Danielle Fellguth


Literary Critique: Wicked

        My friend and I went to go see the second to last showing of the popular, surrealistic musical Wicked on September 4th, 2010 in San Francisco at the Orpheum Theater. The production is generally a success on its own terms; however, I don’t think it is as flawless as everyone seems to think it is.

        The productions starts at the end of the plot which is a bit dramatic, goes back in time and continues to move forward until it, once again, reaches that dramatic ending. In essence, the production completes a circle which works because showing the audience the ending first grabs their attention immediately after the show begins and makes them wonder what events must have occurred in order for the characters to end up in their current situation. It also works because it’s clear that only part of the ending is revealed in the beginning of the show which still leaves some surprises in store for the audience and gives them something to look forward to--finding out the rest of the ending.

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        Choreography was definitely a significant element in Wicked. I found that it contributed to the story a lot by allowing the audience to actually see the emotions that the characters are feeling in the form of movement, or more specifically, dance. Choreography was especially helpful when trying to figure out what the characters in the ensembles were feeling because, first of all, they were the people doing most of the dancing so one could get a lot of information out of their movements and, secondly, there aren’t that many other opportunities or ways for them to tell the audience how ...

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