First, let me say that this post does not go into depth about the book concept of Gelphie. To me, that’s really really far-fetched. I know, Maguire said it was canon, but, come on, the whole swooning thing was because of a spell, it had nothing to do with physical attraction, and some people do sleep in the same bed when traveling (Moby Dick for instance). That hardly makes them a couple, especially when Elphaba ended up with Fiyero. (Seriously, with that kind of logic, why not say that Jesus was in love with Lazarus because He wept at his funeral?)
(that was just a comparison, used in reducto ad absurdum, I don’t think that that is truth in any way.)
Anywho, on with the show!
taken from a forum post by me on Fanfiction.net
Concerning Act I
The “Dear Old Shiz” to “Wizard and I” portion of the musical is much more deeper than just on the surface introductions and plot advancements, to be sure. We see the introduction of our two favorite characters, Elphaba and G(a)linda. However, are they really that different? From what we can gather from “The Wizard and I”, Elphaba just wants to be accepted, loved and even famous. That is what G(a)linda wants as well, as we can see both in Act One and Act Two. In “Thank Goodness”, we see that she has abandoned her friend for the sake of being accepted, loved and famous. Obviously, it is apparent that both of them have the same goals and desires.
Moving on from that, what we see in “What is this Feeling?” is the two of them voicing their hatred for each other. But is it really hatred? In many cases, we hate the most in people those traits that we see in ourselves. Therefore, it is entirely possible that G(a)linda and Elphaba hated each other because they saw a little of themselves in the other. Perhaps even more than they wanted to see of themselves, which leads to them being so against each other. They see the worst of themselves in their opposites, and they loathe it.
Here is another support for the idea that Elphaba and G(a)linda see themselves in each other. In all of the scenes in which G(a)linda is in, she is always being so silly and air-headed, with no thoughtful or scholastic regard for her surroundings or her peers. And yet, in the OzDust scene, where Elphaba is dancing by herself and she comments, in response to Fiyero’s statement that Elphaba doesn’t care what anyone thinks about her, “Of course she does, she just pretends not to.” Now how can someone who hasn’t been paying attention to much of anything that’s been going on, who isn’t very smart or insightful, make a comment that profound? Furthermore, though some may say its just “Disney-style magic”, how could the two suddenly just come together over something as small as a dance?
It is clear that G(a)linda has, at the OzDust, come to terms with the realization that she has more in common with Elphaba than she wants to admit. She knows that, like herself, Elphaba does care what people think of her: however, the rough “artichoke” pretends not to whereas the “cream-puff” G(a)linda does not. In this, she can answer adequately that she knows this aspect of Elphaba, since it is something that she knows she herself possesses.
Now the dance might be harder to reason. But since we’ve already established that Elphaba and G(a)linda are actually two sides of the same coin, mirrors of each other, we can state that the two have been moving in opposition of each other. Or more clearly, in reaction to each other. As above, we stated that they see the traits of each other in the other, and are disgusted by what they see, and therefore they shun it like the plague. But here, when they start dancing together, what we see is the harmonization of the two. No longer are they working against each other, but have come to realize that they are the same person deep down inside, and have at last come to terms with this part of each other and, just for one moment, are moving together rather than against each other.
Concerning Act II
One of the other scruples I have with the musical Wicked is that Elphaba doesn’t learn anything, she just submits. She’s supposed to be the ‘gravity defying’ rebel who won’t be brought down and can’t be tamed…and then we see her folding up and accepting what everyone else says about her. I thought she was more powerful than that…Just the whole “No Good Deed” scene is a big down-ward spiral for her. She goes from being free to a prisoner, though not ‘physically.’ By the “For Good” scene at Kiamo Ko, she’s accepted that she’s supposed to be the villain and has gladly shut herself into that prison.
Glinda, on the other hand, needs to be freed from the prison she shut herself into. In Act 1, she’s extremely inactive. I recall at least two times where she says “Should I?” or “Could I?” when someone suggests action. She obviously likes having people do things and think for her while she follows Fiyero as he ‘dances through life.’ When she became Elphaba’s friend, we see her practically dragged around for most of the time - except at the OzDust Ballroom, where she makes the decision on her own to join Elphaba on the dance floor. One can say that is the turning point in G(a)linda’s when she decided to think and act for herself. By the beginning of Act 2, she’s gotten the ending both she and (to a degree) Elphaba wanted: to be famous, to be loved, to have the position of power they wanted and ‘all your dreams come true.’ As much as Glinda tries to act happy, since this is what she wanted, she is anything but happy inside (shameless ripping off of Stephen Schwartz’s explication of ‘Thank Goodness’, i know. lol). Why? Not only has she betrayed her friend, but she has betrayed herself, to a degree, since Elphaba is her ‘other half’, as it were.
