by Sarah GilpinOCT

“It’s not about apti-tude. It’s the way you’re viewed!”

I first saw Wicked in London’s Apollo Theatre. The stadium-like magnitude of the Apollo reflects the pop cultural impact of this production. During a production, audiences feel seen in green. They feel understood as “not that [popular] girl” (Schwartz). Most of the time, like me, they shed a few tears during “Defying Gravity.” Perhaps it is the draw of an underdog finally winning that makes audiences feel so connected. The chance at seeing someone rise to fame. The quintessential American tale.

For 20 years musical theatre fans anticipated the film adaptation of Wicked. Now, the 2024 film version, directed by Jon M. Chu, is taking moviegoers by storm. A go-to prediction for a film’s popularity is the crucial opening box office weekend sales. As Variety notes, “the film collected $114 million in North America” and globally “$165 million over the [box office opening] weekend” (Rubin). Chances are students have gone to see this film or are planning to see the film. With such a pop culture moment in time—reminiscent of Barbenheimer or Marvel—Wicked deserves attention and thoughtful reflection.

As a result, a focused study of communication in the Land of Oz will help guide teachers to consider how a student’s viewing of the film might be used in the classroom as an opportunity for media, story structure, music, social and political analysis. This guide will focus on forms of communication such as letters and speakers used in the Land of Oz. Including the communication style of public figures, reminiscent of today’s influencers/ content creators. This guide will also encompass additional sources to expand on the depth of Oz: The Wizard of Oz novel by L. Frank Baum, The Wizard of Oz (1939) film directed by Victor Fleming, and Oz the Great and Powerful (2013) film directed by Sam Raimi. This guide might be used in an English classroom, Visual Arts (for colour theory), History, Drama, Music, and Media Studies. Consider how this guide could be used as one of many jigsaw groups based on recent films students have seen. Perhaps each group analyzes one new film. Let’s follow the yellow brick road to figure out how messages are set in the Land of Oz and consequently how characters in the film respond to or perceive the creators of these messages.

How are messages set in the Land of Oz?

The world building of Wicked is remarkable. Not only are audiences fully immersed in Oz through products, but as expected, the film itself takes the storyline to new heights by connecting audiences with the characters. Through colour patterns, characters become more than themselves. They become their own entities.

How are messages of equality and integrity depicted in the film?

Is green for good or greed?

If you haven’t seen the staged production or the film adaptation, there are some spoilers here. Nevertheless, all ideas are at least briefly shown in the trailer, which you can watch on YouTube here and the second trailer here. Let’s float into the World of Oz to understand the Ozians’ own methods of communication.

Public Figures: The Wonderful “Humbug” of Oz…

As the main public figure of Oz, The Wonderful Wizard is introduced as a mysterious figure. Consider even the name and purpose of alliteration in his name.

What effect might alliteration have on this nickname?

Why bother with a nickname at all?

How might the mystery of The Wizard contribute to his power?

After sending the special – hot air balloon – invitation to Elphaba, The Wonderful Wizard of Oz is greeted by both Elphaba and Glinda in his grandiose chambers. Just like The Wizard of Oz (1939) film, The Wizard’s larger-than-life head overpowers the room. His symbolic knowledge and power appears to overtake the small figures of our protagonists. How might you feel standing in the presence of this robotic representation of The Wizard? Consider a similar effect in concerts. For example, how screens are used to depict the artist to appear larger-than-life.

How might Taylor Swift’s Eras Tour’s use of screens have a similar effect on audiences as The Wizard in Wicked?

Paul Uelze/YouTube

However, once The Wizard realizes who is in front of him, he steps away from the curtain (or in this case marionette-like strings) by his own choice. No need to remind someone to “pay no attention to that man behind the curtain,” especially when the guests are invited. In this moment of choice, The Wizard’s green suit is on full display. As “The Great and Terrible Humbug” (Baum 141).

What might the many chains on The Wizard’s green suit represent?

In this costume, does green represent good or greed?

Something to consider is looking back and comparing the costuming of the different depictions of The Wizard. For example, illustrations of him in The Wizard of Oz novel by L. Frank Baum, the costume during a staged production of Wicked, the costume from Oz the Great and Powerful and/ or the costume from a staged production of The Wiz

https://static0.srcdn.com/wordpress/wp-content/uploads/2024/05/wicked-27-1.jpg

Oz “the Great and Terrible” (Baum 131).

How the Wizard actually looks, wearing a green suit with layers and golden chains. Image credits here from the Official Wicked site.

Universal

Glinda The “Good”

While Glinda is passionate and deep down cares for her fellow Ozians, she does present a sense of artificiality at the beginning of the film. Just like the original 1939 film, Glinda The Good floats into the screen in a bubble. How might Glinda’s bubble represent the synthetic plastic and the traditional appearance of “good”? Consider the form and style of the depiction of the bubble. The critical question is:

Does Glinda’s exterior represent her as genuinely good? Or manipulative?

