The Wizard of Oz
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The Good, the Bad, the Wicked: Lessons from Oz”
“The Good, The Bad, The Wicked: Lessons from Oz” by Dr. Brian Howell Assistant Professor of Anthropology , Wheaton College What could be a more unambiguous, self-identified portrait of evil than a green faced Witch surrounded by creepy flying monkeys? Her very name, the Wicked Witch of the West, sets the tone pretty clearly. She’s Bad; Glinda is Good; the wizard is a bumbler but a well-intentioned guy and Dorothy is haplessly caught in the middle. But the hottest ticket on Broadway says, “Not so fast.” Perhaps having a green face and wearing unfashionable black hats is not enough to make you Wicked. In fact, perhaps “goodness” and “wickedness” are not such clear-cut categories at all. In a musical “prequel” to the film “The Wizard of Oz,” the audience is challenged to re-evaluate the judgements of good and evil, tapping into the powerful cultural theme of authenticity at the same time. The Broadway musical “Wicked” is based on a book of the same name that tells the story of Elphaba (nee The Wicked Witch of the West) and her early history in the land of Oz. Born an unnatural shade of green due to the dalliances of her mother, Elphaba is misunderstood and ostracized, particularly when enrolling in a boarding school for aspiring Witches and Wizards (Shiz Academy). There she finds herself rooming with Galinda (later to become Glinda, The Good Witch), who inspires her to travel to the Emerald City in order to meet the Wizard. Elphaba, you see, has true magical gifts, and her only dream has been to meet and work with the Wizard, the Great and Powerful Oz. -
Motion Picture Posters, 1924-1996 (Bulk 1952-1996)
http://oac.cdlib.org/findaid/ark:/13030/kt187034n6 No online items Finding Aid for the Collection of Motion picture posters, 1924-1996 (bulk 1952-1996) Processed Arts Special Collections staff; machine-readable finding aid created by Elizabeth Graney and Julie Graham. UCLA Library Special Collections Performing Arts Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 200 1 Motion picture posters, 1924-1996 (bulk 1952-1996) Descriptive Summary Title: Motion picture posters, Date (inclusive): 1924-1996 Date (bulk): (bulk 1952-1996) Collection number: 200 Extent: 58 map folders Abstract: Motion picture posters have been used to publicize movies almost since the beginning of the film industry. The collection consists of primarily American film posters for films produced by various studios including Columbia Pictures, 20th Century Fox, MGM, Paramount, Universal, United Artists, and Warner Brothers, among others. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Performing Arts Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Performing Arts Special Collections. -
A Rhetorical Analysis of Wicked's Elphaba
“IT’S JUST THAT FOR THE FIRST TIME, I FEEL… WICKED”: A RHETORICAL ANALYSIS OF WICKED’S ELPHABA USING KENNETH BURKE’S GUILT-PURIFICATION-REDEMPTION CYCLE by Patricia C. Foreman A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree Master of Arts in Communication Studies at Liberty University May 2013 Foreman 2 Acknowledgements First and foremost, to “my Dearest, Darlingest Momsy and Popsicle,” and to my brother Gary, thank you so much for your constant support, encouragement, direction and love. I appreciate your words of wisdom and advice that always seem to be just what I need to hear. To each of my fellow graduate assistants, thank you for “dancing through life” with me. Thank you for becoming not only co-workers, but also some of my best friends. To my thesis committee – Dr. William Mullen, Dr. Faith Mullen, and Dr. Lynnda S. Beavers – thank you all so much for your help. This finished thesis is, without a doubt, the “proudliest sight” I’ve ever seen, and I thank you for your time, effort and input in making this finished product a success. Finally, to Mrs. Kim, and all of my fellow “Touch of Swing”-ers, who inspired my love of the Wicked production, and thus, this study. For the long days of rehearsals, even longer nights on tour buses, and endless hours of memories that I’ll not soon forget... “Who can say if I’ve been changed for the better? I do believe I have been changed for the better. And because I knew you, I have been changed for good.” Foreman 3 In Memory Of… Lauren Tuck May 14, 1990 – September 2, 2010 “It well may be that we will never meet again in this lifetime, so let me say before we part, so much of me is made of what I learned from you. -
Dorothy, Scarecrow, Tin Woodsman, Lion, Oz Setting: Dorothy, Toto, Scarecrow, Tin Woodsman and Lion Are in the Throne Room of Oz for the First Time