Yeah, I’m back-tracking a bit with this musing. There’s not a lot to work with when it comes to Act 2 (imo). If any of you have any musings of your own, please reply.
Possibly the most profound of these musings comes from the Kiamo Ko scene, where I was leading up to the with the Elphaba portion. She’s pretty much given up, but Glinda’s pretty much grown up. The little popular girl is gone and she’s ready to do what she didn’t have the heart to do that afternoon in the attic of the Wizard’s throne room: she’s ready to have all of Oz turn on her just because she’s ready to stand up for her friend. I know that everyone of you hates Rocky IV and think Rocky’s speech to the Russians is corny and everything (which is proof why there will never be world peace), but Glinda’s transformation in Wicked is proof…
"That if I can change, if you can change, everybody can change!"
To think that is corny is to say that we can’t change - that the Glinda’s of this world have to remain shallow and self-absorbed, that mankind cannot change, that it’s too late for us, and the only hope of a future is one of total annihilation.
On a happier note…(lol), Glinda has indeed changed. In the end we see her doing things, taking action, driving out the Wizard and imprisoning Madam Morrible. She’s no longer saying ‘Should I?’, but doing. How did this occur?
As I’ve said before, the reason Gelphie works so much is because Elphaba and Glinda are two sides of the same coin, a single soul in two bodies. They both had the desire to be loved, to be accepted, to be famous, (dare I say), to have all of Oz loving them. The major difference is that Elphaba had the power to go against the flow (for the most part), and make change. Glinda was filled with doubt and inaction. At Kiamo Ko, when Elphaba hands the Grimmerie to Glinda, we see a very powerful moment, where the ‘two souls’ become one…in Glinda. Because, in the end, as much as we love Elphaba and sympathize and empathize with her, Glinda is actually the ‘star’ of the show. (that’s why the Dutch people put Glinda, Chantal Janzen, in front of Fiyero and Elphaba on their promotional posters for Wicked). She is the one who grows up, who becomes whole, who finally has the power to do what needs to be done to save Oz.
Hey Joe, where you goin’ with that gun of your hand? Hey Joe, I said “Where you goin’ with that gun in your hand?” “I’m goin’ down to shoot my old lady You know I caught her messin’ ‘round with another man I’m goin’ down to shoot my old lady You know I caught her messin’ ‘round with another man And, uh, that ain’t too cool!”
Hey Joe, I heard you shot your old lady down You shot her down… Hey Joe, I heard you shot your old lady down You shot her down in the ground yeah!
"Yes, I did, I shot her You know I caught her messin’ round, messin’ round town Yes I did I shot her You know I caught my old lady messin’ ‘round town So I gave her the gun I shot her!”
[plays guitar solo with his teeth]
Hey Joe, I said: “Where you gonna run to now, where you gonna go?” Hey Joe, I said: “Where you gonna run to now where you gonna go?” And he said this: “I’m goin’ way down south Way down to Mexico way! I’m goin’ way down South Way down where I can be free! Ain’t no one gonna find me Ain’t no hang-man gonna He ain’t gonna put a rope around me You better believe it, baby!” Hey, Joe, you better run on down You better…goodbye everybody!
(enough Heaven and Hell! I need some Black Sabbath and Ozzy in my life. That will be my New Year’s resolution.)
Mr. Crowley, what went down in your head? Oh, Mr. Crowley, did you talk to the dead? Your lifestyle to me seems so tragic With the Thrill of it All You fooled all the people with magic Yeah! You waited on Satan’s call
Mr. Charming, did you think you were pure? Mr. Alarming, in nocturnal rapport Uncovering things that were sacred Manifest on this earth Oh, conceived in the eye of a secret And they scattered the afterbirth
Mr. Crowley, won’t you ride my white horse? Mr. Crowley, it’s symbolic of course Approaching a time that is classic I hear that maiden’s call Approaching a time that is drastic Standing with their backs to the wall
Was it polemically sent? I wanna know what you meant I wanna know I wanna know what you meant, yeah!
Now, I’m usually a strong advocate for the modern generation of music (within reason). But just today, I started thinking about that and about Wicked and other things in my life of equal importance.
I remember back in 2008, when I first joined Wicked. It was all about the OBC back then, and anything that was not OBC was sub-standard. [that’s still the sentiment today, to a degree]. That put me in the minority after I saw Rent and lost faith in Idina Menzel. I then discovered for myself Willemijn Verkaik and all of her awesomeness. Back then, of course, she was Stuttgart’s Elphaba and few people outside of Germany knew about her, at least as far as I knew. Furthermore, the other American actresses, whom I started getting into, were still in the ‘under-dog’ position. Katie Rose Clarke was just a 1st National Tour face that ‘didn’t hold a candle before Kristin Chenoweth’ and there seemed to be a lot of hate against Teal Wicks.
