Wicked as a representation of the Asian Immigrant Story
It’s a challenge to assess a work and discover a new meaning that the work did not intend. Not because it’s difficult to find meaning or identity in art, but because it’s often impossible to tell what an author or creator originally intended for a piece. How are we to know that subliminal messages delivered by a performance are really so hidden? Perhaps we can deduce based on context or background. However, one can never truly confirm the intention behind any artform.
That being said, I am hesitant to claim that I’m being particularly innovative when I say that I can find many hidden meanings behind Winnie Holtzman and Stephen Schwartz’s Wicked. Wicked, as a musical, transcends the usual boundaries of theater, ascending to unparalleled levels of popularity and bleeding into mainstream pop culture. Its commercial success and diverse fan-base sustains its life both on Broadway and in the hearts of Americans across the nation. Why is Wicked so...popular? In addition to its music, I believe that Wicked stands out because it tells a story that everyone can gain meaning from and relate to, which may very well be the intention of the writers.
For example, I assume that Schwartz and Holtzman were not considering the Asian American immigration experience as a major theme while writing Wicked. However, each time I watch the show (and I have seen various versions of it four times), I can’t help but find myself relating to Elphaba as she enters the school, Shiz, full of students and teachers who alienate her for her appearance. Furthermore, Shiz’s rejection of Elphaba’s appearance and assumptions bring to mind prejudice enacted against Chinese immigrants in the 19th Century. The Chinese Exclusion Act of 1882 utilized the same principles to judge the morality of immigrants that the students of Oz use to judge Elphaba’s morality: her appearance, her reserved nature, and her struggle to communicate with those around her.
During “The Wizard and I,” Elphaba expresses her desire to be renowned, loved, and accepted by her family - “No father is not proud of you, No sister acts ashamed,” which parallels so many stories of young Asian immigrants yearning to bring honor to their families. Later, through the eyes of an immigrant, Glinda’s “Popular” becomes a coercive attempt to assimilate the estranged Elphaba into normative American culture, teaching her to emulate the mannerisms, style, and language of the school around her. Additionally, Elphaba and Glinda’s journey to the Emerald City reflects the classic story of the American Dream as immigrants sail into in New York City.
Hi Julia, Stacy Wolf makes a significant intervention in how we conceive of spectatorship when she insists that there is something excessive in the musical form that allows those who do not often see themselves represented to identify with a an element in the work that is in excess of what the work seems to be on the surface. She is not necessarily arguing that there is a "subtext" there that is hidden and only can be decoded by people who feel that theatrical representation places them on the periphery. Differently that deliberately coded references, she refigures those references as codes that allow her to see herself as a partial subject in the piece - as you do when y…