The Wonderful Wizard of Oz Audition Lines Reading 1 Characters: Dorothy, Scarecrow, Tin Woodsman, Lion, Oz Setting: Dorothy, Toto, Scarecrow, Tin Woodsman and Lion are in the throne room of Oz for the first time. OZ: (A large painted face appears above a green screen. The voice is loud and frightening.) I am Oz, the Great and Terrible. Who are you, and why do you seek me? DOROTHY: I am Dorothy, the Small and Meek. OZ: Where did you get the ruby slippers? DOROTHY: I got them from the Wicked Witch of the East when my house fell on her. Oh, please, Your Honor, send me back to Kansas where my Aunt Em is. I’m sure she’ll be worried over my being away so long. OZ: Silence!!! (Alarmed, Dorothy steps right, Toto follows.) Step forward, Tin Woodsman! TIN WOODSMAN: (Gulping in fear.) Yes, Your Wizardship? OZ: What do you seek from the great and terrible Oz, you miserable pile of clanking junk! (Lion and Scarecrow are about to faint. Tin Woodsman isn’t doing much better. His knees are knocking.) TIN WOODSMAN: I have no heart. Please give me a heart that I may be as other men are. (He drops to his knees, implores.) Please, please, oh, great and terrible Oz! OZ: Silence!!! (Tin Woodsman scurries back to others on his knees.) Step forward, Scarecrow! SCARECROW: (Moves out, his wobbly arms and legs moving in all directions at once.) If I had any brains I’d be terrified. OZ: So, it’s brains you want, you poor excuse for a crow’s nest. -
To the Baum Bugle Supplement for Volumes 46-49 (2002-2005)
Index to the Baum Bugle Supplement for Volumes 46-49 (2002-2005) Adams, Ryan Author "Return to The Marvelous Land of Oz Producer In Search of Dorothy (review): One Hundred Years Later": "Answering Bell" (Music Video): 2005:49:1:32-33 2004:48:3:26-36 2002:46:1:3 Apocrypha Baum, Dr. Henry "Harry" Clay (brother Adventures in Oz (2006) (see Oz apocrypha): 2003:47:1:8-21 of LFB) Collection of Shanower's five graphic Apollo Victoria Theater Photograph: 2002:46:1:6 Oz novels.: 2005:49:2:5 Production of Wicked (September Baum, Lyman Frank Albanian Editions of Oz Books (see 2006): 2005:49:3:4 Astrological chart: 2002:46:2:15 Foreign Editions of Oz Books) "Are You a Good Ruler or a Bad Author Albright, Jane Ruler?": 2004:48:1:24-28 Aunt Jane's Nieces (IWOC Edition "Three Faces of Oz: Interviews" Arlen, Harold 2003) (review): 2003:47:3:27-30 (Robert Sabuda, "Prince of Pop- National Public Radio centennial Carodej Ze Zeme Oz (The ups"): 2002:46:1:18-24 program. Wonderful Wizard of Oz - Czech) Tribute to Fred M. Meyer: "Come Rain or Come Shine" (review): 2005:49:2:32-33 2004:48:3:16 Musical Celebration of Harold Carodejna Zeme Oz (The All Things Oz: 2002:46:2:4 Arlen: 2005:49:1:5 Marvelous Land of Oz - Czech) All Things Oz: The Wonder, Wit, and Arne Nixon Center for Study of (review): 2005:49:2:32-33 Wisdom of The Wizard of Oz Children's Literature (Fresno, CA): Charobnak Iz Oza (The Wizard of (review): 2004:48:1:29-30 2002:46:3:3 Oz - Serbian) (review): Allen, Zachary Ashanti 2005:49:2:33 Convention Report: Chesterton Actress The Complete Life and -
Antelope Class Writing Term 6, Week 3 Learning- 15.6.20 the Wonderful Wizard of Oz
Antelope Class Writing Term 6, Week 3 learning- 15.6.20 The Wonderful Wizard of Oz Hello Antelopes, well done for all of your hard work so far. This week, we are going to begin a 3 week fantasy story focus by looking at ‘The Wonderful Wizard of Oz’. It has been a pleasure to see the learning that has been taking place, and we look forward to hearing more about that this week. Please send a picture or scan of your writing to [email protected], either every couple of days or at the end of the week. There are 5 lessons and each lesson will take approximately 30-40 minutes. Miss McMillan and Mrs Smith Lesson 1 To understand the events of a text. This lesson, you are going to become familiar with ‘The Wizard of Oz’ and answer questions about the text. Context • ‘The Wonderful Wizard of Oz’ is a high fantasy novel, written by L. Frank Baum, published in 1900. It was the first published of 14 novels in the Oz series and it is the best known among all the author’s books. • Most of the novels are set in Oz, a land full of wonder, strange rules and mythical beings. • In the story, Dorothy lives in Kansas (America) on her aunt and uncle’s farm. One day, a huge tornado carries her house into the sky. She lands in the fantastical Land of Oz. • Dorothy meets three friends and they travel together to the Emerald City - to visit the Wizard and ask for his help. -
The Man Behind the Curtain: L
