking animals and other beings who are seen as different or threatening. This aspect of the story allows WICKED to explore deeper themes of identity, otherness, and the nature of evil, set against a backdrop of political intrigue and moral complexity.'
L. Frank Baum, in his original The Wonderful Wizard of Oz and subsequent Oz books, did not specify a particular date or historical period for the setting of Oz. His portrayal of Oz was as a fantastical, timeless realm, separate from the real world in terms of historical context or specific time period.
Baum's narrative begins in Kansas, depicted as a rural, agrarian setting, which many interpret as reflective of the late 19th or early 20th century, given the book's publication in 1900. This assumption is based on the lifestyle, farming practices, and the overall depiction of rural American life presented in the book. However, once the story moves to the Land of Oz, the setting becomes purely fantastical.
LINKING CONTEXT
While the specific contexts of each work differ, they are linked by how they reflect and respond to the technological, cultural, political, and social changes of their times.
L. Frank Baum (1900): When Baum wrote The Wonderful Wizard of Oz, America was experiencing significant changes. The turn of the century was marked by technological advancements, the aftermath of theIndustrial Revolution, and the beginning of modern consumer culture. There was also a sense of American optimism and the idea of a new kind of American fairy tale, which Baum contributed to with his Oz series. Gregory Maguire (1995): Maguire’s inspiration for Wicked came from the world around him. “In 1990, I moved to London with my then-boyfriend when the first Gulf War started. I found myself riveted by how the British press vilified Saddam Hussein to galvanise public opinion in support of the military action against Iraq. I mean, I agreed that Saddam Hussein was a villain, but my politics were less important than my noticing how the British press used certain words to draw attention to the need for military intervention. I came back from London at Easter time and found that, without my quite having noticed it, my politics had shifted way to the right. And I took myself to task for it: ‘Wait a minute. You’re a progressive liberal. Howdid this happen? How did you lose your moorings so quickly?’ That’s when I realised that I could marrythese concerns to questions I had when I first thought of the idea of Wicked: Was it possible for someone to change his moral stripe? To be born blameless and become evil? Or does one have kind of a kernel of evilinside, like cells that are predisposed to be cancerous?” Holzman and Schwartz (late 1990s): Holzman and Schwartz began working on the musical WICKED in the early 2000s. This was a time marked by the aftermath of the 9/11 attacks, growingpolitical divisiveness, and heightened awareness of global issues like terrorism, environmental concerns, and human rights.
Connecting Events and Themes
Technological and Cultural Changes: Each period saw significant technological and cultural shifts that influenced how stories were told and perceived. Baum's industrial-age optimism, Maguire's reflection on a globalised and complex world, and Holzman and Schwartz's response to a post-9/11 society, all represent the evolving American narrative.Political and Social Allegories: From Baum's potential allegories of his time's economic politics to Maguire and Schwartz's exploration of themes like propaganda, authoritarianism, and social justice, each work reflects the political and social consciousness of its era.Redefining Good and Evil: All three works challenge the traditional notions of good and evil, a theme that seems to gain complexity and depth with each retelling, reflecting the evolving moral and ethicallandscape of each respective era.
While the specific contexts of each work differ, they are linked by how they reflect and respond to the technological, cultural, political, and social changes of their times.
L. Frank Baum (1900): When Baum wrote The Wonderful Wizard of Oz, America was experiencing significant changes. The turn of the century was marked by technological advancements, the aftermath of theIndustrial Revolution, and the beginning of modern consumer culture. There was also a sense of American optimism and the idea of a new kind of American fairy tale, which Baum contributed to with his Oz series. Gregory Maguire (1995): Maguire’s inspiration for Wicked came from the world around him. “In 1990, I moved to London with my then-boyfriend when the first Gulf War started. I found myself riveted by how the British press vilified Saddam Hussein to galvanise public opinion in support of the military action against Iraq. I mean, I agreed that Saddam Hussein was a villain, but my politics were less important than my noticing how the British press used certain words to draw attention to the need for military intervention. I came back from London at Easter time and found that, without my quite having noticed it, my politics had shifted way to the right. And I took myself to task for it: ‘Wait a minute. You’re a progressive liberal. Howdid this happen? How did you lose your moorings so quickly?’ That’s when I realised that I could marrythese concerns to questions I had when I first thought of the idea of Wicked: Was it possible for someone to change his moral stripe? To be born blameless and become evil? Or does one have kind of a kernel of evilinside, like cells that are predisposed to be cancerous?” Holzman and Schwartz (late 1990s): Holzman and Schwartz began working on the musical WICKED in the early 2000s. This was a time marked by the aftermath of the 9/11 attacks, growingpolitical divisiveness, and heightened awareness of global issues like terrorism, environmental concerns, and human rights.
