Sarah Hunter Simanson is a Memphis-based freelance writer who received her MFA from Vermont College of Fine Arts and is working on her first novel. Her writing has appeared in The LA Times, HuffPost, Salon, Travel + Leisure, The Daily Memphian and elsewhere.
My earliest memory of “ Wicked ” is of the now-ubiquitous, Elphaba-green sign outside of the Gershwin Theater. I had just turned 13 and was with my mom on a special trip for my birthday, and we were waiting in line for the “ Wicked ” ticket lottery. The show was just under a year old, and there was a massive crowd of girls and women all hoping for their names to be called.
It wasn’t until almost three years after that trip to New York that my mom and I finally saw “Wicked.” We were visiting Chicago, and she got us tickets for a production there. I was on the cusp of turning 16, and it’s hard to describe the immediate, visceral love that I felt for the show and the way it flips the story of the classic 1939 film “The Wizard of Oz” on its head.From the moment the Wicked Witch of the West is given a name — Elphaba — the musical humanizes her.
Many theater kids want to assume ownership of “Wicked,” as if it was adapted to the big screen just for people like them. But that’s not the reality, and I wonder how this two-part setup changes the takeaway for people who will experience this retelling for the first time.
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