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Wicked the wizard and musical analysis
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Performance Report In March 2015 I attended a performance of the popular musical Wicked, written by Winnie Holzman with music and lyrics by Stephen Schwartz, directed by Joe Mantello, and starring Jennifer DiNoia as Elphaba and Chandra Lee Schwartz as Glinda. The play was performed on a proscenium stage at The Hollywood Pantages Theatre, a large indoor theatre built in the 1930s. The size and vintage style of the theatre created an atmosphere of elegance that fostered an air of anticipation amongst the audience before the performance began.
The show drew a large and somewhat diverse audience primarily made up of middle-aged and young adults, with quite a few families in attendance as well, all of whom appeared very engaged in the show throughout
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Though incredible sets, costumes and special effects left little of the visual aspects of the play to the imagination, the audience was invoked to imagine the fictional world in which the play takes place and to accept fantastical concepts such as witchcraft, talking animals, and potions that turn people green.
Although Wicked is non-realistic fantasy, it reflects society in numerous ways. Represented through the discrimination and mistreatment of talking animals as well as the bullying inflicted on Elphaba throughout the story, the play mirrors our own societies concern regarding racial inequality and prejudice. On a much more personal level Wicked not only reflects our society as a whole but also our inherent inner desires as individuals to be accepted and loved; this is reflected in the play through Elphaba’s ongoing struggle to fit in despite her abnormal green skin and despite her own disbelief that anyone could ever love her for
The characters address the audience; the fast movement from scene to scene juxtaposing past and present and prevents us from identifying with particular characters, forcing us to assess their points of view; there are few characters who fail to repel us, as they display truly human complexity and fallibility. That fallibility is usually associated with greed and a ruthless disregard for the needs of others. Emotional needs are rarely acknowledged by those most concerned with taking what they maintain is theirs, and this confusion of feeling and finance contributes to the play's ultimate bleak mood.
If there is truly tradition to be found among the great theatres both on and off Broadway, then certainly the Sullivan Street Playhouse and its long running production of The Fantasticks rates as one of the most celebrated of New York theatrical traditions. Maintaining its place as the longest running production Off Broadway, The Fantasticks remains an enchanting and insightful tale of both young love and bitter disillusionment. It also reminds one, in this age of spectacle and the mega-musical, how powerful and truly inspiring theatre itself can be. Clearly, one of the great strengths of this production and a large part of its appeal for audiences over the last four decades lies in the fact that both the story and the style of presentation compliment each other so completely. Here we find the non-essentials are stripped away, and we are left to rely simply on the imagination of both the audience and the performers to create a magical evening.
Motion pictures from Hollywood had taken Broadway’s place as the king of entertainment. The main reason behind this was that because it was culturally relevant and coming out with new flashy techniques such as Todd-AO and Cinerama.
Richard Rodgers and Oscar Hammerstein were both writers and producers in the theatre, but, their collaborative venture in the 1940’s introduced a new era of musical theatre. First, they wrote the first musical in which every element: music, lyrics, narrative, and even dance contributed to telling the story, each part blending and woven into the whole. Their new idea was a huge sensation with audiences, and brought with it, new recordings of shows with albums and records to follow and revival productions around the world. The duo changed the fate of musical theatre practically overnight, but, it couldn’t have been done without the projects, big or small, that got them there, their
Kislan, Richard. The Musical: A Look at the American Musical Theater. New Jersey: Prentice-Hall, 1980. 84, 110, 116-121, 125-127, 128, 134, 163, 195, 201, 209. Print.
Kenrick, John. Musical Theatre A History. New York: The Continuum International Publishing Group, 2008. Print.
in different age groups and backgrounds. It was also a large, voluntary audience, so most people
As in all genres, the musicals have had its share of failures. Some worthy dramas have been pressed into service and musicalized and sometimes butchered in the process, and audiences have had to watch a fine play diluted into a mediocre musical. But the successes have been many and spectacular and they have left a long lasting effect on the American art and culture.
...tly, the costumes in this production of Wicked were incredible! There were so many beautiful costumes! Many were very elaborate and detailed, while there were also various simple and elegant costumes. This was extremely refreshing to see as an audience member. The costumes always matched the characters’ emotions, which made the plot go along much smoother. I noticed that in numerous scenes the costumes were the same color as the lighting in the scene. I think the director did this on purpose to emphasize certain moods, but in some cases, a variety of colors would have worked better.
Through fresh writing, the character of Witch is allowed to have the most contradictions, therefore blurring the rigid binary of good vs bad, an idea ingrained in popular culture for eons, in effect making her the play’s most human character. This is key to de mystifying the Grimm Brother’s fairy tale “Rapunzel”, as she is no longer placed in a 2 dimensional mold of evil figure. While her defining moments in the text are marked by unexplained rage, jealousy and retribution lensed with zero objective perspective within into the Woods she is given opportunity to be viewed in a more well rounded light as she is central in everyone else’s story allowing the audiences to experience more of her. Through this there is chance to
Ostlere, Hilary. “Taming The Musical.” Dance Magazine 73.12 (1999): 84. Expanded Academic ASAP. Westfield State College Library, MA. 15 April 2005.
.... An investigation into the imbalance of power in the play reveals the ideologies of race and gender that drive the power dynamics of the play. The construction of the inferior nature of non-European characters is firmly grounded in imperialist, European and patriarchal values.
The Lion King musical is a well-known musical that has taken the stages of Broadway, West End and the rest of the world by storm (The Lion King, 1997). Regarding the process of the musical, Artistic Director Julie Taymor’s first thoughts for choosing the Lion King as the next big thing on stage, was classed as ‘impossible’ due to the film’s lack of theatrical material (The Lion King, 1997). Therefore, staging this particular work contained a great deal of uncertainty and the need for taking huge risks. Taymor (1997) suggests how ‘the Lion King was the worst idea possible to create a stage show.’ It has become evident that a number of significant barriers had to be overcome to secure the practicality of the production. In view of this controversy, this dissertation will critically analyse the success of the Lion King by exploring two significant aspects that have helped to make the musical a success. Firstly, the essential components that make up this theatrical production will be explored and secondly, the roles of each producer within the Lion King and their combined and individual influences they have had from the production will be evaluated. By analysing these two central themes, this paper will show how and why this musical has developed and achieved its phenomenal success.
Miller, D. A. Place for Us: Essay on the Broadway Musical. Cambridge, MA: Harvard UP, 1998. Print.
Theatre has heavily evolved over the past 100 years, particularly Musical Theatre- a subgenre of theatre in which the storyline is conveyed relying on songs and lyrics rather than dialogue. From its origination in Athens, musical theatre has spread across the world and is a popular form of entertainment today. This essay will discuss the evolution and change of musical theatre from 1980-2016, primarily focusing on Broadway (New York) and the West End (London). It will consider in depth, the time periods of: The 1980s: “Brit Hits”- the influence of European mega musicals, the 1990s: “The downfall of musicals”- what failed and what redeemed, and the 2000s/2010s: “The Resurgence of musicals”- including the rise of pop and movie musicals. Concluding