Connecting Events and Themes
Technological and Cultural Changes: Each period saw significant technological and cultural shifts that influenced how stories were told and perceived. Baum's industrial-age optimism, Maguire's reflection on a globalised and complex world, and Holzman and Schwartz's response to a post-9/11 society, all represent the evolving American narrative.Political and Social Allegories: From Baum's potential allegories of his time's economic politics to Maguire and Schwartz's exploration of themes like propaganda, authoritarianism, and social justice, each work reflects the political and social consciousness of its era.Redefining Good and Evil: All three works challenge the traditional notions of good and evil, a theme that seems to gain complexity and depth with each retelling, reflecting the evolving moral and ethicallandscape of each respective era.
Analyse how an actor realised the context of the script in the play in performance.In your response, refer to:• one or more specific moments from the selected play in performance• one or more of the following areas of context: – cultural origins – language of the script – time and place in which the play is set – time and place in which the play is written – historical and/or political influences on the playwright when writing the play.
The actor, Jemma Rix, through her portrayal of Elphaba, conveyed the cultural origins of the post 9/11 climate in which the playwright wrote the script, specifically the discrimination prevalent towards particular groups of people. This cultural origin, which was an influence on the playwright, brought a level of depth and integrity to the playscript which was realised through RIx's performance. In Defying Gravity, the lyrics, "I'm through accepting limits 'cause someone says they're so," reflect Elphaba's defiance against imposed constraints and her acceptance of her own identity and power. This was conveyed through the actor’s use of acting skills, such as, voice, gesture, and facial expressions, and her exceptional use of focus. Rix's powerful vocals throughout the song emphasised Elphaba's determination, coupled with the gesture of outstretched arms clutching a broom symbolising Elphaba’s resolve to defy the social constraints placed on her. As Elphaba stepped into this power, the actor applied facial expressions consisting of wide eyes and a determined smile to convey the character's sense of joy in her newfound sense of freedom. The actor’s focus as Elphaba rose above, remained outward, beyond the audience, clearly conveying that Elphaba was looking to the future and the sky was her limit. This climax of Act One sent a message to the audience of empowerment and rebellion against unjust discrimination, illustrating the power an individual has to create change when they refuse to remain silent.
The actor, Jemma Rix, through her portrayal of Elphaba, conveyed the cultural origins of the post 9/11 climate in which the playwright wrote the script, specifically the discrimination prevalent towards particular groups of people. This cultural origin, which was an influence on the playwright, brought a level of depth and integrity to the playscript which was realised through RIx's performance. In Defying Gravity, the lyrics, "I'm through accepting limits 'cause someone says they're so," reflect Elphaba's defiance against imposed constraints and her acceptance of her own identity and power. This was conveyed through the actor’s use of acting skills, such as, voice, gesture, and facial expressions, and her exceptional use of focus. Rix's powerful vocals throughout the song emphasised Elphaba's determination, coupled with the gesture of outstretched arms clutching a broom symbolising Elphaba’s resolve to defy the social constraints placed on her. As Elphaba stepped into this power, the actor applied facial expressions consisting of wide eyes and a determined smile to convey the character's sense of joy in her newfound sense of freedom. The actor’s focus as Elphaba rose above, remained outward, beyond the audience, clearly conveying that Elphaba was looking to the future and the sky was her limit. This climax of Act One sent a message to the audience of empowerment and rebellion against unjust discrimination, illustrating the power an individual has to create change when they refuse to remain silent.
PRODUCTION ROLES
Production roles and their application in developing the written script for performanceSET
Eugene Lee is the scenic designer- Heavy influenced by the illustrations in the Baum and Maguire novels, rather than the script or the 1939 film.
- Maguire’s description of the Clock of the Time Dragon inspired what became the core of Lee’s set design: the mechanical dragon that sits above the stage, and the cogs and gears of an old clock, intertwined with nature and crawling vines, that form the arch around it.
- In Maguires novel, the clock of the time dragon is a powerful mechanism for social disruption and truth-telling. In the live production it was the movement of the time dragon that started the show, an indication that we were about to watch the ‘true’ story of the witches of Oz.