Some time after I became a die-hard Verkaik fan, I must have shut myself off from the rest of the world of Wicked, indulging only in the German version Die Hexen von Oz while injecting my fan-dom with heavy metal. It was fun, and I grew to love many of the other actresses of Wicked.
But then when I finally came back to the wide world of Wicked [boo-yah!], it had all changed before my very eyes! Teal Wicks and Katie Rose Clarke were now on Broadway (with a slightly bigger fan-base than before), Alexia and Dianne weren’t on the West End anymore: instead we had Rachel Tucker and Louise Dearman. Wicked wasn’t just in the US, the UK, Germany and Japan. Now it was in Denmark, Finland, the Netherlands, Australia and beyond! Now there were English-speaking fans other than me who loved Willemijn Verkaik. Though there are still a group [i would say majority] of Wicked hipsters who won’t accept that the OBC is no more, most of the world had moved on from Megan Hilty, Shoshana Bean and all the rest, including the ones I had loved like Eden Espinosa and Annaleigh Ashford.
I realized that I had done with Wicked what I had condemned in heavy metal. I was open to the new actresses, yes, [and I feel so old, now that Tuckman has come and gone], but I had refused to grow up and keep with the times. My world was in 2008, three years ago [yet it seems so long, especially when it will soon be four years], when I was up against the world of Wicked and their OBC-cliques. The world of Wicked is different now. Today’s casts will soon leave and new ones will arrive. Willemijn Verkaik will go on playing Elphaba in Scheveniegen until she’s played the role to her heart’s desire. Then the world of Wicked will be utterly changed, and one day, hopefully soon, we will be ready for the movie.
The bad news is that I once again feel like a relic. The good news is that I’ve got inspiration to write a new song entitled, you guessed it, “Living in the Past.”
I know it’s taboo to go into music for money, but I need money right now to finish my college education. Of course, that education will be put towards the field of music (hopefully), so I see that as a wise investment that will only strengthen my music career. But, hopefully, I’ll have finished up college and paid every cent.
And then what?
Well, I’d really like to be flexible musically. I know that also is taboo, but I refuse to be anyone’s b*tch, especially the fans’. I’d rather be like Quorthon, who could make something as heavy and grotesque as the Octagon album, then the epic master-piece Blood on Ice, then another brutal thrash assault of Destroyer of Worlds before going back to the viking stuff in Nordland I and II. See, that’s what I want. I want to be able to make albums like Twilight of the Gods, which are part-viking and part-me.
A lot about Bathory, I know, but I will never suck up to the black metal scene. That’s not me. I appreciate Bathory for its creation of viking metal, and have to take the bad with the good. If anything, I’m leaning towards a Viking-groove-thrash, like if you took Black Sabbath, Heaven and Hell, Metallica and Bathory, and they had a brain-child, that would be Vikingbard (my band).
So far I’ve only teased you with my Orchestrations of Doom, something that is hardly metal. It was experimental on my part, and now I plan on getting back into the studio and making a full-on metal album, that all may know that there is only One True Vikingbard.
(i don’t care what the fan-boys may say - Cradle of Filth’s version is faster, heavier and in D-standard tuning [and they only need two guitarists to be better than maiden!]. And who needs to wail like a shaven eunuch [aka. Bruce Dickinson] anyhow?)
I’m waiting in my cold cell well the bell begins to chime Reflecting on my past life and it doesn’t have much time Cause at 5 o’clock they take me to the galows pole The Sands of Time for me are running low
When the priest comes read me the last rights I take a look through the bars as the last sights of a world that has gone very wrong for me
Can it be there some sort of error Hard to stop the surmounting terror Is it really the end not some crazy dream?
Somebody tell me that I’m dreaming Its not easy to stop from screaming But words escape me when I try to speak Tears they flow but why am I crying? After all I’m not afraid of dying Don’t ever believe there never be an end
As the guards march me out to the court yard Someone from a cell calls “God be with you” If there’s a God, then why has He let me die?
As I walk all my life drifts before me All though the end is near I’m not sorry Catch my soul cause it’s willing to fly away
Mark my words believe my soul lives on Don’t worry now that I have gone I’ve gone beyond to see the truth
So when you know your time is close at hand Maybe you will begin to understand Life down here is just a strange illusion!
Whoa-oh-oh-oh-oh-oh! Hallowed be Thy Name! Whoa-oh-oh-oh-oh-oh! Hallowed be Thy Name!