Swankified "Writing Wicked" panel at BroadwayCon leaves fans spellbound
Seven secrets spilled by Gregory Maguire and Winnie Holzman at a gaspworthy conversation
Shalom, Broadway lovers!
In today’s MARQUEE: The Broadway Maven’s Weekly Blast: A) a report about a remarkable Wicked panel at last weekend’s BroadwayCon; B) a student review of the Elton John Devil Wears Prada musical now playing in London; C) a Broadway Blast about The King and I; D) a Broadway Maven video interview with Sondheim collaborator John Weidman; and E) a Last Blast about Sweeney Todd.
REPORT: I heard it said at BroadwayCon last weekend that the "Writing Wicked" panel was a highlight of the convention that educated, surprised, and delighted fans.
Scribes Gregory Maguire (the novel) and Winnie Holzman (the book/script and the screenplay) were the panelists, and the audience included hundreds of fans, including plenty dressed up in Elphaba or Galinda costumes.
For devoted Ozians, it was nothing short of thrillifying.
Here are seven standout moments from that session, whose video in its entirety is included below (the interviewers were Pulitzer Prizewinner and New York Times essayist Salamishah Tillet, Princeton musical theater Prof. Stacy Wolf, and Broadway Maven David Benkof):
1) We learned two fascinating facts about the last names of Wicked's main characters. Maguire shared for the first time ever where Elphaba's last name comes from, a name he did not want to sound elegant or pretty: "Thropp is the sound that a house makes when it falls on your sister." And Holzman shared, for the first time, something about Galinda that she had "never mentioned in any interview ever." The character's last name in the book was rather long, and Holzman wanted something a little shorter, so she went with the name "Upland," which is a name of three different addresses where Maguire had lived.
2) When she first saw Wicked, Wolf said, she immediately recognized it as a "feminist and queer Rodgers & Hammerstein show" that was "beyond brilliant" for taking such a bold new step:
It is very hard for us to imagine what the musical theater landscape was like before Wicked... it opened the roof for female leads, female friendships, female-driven stories that had never happened before.
Holzman explained that phenomenon by her excitedness to work with Stephen Schwartz. She was not "thinking feminism... (or) any ism" but wanted to find a way with Schwartz to "organically" tell the story the best way they could: "It's natural for me to have things be feminist... and I bring that to everything." She emphasized that while she wasn’t deliberately making the show feminist, her Wicked’s political themes remained aligned with those of Maguire’s novel—the rise of fascism.
One more thing: when Wolf called Wicked a "queer Rodgers and Hammerstein show," the openly gay Maguire pumped his fist in the air. (See 15:14)
3) Maguire and Holzman have only met 3-4 times over 25 years, making BroadwayCon a rare and special moment for both of them, just to spend some time talking to each other. In fact, Maguire congratulated Holzman on the film for the first time, and she replied, "I love you so much, and it's ridiculous how little time we've spent together" but that they have a "soul connection" through Wicked.
4) Maguire recalled how his love for The Wizard of Oz shaped his storytelling instincts. As a child, he was obsessed with the annual television airing of the 1939 film and would reenact it in his backyard with neighborhood kids. He realized early on that stories were communal and part of culture. However, he only had access to two of L. Frank Baum’s 14 Oz books growing up: "That absence is part of what gave me (the inspiration) to fill in the history."
5) Holzman said casting a woman of color (Cynthia Erivo) as Elphaba was a "big part" of planning the movie that was deliberate and took no debating: "we all knew it, it felt right, it was right."
6) When I talked about the genealogy of Broadway and specifically asked what shows could be considered Wicked's “parents,” the audience oohed. Holzman says Rodgers and Hammerstein shows were important to her, but also the work of her teachers Arthur Laurents; Leonard Bernstein; Betty Comden and Adolph Green; and more.
7) Maguire, whose Ph.D. focused on themes in children’s literature, shared his deeper philosophy behind Wicked. He described the emotional impact he hoped his novel—and the musical—would have on audiences:
The place that you arrive at the end of the musical is the identical place that I wanted people to arrive in the end of my novel, which was a lump in the throat and a reminder that what literature — whether it be theater, whether it be novels—brings us to is a reminder of how little time we have to do good with our lives. We must cherish the ones we love; we must say it out loud; we must protect one another; and we must do our work while we have the spirit.
STUDENT REVIEW: London's West End recently welcomed a stage adaptation of the cult classic The Devil Wears Prada. The musical, filled with Elton John’s original music and Gregg Barnes’ stunning costume designs, created a vibrant atmosphere that had the audience on their feet.
