Covert Politics Make "Wicked" More Than a Musical

Wicked, the splashy show with music and lyrics written by Stephen Schwartz, is more than merely a musical about the witches from The Wizard of Oz tale. Woven into the story is a political content that makes Wicked one of the more prominent political commentary musicals in modern theater.

Many notable musicals have utilized politics overtly in their plots. The Cradle Will Rock, Pins and Needles, Cabaret, Pacific Overtures and Assassins come to mind as prime examples. But Wicked uses politics in a stealthier manner. Commentaries about current affairs and leaders are implanted like the digital "Easter eggs" in a game platform, awaiting discovery by the devoted. Wicked enchants audiences of a surprisingly wide age spectrum. Kids are dazzled by the flashy spectacle of the musical, "Tweeners" get into the story of forging a meaningful friendship and overcoming adversity, while adults recognize the clever real-world allegory.

The sophisticated book for Wicked was written by Winnie Holzman (based on the novel by Gregory Maguire), who has made her mark in television, notably as creator of My So-Called Life. Holzman and Schwartz are particularly attuned to the issue of moral relativism in a political context and their talent shines in delivering their message in the disguise of a musical extravaganza. Wicked is a theatrical bonbon; a sticky morass of moral relativity wrapped in a candy coating of musical comedy.

Stephen Sondheim taught us years ago in his musical Into The Woods that fairly tale witches are not always what they appear to be. That lesson continues in Wicked. The familiar Wizard of Oz plot populated by Dorothy, her dog and her three challenged traveling companions, flickers around the outer edges of this tale which concentrates on the formative years of studious Elphaba, the "wicked" witch of the west, and frivolous Glinda, the "good" witch. The two witches fluidly juggle the definitions of good and evil as they journey from mutual loathing to bonded friendship. Actually, all of Elphaba's actions are motivated by the best intentions to bring relief and joy, but result in terrible unforeseen consequences of misery and sadness. Having green skin doesn't help Elphaba in the public relations department, either. All of Glinda's actions are rooted in selfishness and conceit, but by chance appear as acts of charity and kindness. Her blonde tresses and creamy complexion give her automatic approval. We learn that good and evil are merely relative terms tossed into the bubbling cauldron of moral judgment.

The opening number of the show, "No One Mourns the Wicked," is sung by the ensemble upon the announcement of the apparent death of the wicked witch of the west. The citizens of Oz sing, "Goodness knows the wicked die alone." But the most unsettling line is when the citizenry says, "And goodness knows we know what goodness is!" Do they? Do we? It is an ominous foreshadowing of confusions to come.

Long before Dorothy's encounter, Elphaba and Glinda together discover that the Wizard in the Emerald City is not the solution, but is instead the problem. The Wizard is a cynical manipulator who operates on the philosophy that the best way to bring people together is to give them a common enemy. He invents such an enemy where none exists and, fearful of potential exposure, the Wizard unleashes a literal witch hunt that forever defines the characters of Elphaba and Glinda. According to the Wizard, his exalted title is a matter of shared perception by the people of Oz. "They called me wonderful, so I am wonderful," he concludes. Schwartz' lyrics are perhaps most on point politically in the Wizard's revealing song, "Wonderful":

"A man's called a traitor or liberator;
A rich man's a thief or philanthropist.
Is one a crusader or ruthless invader?
It's all in which label is able to persist.
There are precious few at ease
With moral ambiguities,
So we act as though they don't exist!"

Even when Schwartz is being playful, as in the song "Popular," he can't resist injecting Realpolitik humor into the mix. As college roommates, Glinda has decided to give Elphaba an extreme make-over, and in her pep talk, Glinda says:

"When I see depressing creatures with unprepossessing features,
I remind them on their own behalf,
To think of celebrated heads of state or 'specially great communicators.
Did they have brains or knowledge? Don't make me laugh!
They were popular. Please!
It's all about popular! It's not about aptitude,
It's the way you're viewed,
So it's very shrewd to be very, very popular like me!"

Wicked casts a deep spell with its political undertones. Go for the glitzy musical, stay for the morality play.