We saw Wicked yesterday. We had an amazing experience in pretty much the worst seats in the house. It was fun and funny and smart and touching and wonderfully written and full of surprises. All that.
But it turns out it’s also feminist.
The word “feminism” is never spoken. Indeed, neither is the word “women” except perhaps in passing. No one talks about women or sisterhood or empowerment. Not one bit.
But Wicked passes the Bechdel Movie Test (aka the Mo Movie Measure). The show is about two women (Glinda and the Wicked Witch of the West) and their relationship to each other. Secondarily, there are other relationships, including the Witch’s with her sister and her father, and both women’s relationships with male and female teachers and a romantic handsome prince. But primarily, it’s about the women.
Not to make a point, not to Say Something About Women, but because these are two complex and fascinating characters that carry the show, as complex and fascinating characters can do. And what’s remarkable, what’s practically bizarre, is that a relationship between two fully-fleshed women is so rare that it strikes me as feminist to even see it. (Which is the point of Bechdel’s test.) I mean, I watch these two women on-stage, singing to each other, about each other, and I’m suddenly struck by what an odd thing I’m seeing.
It shouldn’t be odd. It should be human. But there you are.
It’s a great show, innit? The first act finale, Defying gravity is such a statement of choice and empowerment…. gives me goosebumps! I was also struck by the fact that it’s a show about women, without needing to “make a statement” or draw attention to the fact. It just is.
Would that make it “post-feminist”?
It can only be post-feminist if feminism is done. š
Defying Gravity is great, and As Long As You’re Mine killed me.
But it turns out itās also feminist.
The word āfeminismā is never spoken.
Don’t you just love that? I haven’t seen the show, but this point of yours reminds me of my current infatuation with JM Coetzee, who writes novels about rights — feminism, civil rights, colonialism, animal rights, etc. — without ever once writing the words feminism, apartheid, etc. He rarely even tells you if a character is black or white.
I’ve read four of his novels so far and they’re all absolutely brilliant. The latest one was In the Heart of the Country, which is this amazing colonial diary from the mind of an isolated woman. Just an amazing creation.
Glad to see your site back up.
So many good songs for women, and for two women. Defying Grafity is a favorite of mine (and so much fun at karaoke!) but to me, the love song between the two women, For Good, knocks me out. Out.
Feminism aside, I love how he (Schwartz) plays with the premise of good and evil and with the words and phrases around that, over and over.
And what knocked me out from the beginning was all the foreshadowing, ’cause of how we all know the story.
ELPHABA (the green one):
And I’ve just had a vision
Almost like a prophecy
I know – it sounds truly crazy
And true, the vision’s hazy
But I swear, someday there’ll be
A celebration throughout Oz
That’s all to do with me!
And I’ll stand there with the Wizard
Feeling things I’ve never felt
And though I’d never show it
I’ll be so happy, I could melt!
Slays me. Dead.
ahab, thanks for the recommendation.
Roberta, I agree with every word. “For Good” is killer. “Defying Gravity” is genius. And have I mentioned? “As Long As You’re Mine.” Just devastating. Dev. Ass. Tate. Ing.
You said Ass. heh. heh.
As you may remember, I listened to the soundtrack non-stop for close to a year before seeing the show. The lyrics I posted above made me cry from the first time I heard them. The show opens with the ‘celebration’ number, a very dark and haunting, grand-scale theme type song (No One Mourns the Wicked), a far cry from Ding Dong the Witch is Dead. And then a song or two later, she is young and full of hope and singing that stuff.
Slays me. Dead.
The juxtaposition of No One Mourns the Wicked and Ding Dong the Witch is Dead occured to me sort of subliminally, but I didn’t really look at it. Good catch.
So many good songs…. “As Long As You’re Mine” is a killer, but the fact that it’s set up with the reprise of “I’m Not That Girl” is double-killer. And I still LOL at “What Is This Feeling”….. just as I did in the theater. “For Good” is heartbreaking.
The only complaints I have about the show are that the justification for The Wizard’s actions (concerning animals) isn’t clearly spelled out, or emphasized enough IMHO, and since the show doesn’t have a strong finale to match the brilliance of the first act finale (“Defying Gravity”) it just kind of ended flatly for me. But those are minor quibbles….. I’m addicted to the soundtrack – I play it constantly.
It is a different witch… Dong is the East, Mourns is the West. So it’s not a perfect match.
And yeah, big shout out from all of us who are Not That Girl.
(And let’s not forget Popular!)
Wonderful, wonderful, wonderful!
Well, “juxtaposition” and “perfect match” aren’t the same. I think it’s an smart observation.
Interestingly, though, the Witch of the East was evil, and the Munchkins were justified in their celebration.
Roberta, all of us are Not That Girl, as Galinda (the ga is silent) discovers.
Am I the only one who, every time The Wizard appeared onstage, thought “I could totally see Harry Groener (Buffy’s Mayor Wilkins) playing that role”?
Well Ken, it was originally Joel Grey… different season, not as big a bad. I saw George Hearn, and loved him. But yours is a good casting. And, ftr, Mr. Trick has been touring as Doctor Dillamond.
The problem with the guy I saw was that there was a spot in his song (Wonderful) that clearly called for a tap or soft shoe, and this guy faked it. It was such an obvious Pause For Dance Interlude that Arthur leaned forward in excitement, and then we were both disappointed.