Article: The Wizard of Oz Dr. Jay Seller The Man Behind the Curtain: L. Frank Baum and The Wizard of Oz by Linda McGovern L. Frank Baum in 1881 Chances are you have seen the 1939 MGM movie, The Wizard of Oz, at one point or another in your lifetime. But the chances maybe even greater that you do not associate it with L. Frank Baum, the author of the book on which the film was based. In fact, most people have probably never heard of him at all unless they have read his work or were born around the time when he was popular. Whether it is shown on television annually or rented at the local video store, The Wizard of Oz has become a staple of American popular culture. Young or old, we know where the famous, unforgettable lines originate; we know the characters by heart: Dorothy, Toto, the Tin Man, the Scarecrow and the Cowardly Lion, as well as the munchkins. Oz is as familiar as our own backyards. Although the movie and the book differ in minor ways, the premise is similar and so are most of the characters. The only significant difference that might matter to a child and possibly to an adult, is that in the movie, Dorothy’s journey to Oz is only a dream, purely imaginary, in other words, not real. In the book, however, there is no such rationale. Instead it invites the child to use his or her imagination as a creative, transforming force and to accept the journey, and Oz as a real place full of hope over the rainbow, where the child could escape ordinary life. -
The Apollo Victoria Theatre Wednesday 25Th April, 2018
Student Theatre Reviews Wicked! @ The Apollo Victoria Theatre Wednesday 25th April, 2018 Theatre Review Wicked! Apollo Theatre Victoria Wednesday 25th April matinee 2:30pm. Wicked, was an outstanding musical! Elphaba, played by Alice Fearn, and Glinda, played by Sophie Evans, set off a ‘magical spark’ despite their differences throughout the play. Elphaba, who was unfortunately born with an uncommon difference, struggled her whole life. She had to look after her sister whom was tragically unable to walk. As well as her father hating her, Elphaba became Nessarose’s full time carer, played by Sarah Mcnicholas. However things took a ‘wicked’ turn when they were both sent to school where they met Glinda the ‘do gooder’! As for Glinda, she was loved by all and hated by 1. Yes only 1! This play brought me nothing but excitement, laughter and tears of joy. I would say this could pass as one of the most well thought out and structured plays I have ever seen or even heard about. However, there was one factor letting it down. This is as follows… ‐Mumbling over words. At times, it made it really hard to hear what was being said or sung by the performers. This made a great deal of confusion occur whilst I was viewing this play as I was struggling to understand what was being said. If this could be changed, this could possibly be one of the best performances I have ever seen. Review by Tayah Fallon Alexander Myers 9 Ledecky Theatre Review Wicked – West End Wow. That was a rollercoaster of a ride. -
Wicked - for Performers
Wicked - For Performers The following questions and answers are from the archive of the StephenSchwartz.com Forum. Copyright by Stephen Schwartz 2010 all rights reserved. No part of this content may be reproduced without prior written consent, including copying material for other websites. Feel free to link to this archive. Send questions to [email protected] Wicked Auditions Question: Dear Stephen, do you hold auditions for your shows on Broadway, or do you select the actors personally, if you do hold auditions, how can people learn of them. Answer from Michael Cole: Dear Brian: Stephen does not hold personal auditions - this process is handled by Bernard Telsey Casting in New York City. Stephen will, on occasion, recommend somebody to be seen for a particular role, but they must then audition for the casting directors and the rest of the creative team. The best way to learn of auditions is to contact your agent and let him or her know you are interested, or by watching the trade papers for audition notices (Backstage Magazine is a good source). Best, Michael Answer from Carol de Giere: Hi Brian, Here's a few links that may help. http://www.musicalschwartz.com/wicked-auditions.htm http://www.musicalsingers.com/auditioning/auditions.htm Wicked audition advice needed Question: Hello Mr Schwartz, What would you recommend as a good audition song for the Role of Galinda in Wicked? I have been suggested for casting by my agent for London and would like some first hand advice for a suitable song, i have many already in my file but would love to hear your opinion. -
Wicked Inside Pages
