Wicked rights a long-standing wrong of the musical
As a gamer and a lifelong fan of musical theater, especially Wicked and The Wizard of Oz, I can confidently say that my adoration for these stories has been deeply intertwined with my personal journey as a disabled individual. Over the years, I’ve seen countless productions, but none have resonated with me quite like the recent movie adaptation of Wicked, which finally featured an authentic and accurate portrayal of Nessarose by Marissa Bode.
I’ve always had a deep affection for both “Wicked” and “The Wizard of Oz”, but my appreciation truly flourished for the Broadway production of “Wicked” shortly after it debuted in 2003.
In this stunning world, I found myself deeply engrossed, and later, upon facing disability myself, took great joy in discovering that one of my cherished musicals included a character much like myself, named Nessarose.
It wasn’t until later that I realized, despite the musical appearing groundbreaking with its main character being disabled, they missed an important aspect – one that is increasingly relevant in our current times: miscasting, or failing to accurately cast the role.
For the past 21 years since “Wicked” debuted on world stages, no actor with a disability has been selected to portray the sole disabled character.
Until the movie adaptation comes along, for the very first time in its long history, the stage production of Wicked has authentically portrayed Nessarose by choosing the exceptionally-skilled Marissa Bode, an actress who is disabled and uses a wheelchair, just like the character herself.
To some people, it might seem trivial, but isn’t it fascinating to ponder how a single casting decision can significantly impact the representation of a character that has been interpreted and played out in numerous ways, worldwide?
If you’ve had the good fortune to watch both the stage production and the film version, it will undoubtedly become strikingly obvious. In my opinion, the significance and imperative of casting for authentic storytelling has rarely been as evident as it is with Nessarose in the movie adaption.
In a natural and easy-to-read manner, the sentence could be rephrased as follows: Who else, apart from disabled individuals themselves, could represent and depict the true essence of disability more genuinely and precisely?
In the film version, there were numerous instances where the portrayal of disability deviated, in a favorable manner, from the conventional views held about disabilities in the world of Oz. Some differences were obvious, while others required a closer look.
Regardless of whether you noticed the changes or not, the tone of discussions regarding disabilities has undergone a significant shift, which I perceive as a favorable development.
As a fan, I found it truly refreshing to witness how the ensemble approached the theme of disability in this production. Instead of perpetuating the common portrayal of disability as a state of being broken, they subtly challenged this notion by showcasing characters who were proud and strong despite their challenges. They made it abundantly clear that having a disability doesn’t necessitate being fixed or mended; rather, it adds to the rich tapestry of human diversity.
Something that I noticed that meant a lot to me, that also seemed to be somewhat heightened in the movie adaptation, was the focus on how Nessarose was infantilised and tokenised which are two things that a lot of disabled people are, unfortunately, very used to.
I recognize that I strongly understood Nessarose’s irritation when people interacted with her rather than speaking directly to her, especially when queries were posed to individuals who weren’t her.
It was demonstrated how distressing it can be to be treated as inferior or less than equal due solely to one’s differences, such as disability or unique physical traits like being green, as portrayed in the musical “Wicked.
As a gamer, I clearly got the point: just because we may differ in abilities or appearances, it doesn’t mean we’re any less deserving of respect as human beings. This message needs to echo louder and louder in today’s world, whether you identify more with Nessarose, Elphaba, or even Glinda – characters who each remind us that our differences make us unique, not inferior.
The portrayal of the character Nessarose, who is typically wicked, by a suitable actor with a disability could revolutionize opportunities in the industry for other actors with disabilities. Unfortunately, many have been rejected or sidelined due to misconceptions that accommodating disabled performers on film sets is excessively burdensome.
Instead of exceptional performances by distinguished actors we’ve seen before, there’s a depth and authenticity in witnessing a character unfold through an actor who might personally identify with the role and truly empathize with it.
It’s clear that the authenticity displayed in this portrayal underscores the urgency for disabled individuals to share their stories. I fervently wish that Wicked serves as one of the pioneering blockbuster movies, paving the way for numerous productions that prioritize and champion this movement, making media representation and casting processes more inclusive.
I’m thrilled that this adaptation could draw focus towards the significance of authentic casting, allowing it to show young kids with disabilities not only on-screen, but also inspiring them in real life as well.
We can be actors, writers, producers, directors. We can be anything we want to be, and that is something truly magical. Wicked has proved exactly that.
After all, as Marissa Bode has said: “You don’t have to be fixed, but you can be powerful.”
Wicked is out now in cinemas.
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2024-11-26 16:19