- Edward Pierce (designer): We opted to create an environment inspired by the inner workings of a clock. The shapes, textures, colors, and functional aspects of clock gears and mechanisms contributed to a permanent environmental structure, which defines the stage space.
- "Eugene Lee refers to these towers and rotating cogs amongst the set design as “the workings of the wizard, the man behind the curtain” and his control over the Land of Oz and the citizens in it. This suggests that when the cogs and gears are rotating and generating the entrance of set pieces, it is symbolic of the power that the wizard has over the land. Additionally, during their entrance the cogs and gears that are attached to these towers are rotating to bring, similar to those inside of a clock. This gives the impression that time is passing." (Source)
COSTUMES
designed by Susan Hilferty
Susan Hilferty on designing for WICKED: To me, what was so exciting about WICKED was trying to understand a world that had a connection to the turn of the century as we know it. But I also had to incorporate the idea that animals talk, that there is magic, and that there are Munchkins in this place called Oz. So, the design process meant researching history and creating a parallel universe. My research focused on the period in which Baum wrote the books, from 1900 to about 1920. So, in a way, it's centred on the Wizard, who is our representative in Oz. The Wizard is somebody from 1900 who has gone up in a balloon and somehow drifted over to Oz. So, I created a style I call "twisted Edwardian."It's Edwardian-era suits and dresses, but asymmetrical-the collar might be off centre, or the cut of the dress twists around crazily.
In the Emerald City costumes, Hilferty incorporated animal remnants into her designs, showcasing the wealth of the city, the disregard for animal life and the blatant persecution of anyone considered different or lesser. Even as Animals are being stripped of their rights, Emerald City citizens pay no attention and flaunt their elaborate formalwear as long as they are being kept happy by the Wizard.
When designing the Shiz University uniforms, Hilferty devised the idea of a “Shiz school store” where students could mix and match different tops and bottoms that all had the same Shiz pattern. This “struggle between individuality and uniformity” portrayed by Hilferty in the costumes is a recurring theme throughout the show.
Glinda: To research Glinda’s costume, Hilferty interviewed little girls on what they thought goodness looked like, and received the responses of “princess” and “bride”. As a result, Glinda’s costumes have been heavily inspired by key moments in the British monarchy, such as Queen Elizabeth I’s coronation and Lady Diana’s wedding; dresses that are “emblematic of perfect femininity”. Even Glinda’s tiara and wand are influenced by Queen Elizabeth II’s crown and sceptre from the 1950s. Glinda’s costuming is also heavily connected to the sky, sun, stars, air and lightness. Her clothes are always light colours and her wand and tiara are shaped like stars.
Elphaba: In contrast to Glinda, Elphaba’s costuming grounds her; she is connected to the earth and the colours and textures of her dresses are inspired by fossils, stalactites, and striations. In her Shiz costume, she wears heavy boots and a cap that can be pulled down low over her face.
LIGHTING
"One of my main challenges was disguising the ground support system which allowed lead character Elphaba to take flight during the number Defying Gravity," explained the lighting designer for Wicked. "I used moving head luminaires at full zoom for back lighting Elphaba as she rose into the air. Light radiated out from her, masking the mechanics and giving the impression she truly was flying. I used luminaires to light the downstage in a dappled gobo wash, which added to the radiating backlit look."
"In a lot of the scenes I used very strong colours and large gobo effects to create a magical storybook feel. I used the brick gobo for a not so subtle yellow brick road, and utilised the same gobo with a cyan for the interiors of the castle scenes to break up the stage floor.
"..the front cloth twinkles with jewel-like peabulbs. Every onstage cut cloth features thousands of green fairy lights and is framed with strips of Plexineon.
"Haze, smoke and low fog are emitted from various locations around the stage."
"Impressive effect lighting such as magnificent dynamic gobo and washes of broken colour mix with the haze and fog to create magical environments in which the action takes place. The smoke is one of the major cast members in this show!
PROJECTIONS
"The cyclorama can be anything from a huge clock with numerous cogs silhouetted against rich coloured backgrounds to surreal tinted skies. From the moment the front cloth flies out to the final scene of the show, Wicked is a magnificently dynamic visual feast."
THEATRE TECHNOLOGIES
Theatre technologies and their use in the productionDEFYING GRAVITY
The staging of Defying Gravity, the climax in Act 1, features several special effects. The actress playing Elphaba is lifted up into the air by a hydraulic launch system. The sequence relied heavily on around 60 moving lights, smoke, and wind effects.