Set in the high-fashion world of Runway Magazine, the show’s design, especially the costumes, was a visual spectacle. With a mix of chic office wear and elegant ball gowns, the costumes not only dazzled but helped tell the story, particularly showcasing the development of Andie’s character through her changing wardrobe. A standout moment was boss-from-Hell Miranda Priestly’s iconic red sequined gown and blazer at the first-act gala, contrasting with the company’s dark, detailed outfits—some even wearing horns, possibly a nod to the show’s title.
Vanessa Williams, portraying the formidable Miranda, captivated the audience with her dramatic entrance and kept them laughing throughout with her comedic timing and clever references to the original film. However, it was Georgie Buckland, a fresh face to Londoners, who truly stole the show with her powerful vocals as the main character Andie. The evening's humor was also brought to life by Amy Di Bartolomeo as her rival Emily, who had the crowd in stitches, especially during the opening of Act 2 with “Bon Voyage.”
Despite the stunning visuals and strong performances, the show’s score was somewhat forgettable, overshadowed by the overall spectacle. Nevertheless, the talented cast ensured the audience left with a memorable night out.
And as Miranda herself would say… that’s all.
-Robyn Gray, Maven Scholar Fall 2024
BROADWAY BLAST: In The King and I, “Getting to Know You” goes beyond Anna’s interactions with the children to reflect the broader cultural exchange happening in the musical. The lyrics’ simple, repetitive structure mirrors the universal process of building trust and familiarity. Lines like “Because of all the beautiful and new things I’m learning about you day by day” emphasize curiosity and open-mindedness, signaling Anna’s willingness to embrace Siamese culture. By using everyday language, the song captures the gradual breaking down of barriers, making the theme of mutual understanding accessible and heartfelt. One caution, though: the song is "safe" for Anna, because it's presented in the context of socializing with children. Getting to know their father is much more daunting, so the song is an essential part in the plot's thickening as Anna's relationship with the king grows ever more subtle and complex.
Please Hello! Broadway Maven faculty members Gail Leondar-Wright and Edward Barnes conducted a delightful interview last Sunday at BroadwayCon with Sondheim book writer John Weidman (Pacific Overtures, Assassins, Road Show). Topics covered include the pair's writing process, the particular challenges in crafting Assassins, and the joys of watching Sondheim work.
MEMBERSHIP: Broadway Maven Membership is just $18 a month and includes 5-15 classes and other expert-led Broadway experiences, plus a password to the Clips Archive and periodic giveaways to Broadway and off-Broadway shows, including at least one opening-night performance and party. Upcoming Members-only classes include “Hamilton from the Top” with Juilliard Prof. Edward Barnes; a trivia party; a “Savoring Broadway” presentation (similar to David Benkof’s BroadwayCon talk); a four-part course on Wicked, and a two-part class on Black Broadway. Join this vibrant learning community at the button below. It’s your home for Broadway appreciation!
Note: A full calendar of upcoming classes is always available at TheBroadwayMaven.com.
• Sunday, February 16 10 am ET (note early time) “Hamilton: From the Top” with Juilliard Prof. Edward Barnes (Members only)
• Tuesday, February 18 7 pm ET Follies with Gail Leondar-Wright (registration closed)
• Tuesday, February 25 7 pm ET Road Show with Gail Leondar-Wright (registration closed)
• Thursday, February 27 Noon and 7 pm ET Trivia Party for Members
• Sunday, March 2 Noon ET Discours: Sondheim en Français (sign-ups soon)
• Tuesday, March 4 Noon and 7 pm ET Wicked FREE first week of a four-week course (Registration coming soon)
• Wednesday, March 5 4 pm ET (note unusual time) “Savoring Broadway” lecture (Members only)
LAST BLAST: There's a fun bit of ironic contrast in Stephen Sondheim's Sweeney Todd: The Demon Barber of Fleet Street. After singing the nearly romantic ballad "My Friends" to his razors, he holds one in the air and shouts, "My right arm is complete again!" Then, almost immediately, the chorus sings to us that Sweeney's "voice was soft, his manner mild." Unless we nodded off, we know it's not true, which causes us to be suspicious of everything we hear in the show, including the narration.
The Broadway Maven is a vibrant educational community that helps its members think more deeply about musical theater. Every month, members may attend 5-15 expert-led classes and innovative Broadway experiences, all for just $18. We also foster enthusiasm for Broadway through the FREE weekly substack newsletter MARQUEE and host an expansive YouTube channel. It's your home for Broadway appreciation. Contact The Broadway Maven at DavidBenkof@gmail.com.