I’m a paradox. I want to be happy, but I think of things that make me sad. I’m lazy, yet I’m ambitious. I don’t like myself, but I also love who I am. I say I don’t care, but I really do. I crave attention, but reject it when it comes my way. I’m a conflicted contradiction. If I can’t figure myself out, there’s no way anyone else has.
Wicked is structured like a queer 1950s Rodgers and Hammerstein musical. It follows many narratological and musical conventions of the “golden age musical” but places two women as the central couple. Like the heterosexual couples of mid-twentieth-century musicals, Glinda and Elphaba begin as enemies and competitors, as opposites in voice and temperament. Constructed as a butch- femme couple, they eventually merge vocally through the show’s numerous duets. By the end, they express their love for one another and promise eternal commitment in “For Good,” as they sing, “Who can say if I’ve been changed for the better? Because I knew you, I have been changed for good.” In this duet, they cross voice parts: Glinda sings alto, Elphaba sings soprano, and they finish the song together on middle C. Wicked’s very project is double divadom.
(3) Favourite minor female character ♥ Molly Hooper
I think people relate to her because she’s ordinary, and also everyone’s been in love to the extent that they’ve made an idiot out of themselves, probably, or if they haven’t, then they haven’t lived. […] She wears her heart hugely on her sleeve and hopefully people find that endearing. - Louise Brealey