She serenades her fellow Ozians in Munchkin Land about the workings of good. Nevertheless, Glinda questions what it means to be “good” in the song “No One Mourns the Wicked.” She asks: “Are people born wicked? Or do they have wickedness thrust upon them?” (Schwartz). This question guides the entire film. Glinda is putting on a show for the Munchkins as she is well aware of her friendship with Elphaba, but she does not share these specific details when a Munchkin asks her about The Wicked Witch of the West.

What type of witch is Glinda? A “good” or “bad” witch?

Or something in between?

Students should analyze the song lyrics for “No One Mourns the Wicked” and compare what Glinda is saying in the song to her representation in the trailer.

www.tcpalm.com

Google searched image found here on TCPalm.

Letters

Madame Morrible

Madame Morrible, a professor at Shiz University, accepts Elphaba into her private magic seminar. As Elphaba’s power continues to grow, Madame Morrible decides to send a letter to The Wonderful Wizard of Oz. She writes on a piece of paper and uses a quill to write. A shot of the envelope suggests the letter will be hand-delivered to The Wizard himself.

What might this old-fashioned style of communication tell audiences about the Land of Oz?

What might it be like to contact your friend this way?

How might hand-delivered letters lead to miscommunication?

Oz’s invitation to Elphaba

In contrast, The Wonderful Wizard of Oz’s invitation to Elphaba arrives by magic in a hot air balloon. Only the best for The Wizard! The miniature spectacle creates astonishment and joy in the Shiz students. Reminiscent of McLuhan’s concept: the medium is the message. As if they are aware who the message is from before even reading it. A fitting green balloon descends right to Madame Morrible and Elphaba.

How might this display of communication style relate to the character of The Wizard?

How might this hot air balloon relate to The Wizard’s costume?

Screenshot from the Official Wicked Trailer 2, found here on YouTube.

The Wizard’s invitation is decorated in marvelous Emerald City green letterhead as compared to Madam Marabal’s simplistic letter. This invitation is in and of itself a special spectacle to call on someone to see the Wizard, which at this point of time in Oz is rare (pre-Dorothy). Notice the font choices in the invitation.

What might the different colours of gold versus green represent?

How might the invitation visually reinforce The Wizard’s power? Consider the difference between Madame Morrible’s letter to The Wizard’s invitation.

What might the differences between these two documents tell us about the education system in Oz?

Screenshot from Official Wicked Trailer 2, found here on YouTube.

The Wicked Witch of The West Posters

In Munchkin Land, propaganda-like posters are created for Munchkins to believe Elphaba’s hands, her facial expression, and the background of the poster.

How might these creative choices affect a Munchkin who views this poster?

What might their impression of Elphaba be if it was based on this image alone?

Screenshot from Official Wicked Trailer found here on YouTube.

Speakers

Once Elphaba turns on The Wizard, he uses his robotic powerful contraption to summon his palace guards. To speak to the guards, the Wizard uses a speaker that looks like an old 1930 telephone or microphone.

The interesting part of this telephone is there is nowhere to listen. Instead, The Wizard simply uses this half-formed phone to speak his commands and assert his power.

How might someone using this speaker device feel about the amplification of their voice?

How might that person feel about others who are listening to them? Consider how a similar device and message might be used in a school through a school’s PA system. In particular, the power that is given to a person who uses the PA system in a school.

Screenshot from Official Wicked Trailer 2, found here on YouTube.

Similarly, Madame Morrible uses an Emerald City wide speaker 1930s-like telephone to inform the city of Elphaba. She ridicules and mocks Elphaba calling her, “This wicked witch” (Official Wicked trailer).

How might alliteration play a role in the effect of the Madame Morrible nickname?

Why—or why not—is this alliteration an effective choice?

Screenshot from Official Wicked Trailer, found here on YouTube.

Overall, communication is key in Oz to flip the narrative on what audiences know about The Wicked Witch of The West. They learn to root for Elphaba instead of against her. Reframing the narrative is a key aspect of Wicked. Through the communication styles above and a flipped narrative, audiences learn to love the misunderstood Wicked Witch of the West and question the intentions of The Wonderful Wizard of Oz and Glinda The Good Witch.

Hence the need to discuss the film with students to encourage critical thinking of the film and its consequent messages. The various types of communication styles are also historically relevant to analyze. Consider an

Extension: students might make comparisons between Wicked and other period films. For example, the 1920s setting of New York City in Fantastic Beasts and Where to Find Them and/or The Great Gatsby.

Works Cited

Baum, L. Frank. The Wizard of Oz. Puffin Classics, 2015.

Chu, Jon M. Wicked. Universal Pictures, 2024.

Smalls, Charlie, Faison, George, and Jackson, Anthony. The Wiz. 1974.

Fleming, Victor. The Wizard of Oz. Metro-Goldwyn-Mayer and Warner Brothers, 1939.

Raimi, Sam. Oz the Great and Powerful. Walt Disney Pictures, 2013.

Rubin, Rebecca. ‘Wicked’ Box Office: All the Records the Movie Musical Shattered on Opening Weekend. Variety, 24 November 2024.

Schwartz, Stephen. Wicked. 2003.