A tool for using the theater across the curriculum to meet ® National Standards for Education I Production Overview I Lesson Guides I Student Activities S S I At-Home Projects I Reproducibles E E T T A NEW MUSICAL O O A FIELD GUIDE FOR TEACHERS A FIELD GUIDE FOR TEACHERS N N THE UNTOLD STORY OF THE WITCHES OF OZ e e A NEW MUSICAL g g THE UNTOLD STORY OF THE WITCHES OF OZ A NEW MUSICAL Sta Sta THE UNTOLD STORY OF THE WITCHES OF OZ A NEW MUSICAL WICKED THE UNTOLD STORY OF THE WITCHES OF OZ A NEW MUSICAL THE UNTOLD STORY OF THE WITCHES OF OZ © 2004, Camp Broadway LLC® All rights reserved This publication is based on the production of Wicked with music and lyrics by Stephen Schwartz and book by Winnie Holzman, based on the novel by Gregory Maguire. The content of the Wicked edition of StageNOTES®: A Field Guide for Teachers is fully protected under the copyright laws of the United States of America and all other countries with which the United States has reciprocal copyright relations. All rights regarding publishing, reprint permissions, public readings, and mechanical or electronic reproduction, including but not limited to, CD- ROM, information storage and retrieval systems and photocopying, and the rights of translation into foreign languages are strictly reserved. Printed in the United States of America First printing, April 2004 ISBN: 1-930504-15-2 Original Broadway Cast Recording available on Decca Broadway For more information on StageNOTES® and other theater arts related programs for students, contact: Camp Broadway LLC® 145 West 45th Street, 7th Floor New York, NY 10036 Telephone: (212) 575-2929 Facsimile: (212) 575-3125 Email: [email protected] www.campbroadway.com StageNOTES® CAMP BROADWAY LLC CAMP BROADWAY A FIELD GUIDE FOR TEACHERS NEW YORK ® Idina Menzel and Stephen Oremus NOTES Stage From top: Kristin Chenoweth, Director Joe Mantello, Composer and Lyricist Stephen Schwartz, Joel Grey, Norbert Leo Butz and Idina Menzel Contents Using the Field Guide/Using the Lessons . -
John Boorman
13/15 John Boorman BFI Southbank to honour the director with a BFI Fellowship on 25 March followed by a career retrospective throughout April On 25 March John Boorman will be presented a BFI Fellowship – the highest accolade that the nation’s leading organisation for film can award. To mark the occasion he will be interviewed by Michel Ciment, on-stage at BFI Southbank, to launch a major retrospective of his work and to celebrate his recent 80th birthday. There will also be an Extended Run and nationwide release of Point Blank (1967) and an exhibition of artefacts from Boorman’s personal archive, on display in the Mezzanine – including a dress worn by Helen Mirren in Excalibur (1981). To complement this season there will be an exclusive run of Me and Me Dad (2011), an intimate insight of life in the Boorman family, directed by John’s daughter Katrine Boorman (who will appear in conversation on 27 March, following a preview of her film). According to Philip French, John Boorman is ‘one of the greatest filmmakers this country has produced’. He began his career as a documentary director for the BBC with Citizen 63 (BBC, 1963) and The Newcomers (BBC, 1964), and this season will feature these early works and follow his varied filmmaking career to date. His first feature film, Catch Us If You Can (1965), was a showcase for the Dave Clark Five and caught the attention and support of Pauline Kael. It was followed by The Quarry: Portrait of a Man as a Parylsed Artist (BBC, 1966), inspired by Fellini’s 8½ and events in Boorman’s own life. -
An Introduction to the Award Winning Musical About Wicked
TEACHERS PACK: AN INTRODUCTION TO THE AWARD WINNING MUSICAL ABOUT WICKED The premise of Wicked is that you have not been told the whole story about the land of Oz. It encourages you to look at things very differently by exploring the themes of friendship, trust and tolerance, the use of propaganda and the manipulation of public opinion. Was the Wicked Witch of the West really wicked? Was Glinda the Good really so good? Why was the Lion so cowardly? How did the Tin Man lose his heart and the Scarecrow his brain? And why did the Wicked Witch of the West want the jewelled shoes so much? Wicked sets out to explore all of this and more. The musical is often described as a ‘prequel’ to The Wizard of Oz but in fact the story takes place before, simultaneously and after the familiar Oz tale. It has been described as creating ‘a parallel universe to that of the Wizard of Oz’ and a ‘re-imagining of the same world’ that looks at things very differently. SYNOPSIS OF THE WIZARD OF OZ Whisked away from Kansas by a swirling tornado, Dorothy’s house crushes the Wicked Witch of the East when it lands in the dazzling world of Oz. Glinda the Good Witch gives Dorothy the dead witch’s jewelled slippers and sends her off along the yellow brick road which leads to the Wizard’s Kingdom. Along the way she is joined by a scarecrow with no brain, a tin man without a heart and a lion that lacks courage, each of them believing that the Wizard can give them what they want most in life.