AUTOMATED SET PIECES
Glinda’s Bubble.
The designer stayed cohesive with the idea of the clock, designing it to look like a mechanical pendulum.
Transitions
To help transition from scene to scene, Lee created automated set pieces, such as the shifting of set elements in the cornfield scene.
THEATRE STYLE: MUSICAL THEATRE
KK: Theatre styles in the written script and in the play in performanceTHEATRE STYLE: MUSICAL THEATRE
The predominant theatre style implied in the playscript, Wicked, is musical theatre. This is evidenced through the playscript being a libretto, which contains what is spoken, what is sung, and what is danced. The playscript also includes stage direction for elaborate costumes, spectacles, and archetypal and stereotyped characters. The live production was consistent with the theatre style inmplied in the playscript. Therefore the theatre style in both the playscript and live performance is Musical Theatre.
Musical theatre is a theatre style where music plays a major role in moving the story forward, while combining songs, spoken dialogue, acting, design elements, and dance in an extravagant spectacle.
Key conventions of musical theatre include:
Evaluate how one or more of the following production roles applied theatrical style(s) in the play in performance to realise the script: • designer: costume • designer: make-up • designer: props • designer: set • designer: lighting • designer: sound In your response, refer to:• one or more specific moments from the selected play in performance• specific dialogue or stage directions from the selected play’s script.
Consistent with the theatre style implied in the playscript, set and costume effectively applied musical theatre, specifically conventions of 'elaborate costume' and 'spectacle', to realise the archetypal and magical elements evident in playscript. This was particularly evident in Act 1 Scene 1, when “Glinda, resplendent and beautiful in her white gown and tiara, descends from on high on a mechanical swing that spews soap bubbles”. Hilferty’s visually stunning costume design applied the theatrical convention of ‘elaborate costume’, the baby blue ballgown, paired with tiara and pearls clearly conveyed Glinda as an archetype of ‘good’. The light pastel colour palette and jewels conveying the stereotype of “perfect femininity” cleverly connecting Glinda to the sky, sun, stars, air and lightness. This was emphasised also through the tiara shaped like stars to symbolise her angelic and heavenly qualities. Likewise, set design applied the musical theatre convention of ‘spectacle’ in this moment, through the incorporation of an automated bubble machine. This theatre technology effectively reinforced the heavenly qualities of Glinda as she appeared to float above the citizens of OZ. This magical design element transported the audience immediately to a different world, enhancing the storytelling and captivating the audience, which is the aim of spectacle.
Consistent with the theatre style implied in the playscript, set and costume effectively applied musical theatre, specifically conventions of 'elaborate costume' and 'spectacle', to realise the archetypal and magical elements evident in playscript. This was particularly evident in Act 1 Scene 1, when “Glinda, resplendent and beautiful in her white gown and tiara, descends from on high on a mechanical swing that spews soap bubbles”. Hilferty’s visually stunning costume design applied the theatrical convention of ‘elaborate costume’, the baby blue ballgown, paired with tiara and pearls clearly conveyed Glinda as an archetype of ‘good’. The light pastel colour palette and jewels conveying the stereotype of “perfect femininity” cleverly connecting Glinda to the sky, sun, stars, air and lightness. This was emphasised also through the tiara shaped like stars to symbolise her angelic and heavenly qualities. Likewise, set design applied the musical theatre convention of ‘spectacle’ in this moment, through the incorporation of an automated bubble machine. This theatre technology effectively reinforced the heavenly qualities of Glinda as she appeared to float above the citizens of OZ. This magical design element transported the audience immediately to a different world, enhancing the storytelling and captivating the audience, which is the aim of spectacle.
Dialogue
Dialogue is a primary means of storytelling in musical theatre, conveying the plot and providing essential information to the audience. It helps to establish the sequence of events, introduce conflicts and resolutions, and create a sense of continuity throughout the production. It is crucial for developing and revealing characterisation. Through speech, characters express their thoughts, feelings, and motivations, allowing the audience to understand and connect with them. Dialogue in musicals conveys information about characters’ backgrounds, social status, and relationships, further enriching their portrayal.
