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'Wicked' author reveals subtle clue in 'The Wizard of Oz' that Glinda and Elphaba were friends

"I fell down onto the ground laughing at the thought that they had gone to college together."

Public domain

Gregory Maguire was inspired by a line in the original 1939 film "The Wizard of Oz."

Have you ever watched a movie or read a book or listened to a piece of music and wondered, "How did they come up with that idea?" The creative process is so enigmatic even artists themselves don't always know where their ideas come from, so It's a treat when we get to hear the genesis of a brilliant idea straight from the horse's mouth. It's often not what you would expect!

If you've watched Wicked and wondered where the idea for the friendship between Elphaba (the Wicked Witch) and Glinda (the Good Witch) came from, the author of the book has shared the precise moment it came to him.

The hit movie Wicked is based on the 20-year-old hit stage musical, which is based on the novel Wicked: The Life and Times of the Wicked Witch of the West written by Gregory Maguire. It says a lot about how powerful the story is that it has succeeded in so many different mediums and continued to find new audiences that connect with it.

While the musical is a simplified version of the 1995 book, the basic storyline—the origins of the two witches from "The Wizard of Oz"—lies at the heart of both. In an interview with BBC, Maguire explained how Elphaba and Glinda's friendship popped into his head.

wizard of oz, wicked, wicked for good, wicked movie, wicked musical, wicked novel, gregory maguire, art, artists, writers, authors Ariana Grande as Glinda in the "Wicked" film Giphy

Maguire was visiting Beatrix Potter's farm in Cumbria, England (Potter was an author and illustrator who created Peter Rabbit) and thinking about "The Wizard of Oz," which he had loved as a child and thought could be an interesting basis for a story about evil.

"I thought 'alright, what do we know about 'The Wizard of Oz' from our memories,'" he said. "We have the house falling on the witch. What do we know about that witch? All we know about that witch is that she has feet. So I began to think about Glinda and the Wicked Witch of the West…

"There is one scene in the 1939 film where Billie Burke [Glinda] comes down looking all pink and fluffy, and Margaret Hamilton [The Wicked Witch] is all crawed and crabbed and she says something like, 'I might have known you'd be behind this, Glinda!' This was my memory, and I thought, now why is she using Glinda's first name? They have known each other. Maybe they've known each other for a long time. Maybe they went to college together. And I fell down onto the ground in the Lake District laughing at the thought that they had gone to college together."

Maguire must have thought the idea of Glinda and The Wicked Witch attending college together was absurd at the time. What a kooky idea! But he pursued it nonetheless and, well, the rest is history.

wizard of oz, wicked, wicked for good, wicked movie, wicked musical, wicked novel, gregory maguire, art, artists, writers, authors A photo of author Gregory Maguire.By Jeremy Goldstein/Flickr CC BY 2.0

In "Wicked," Glinda and the Wicked Witch, Elphaba, meet as students at Shiz University, a school of wizardry. They get placed as roommates, loathe each other at first, but eventually become best friends. The story grows a lot more complicated from there (and the novel goes darker than the stage play), but it's the character development of the two witches and their relationship with one another that force us to examine our ideas about good and evil.

Watch his explanation and inspiration here:

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Maguire also shared with the Denver Center for Performing Arts what had inspired him to use the "Wizard of Oz" characters in the first place.

"I was living in London in the early 1990’s during the start of the Gulf War. I was interested to see how my own blood temperature chilled at reading a headline in the usually cautious British newspaper, the Times of London: 'Sadaam Hussein: The New Hitler?' I caught myself ready to have a fully formed political opinion about the Gulf War and the necessity of action against Sadaam Hussein on the basis of how that headline made me feel. The use of the word Hitler – what a word! What it evokes! When a few months later several young schoolboys kidnapped and killed a toddler, the British press paid much attention to the nature of the crime.

"I became interested in the nature of evil, and whether one really could be born bad," he said.

