The musical *Wicked*, a beloved Broadway staple, has a rich developmental history that transformed Gregory Maguire's complex novel, "Wicked: The Life and Times of the Wicked Witch of the West," into a theatrical spectacle. The journey began when composer and lyricist Stephen Schwartz encountered Maguire's 1995 novel during a vacation, immediately recognizing its potential for a dramatic stage adaptation. However, the rights to the novel were initially
held by Universal Pictures, which had plans for a live-action feature film. Schwartz's vision and persistence were crucial in shifting the project's trajectory from screen to stage, setting the foundation for what would become one of Broadway's most enduring productions.
Securing the Rights and Shaping the Narrative
In 1998, Stephen Schwartz successfully persuaded Gregory Maguire to release the stage production rights. Concurrently, Schwartz made what he described as an "impassioned plea" to Universal producer Marc Platt, advocating for his intended stage adaptation. Platt was convinced and joined the project as a joint producer with Universal and David Stone. This pivotal moment allowed Schwartz to begin the intricate process of adapting Maguire's dense novel, which delves into political, social, and ethical commentaries on good and evil within the Land of Oz, focusing on the years surrounding Dorothy's arrival. The novel centers on Elphaba, a misunderstood, emerald-skinned girl who becomes the Wicked Witch of the West, and Galinda, the popular blonde who becomes Glinda the Good. It reinterprets elements from L. Frank Baum's *The Wonderful Wizard of Oz* and its 1939 film adaptation, exploring mature themes such as sexual assault, political unrest, infidelity, racism, and the role of religion.
Schwartz faced the significant challenge of condensing the novel's complicated plot into a coherent script. He collaborated with writer Winnie Holzman, and together they spent a year developing the plot outline. They also met with producer Marc Platt to refine the structural outline, aiming to create an original stage piece rather than a direct adaptation. This collaborative approach allowed them to craft a narrative that, while inspired by Maguire's idea of retelling the 1939 film from the villain's perspective, diverged significantly from the novel's storyline. Holzman noted that while Maguire's concept of the two witches being college roommates was brilliant, the development of their friendship and the overall plot on stage became distinct.
Crafting Characters and Creative Departures
The creative team made deliberate choices to reshape the story for the stage, focusing primarily on the relationship between Galinda (who becomes Glinda) and Elphaba, and how their friendship leads them to vastly different destinies. This focus necessitated several major plot modifications. For instance, Fiyero's character was altered to appear as the Scarecrow, and Elphaba's ultimate survival was incorporated. Nessarose was depicted using a wheelchair rather than being born without arms, and Boq developed a continuing love interest for Glinda, eventually transforming into the Tin Woodman instead of Nick Chopper. Other significant changes included the deletion of Elphaba's years in the Vinkus, the absence of Liir's birth, Fiyero not having a wife and children, Doctor Dillamond being fired instead of murdered, and Madame Morrible going to prison instead of dying. These alterations were crucial in streamlining the narrative and emphasizing the core themes of friendship and destiny.
The book, lyrics, and score underwent development through a series of readings and workshops. Kristin Chenoweth, for whom Schwartz had envisioned the role of Glinda, joined the project early on. Stephanie J. Block initially played Elphaba in the workshops before Idina Menzel was cast in late 2002. Producer David Stone joined the team earlier that year to plan the Broadway production. Joe Mantello was brought on as director, Wayne Cilento as choreographer, and Eugene Lee designed the sets, drawing inspiration from W. W. Denslow's original illustrations for Baum's novels and Maguire's concept of the story being told through a giant clock. Costume designer Susan Hilferty created over 200 costumes in a "twisted Edwardian" style, while lighting designer Kenneth Posner utilized more than 800 lights to establish distinct moods for each of the 54 scenes and locations. By April 2003, the show was in rehearsals, moving closer to its highly anticipated premiere.
From San Francisco Tryouts to Broadway Refinements
Before its Broadway debut, *Wicked* had out-of-town tryouts at San Francisco's Curran Theatre in May and June 2003. The initial critical reception was mixed, prompting the creative team to undertake extensive revisions. Winnie Holzman highlighted the crucial three-month period between the San Francisco closing and New York rehearsals as instrumental to the show's success. During this time, elements of the book were rewritten, and several songs underwent minor changes. For example, Fiyero's introductory song, "Which Way is the Party?", was replaced by "Dancing Through Life." There was also concern that Idina Menzel's Elphaba was somewhat overshadowed by Kristin Chenoweth's Glinda, with one critic noting that Menzel's Elphaba needed a stronger presence alongside Chenoweth's "gloriously, insidiously bubbly Glinda." Consequently, the team worked to make Elphaba "more prominent." Schwartz acknowledged that the critical feedback from San Francisco was very helpful in guiding these Broadway revisions, ultimately shaping *Wicked* into the acclaimed musical it became.