Archetypal Characters
Characters drive the narrative, convey emotions, and allow the audience to connect with the story on a personal level. Through their experiences, challenges, and transformations, characters allow the audience to empathise and form an emotional connection with the story. Characters’ motivations and objectives help to shape the central conflict, build tension, and ultimately lead to the plot’s denouement. Musical theatre often utilises familiar character archetypes, such as heroes, villains, and sidekicks, which help the audience quickly understand and relate to the story. However, modern musical theatre also subverts, challenges or reinvents these archetypes, offering fresh perspectives.
Music
In musical theatre, music enhances the emotional depth of the story and allows the audience to connect with the characters on a deeper level. Music establishes the atmosphere and tone of a musical theatre production, setting the mood for each scene and reflecting the thematic elements of the story. Through musical motifs, composers can create a sense of continuity and cohesion throughout the production, reinforcing the overall narrative and mood. Furthermore, music can underscore dramatic moments or punctuate comedic scenes, heightening the audience’s engagement with the story. It also brings energy and entertainment to a musical theatre production, either via showstopping numbers that inject excitement and spectacle into a show or providing memorable moments that leave the audience in awe. Music is also an essential element of dance numbers and choreography. Music often reflects the cultural and historical context of the story being told.
Choreography
Choreography is intrinsically linked to music and lyrics in a musical theatre production. It creates visually stunning moments and sequences that captivate the audience. Skilfully designed dance numbers and innovative choreographic choices contribute to a musical theatre production’s spectacle and entertainment value.
Song
Songs in musicals allow characters to express their emotions, thoughts, and desires in a way that connects with the audience. Songs also serve as an essential storytelling tool in musical theatre. Through song, characters can reveal important plot points, provide exposition, and move the plot forward. Lyrics contribute to the thematic cohesion of a musical by reinforcing central themes and motifs. Through recurring phrases, imagery, and symbolism, lyricists can create a sense of unity and continuity throughout the production. This cohesion not only strengthens the overall narrative but also deepens the audience’s engagement with the story and its underlying messages. Lyrics often showcase clever wordplay, wit, and humour. Rhymes, puns, and inventive language can make lyrics highly enjoyable, while also reflecting the distinctive style of the lyricist.
Spectacle
One of the primary reasons spectacle is vital in musical theatre is its ability to create a memorable and immersive experience. The visual and technical elements can transport the audience to different times, places, and worlds, enhancing the storytelling and making it more captivating. Extravagant sets, stunning costumes, and innovative lighting designs can bring the production to life, adding depth and richness to the overall aesthetic.
https://thedramateacher.com/elements-of-a-musical/
ACT I SONGS
No One Mourns The Wicked
Dear Old Shiz
The Wizard and I
What is This Feeling?
Something Bad
Dancing Through Life
Popular
I'm Not That Girl
One Short Day
A Sentimental Man
Defying Gravity
ACT II SONGS
Thank Goodness
The Wicked Witch Of The East
Wonderful
I'm Not That Girl (reprise)
As Long As You're Mine
No Good Deed
March Of The Witch Hunters
For Good
Finale
MUSICAL THEATRE CONVENTIONS SNAPSHOT
Songs
Live music
Dance
Comedy
Stereotypes
Archetypes
Traditional format of Acts and scenes
Extravagant costume, sets and other design elements
Costumes make characters easily recognisable
Presentational acting
Stylised movement
Exaggerated/heightened acting skills
Clear narrative
Recurring motifs
ADDITIONAL THEATRE STYLES
Wicked is first a foremost a MUSICAL. This MUST be acknowledged in any analysis. If you choose to discuss other theatre styles, you need to identify the main style as Musical Theatre with the inclusion of conventions from other styles, including, for example:Comedy: A theatrical style that uses humour to entertain and often to provide a satirical commentary on societal norms. It can involve situational comedy, witty dialogue, and comedic characters.Magical Realism: A literary and artistic genre that introduces magical elements into a realistic setting, creating a world where supernatural is accepted as part of reality. It's used to explore complex themes and ideas in a nuanced way. For a piece to be considered 'magical realism' the magic must exist in within a 'real world' setting, and not considered unusual, but accepted as a part of regular existence - it isn't quesitoned. Consider whether Wicked is in fact Magical Realism, or Fantasy, and think carefully about how you will justify it being Magical Realism.Poliitcal Drama: This style focuses on the relationships between public policy, political events, and the characters who navigate these spheres. It often comments on social and political issues. Consider the wider cultural contexts of the playscript, Wicked.Dystopian Fiction: A genre that explores social and political structures in a dehumanized, totalitarian society, often under the guise of a utopia. It involves themes of repression, surveillance, and loss of individual freedoms.Tragedy: A form of drama that typically depicts the downfall of a main character, often due to a combination of fate, character flaw, or societal pressures. It elicits feelings of pity and fear in the audience. The eventual fate of Elphaba, who is misunderstood and vilified despite her good intentions, is a classic element of tragedy, highlighting the themes of sacrifice and the harsh consequences of standing against prevailing norms.
ELEMENTS OF THEATRE COMPOSITION
Elements of theatre composition and their use in the production ELEMENTS OF THEATRE COMPOSITION
VARIATION
This involves changing or varying elements in a performance to keep it engaging, including changes to the dynamics of the interpretation through the use of tension, conflict, intensity, energy and use of the space. Variation can be seen in aspects like dynamics in performance intensity, variations in set and lighting, and differences in characters' interactions. It prevents monotony and keeps the audience engaged. VARIATION
Acting: The range of emotional expressions and physicality displayed by the lead characters, especially Elphaba and Glinda, is seen in the expressive and fast-paced song “Popular” where the two girls begin to establish a friendship despitetheir very clear differences. Although this scene is a great example of Contrast, it certainly depcits changes in tension when compared with previous scenes between these two characters. The space they perform this scene in also shifts from the open space of the full stage to a samll space reflecting the intimacy of this moment and the turning point for their relationship.Costume: The costumes vary greatly fromthe subdued and uniform attire of the ensemble characters to the extravagant outfits of the lead characters. See the image below, where the Shizstudents are dressed all in the same colours and complementary pattern. Only Glinda looks different with a cream vest that marks her as unlike her peers.Dillamond’s costume, however, shows the greatest variation, in a traditional earthy coloured robe that shows that unlike Glinda, who is still part of thegroup despite her higher status, Dillamond has never been part of the group at all, therefore his costumes reflects the tension between himself and those with higher power.Sound: The show features varying soundscapes to create different atmospheres and energy; from the hustle and bustle of the busy Emerald City, to the lively, youthful halls of Shiz University, to the eerie, mysterious environment as Morrible uses her own magic powers to cast spells in the second act.
RHYTHM
Rhythm in theatre is about the timing and pace of the performance. It includes the cadence of dialogue, the timing of entrances and exits, pauses and silences, and the overall tempo of the scene or play. Rhythm helps in creating tension, maintaining interest, and enhancing the emotional impact.RHYTHM
Direction: “Dancing Through Life”is the scene where Fiyero and Glinda firstconnect romantically. It is fast-paced andupbeat, and features a full ensemble around them, whereas Fiyero and Elphaba’s romantic scenes are much slower, and only the two of them are onstage. The quick tempo of Fiyero and Glinda’s scene reflects the shallow and superficial nature of their fast-paced relationship, whereas the slowness of Fiyero and Elphaba’s relationship highlights how meaningful it is to both the characters and enhances the depth of their emotions for one another.Sound: The orchestral score's pacing matches the emotional rhythm of the narrative. See the performance of “The Wizard and I”, where the song becomes faster with Elphaba’s increasing excitement to meet the Wizard.Lighting: The Ozdust Ballroom scene makes use of pulsing lights, creating a rhythmic atmosphere reflective of a high-energy, youthful school dance.
COHESION
This element refers to the unity of all components of the production. Cohesion ensures that every part of the performance, from acting to set design, works together harmoniously to tell the story. It's about creating a seamless and unified presentation where all elements contribute to the overall narrative andthematic goals.COHESION
Costume: The coordinated costume designreflects the overarching themes and era of the setting. See the Shiz University uniforms above where despite the individual outfits not being identical to oneanother, when the students stand together they still appear as one cohesive group.Sound: Stephen Schwartz wrote three musical motifs for Elphaba. The first is “the sound of the wicked witch … she’s strong, she’s scary, she’s powerful; she’s who we think the wicked witch is”. The second is reflective of “her true power” that sounds like “a building self-awareness” as Elphababecomes more confident in herself. The third is the “Unlimited” theme, which is adreamier, more wholesome sound showcasing her hopefulness and aspirations of goodness. All threeof those motifs are repeated throughout the show, creating a layered and cohesive character through music, and they are the building blocks for all Elphaba’s songs.♦ Lighting: The harsh red lighting in the scene below builds on the red of Morrible’s lipstick and dress, using the coloured lights to illustrate the evil nature of her character.
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