"I considered briefly writing a novel about Hitler but discarded the notion due to my general discomfort with the reality of those times. But when I realized that nobody had ever written about the second most evil character in our collective American subconscious, the Wicked Witch of the West, I thought I had experienced a small moment of inspiration. Everybody in America knows who the Wicked Witch of the West is, but nobody really knows anything about her. There is more to her than meets the eye."

Authors and artists—and their ideas—help hold a mirror up to humanity for us to see and reflect on who we are, and "Wicked" is one of those stories that makes us take a hard look at what we're seeing in that mirror. Thanks, Gregory Maguire, for launching us on a collective journey that not only entertains but has the potential to change how we see one another.

The second Wicked film, For Good, hits theaters in November 2025.

- YouTube www.youtube.com

This story originally appeared last year. It has been updated.

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Art

19 years after writing it, the Bee Gees finally performed 'Grease' for the first time

Barry Gibb's version sounds completely different.

19 years after writing ‘Grease,’ the Bee Gees performed it for the first time. It was amazing.

"Grease is the word, is the word that you heard/It's got a groove, it's got a meaningGrease is the time, is the place, is the motion/Grease is the way we are feeling"

The title track to the 1978 film Grease, starring John Travolta and Olivia Newton-John, brought three generations together and hit number 1 on the Billboard Charts. The song is based on a movie about teenagers in the ‘50s, sung by a legend from the ‘60s and written by one of the biggest hitmakers of the ‘70s. In other words, there was almost no one alive at the time who didn't love Grease!

(And did you know that Grease was a Broadway musical years before the film? The story and songs, in many instances, are wildly different between the two, however.)

Grease was written by Barry Gibb of the Bee Gees but sung by doo-wop legend Frankie Valli. Although the Bee Gees toured in the late ‘70s and made a comeback in the '90s, they never played the song live until 1997 when it was part of their “One Night Only” concert and album featuring many of their biggest hits.

What’s impressive about the song is that even though Valli does a great job singing it on the original recording, when you hear the Bee Gees sing it, it sounds exactly like something you would have heard them perform in the late ‘70s.

grease, musicals, broadway, grease lightning, the bee gees, barry gibb, frankie valli, john travolta, 1970s, 1978 John Travolta turned in a legendary performance in the film as Danny Zuko. Giphy

During the performance, Barry Gibb points to Grease star Olivia Newton-John, who’s seen dancing with her daughter, Chloe Lattanzi in the audience.

In the third verse, Valli's vocal from the original is played so you can hear the difference.

- YouTube www.youtube.com

The magic started when producer Robert Stigwood, fresh from the Travolta-starring ‘77 hit Saturday Night Fever, went into production on a film adaptation of the Broadway musical Grease. The film promised a killer soundtrack filled with new versions of the classic show tunes, but it needed a song for the film's opening credits.

So, Stigwood tapped Barry Gibb, lead singer of the Bee Gees, the band that had just launched into the stratosphere after being featured on the Saturday Night Fever soundtrack. Stigwood also happened to be the band’s manager and planned to feature them in a Beatles-based musical, Sgt. Pepper’s Lonely Hearts Club Band.

Legend has it that Barry wrote the song “Grease" in one day. Instead of sounding like a '50s doo-wop or rockabilly track, it was a slick-sounding disco-adjacent number about a feeling of generational confusion. The song was given to Valli, who’d had a recent comeback with the songs “My Eyes Adored You” (1975) and the 1976 nostalgia-dazed Four Seasons doo-wop disco number “December 1963 (Oh, What A Night).”

Valli had the option of recording the song or appearing as the Teen Angel who sings “Beauty School Drop-Out.” The “Walk Like a Man” singer opted to do the theme song and Frankie Avalon was given the Teen Angel role.

grease, musicals, broadway, grease lightning, the bee gees, barry gibb, frankie valli, john travolta, 1970s, 1978 There's a good reason 'Grease' is one of the most famous musicals of all time. Giphy

“I just remember that it all happened in one afternoon,” Barry Gibb recalled. "I was babysitting and my wife was out. And Robert Stigwood called up and said, 'I have two wonderful new songs by John Farrar called ‘Hopelessly Devoted to You’ and ‘You’re the One that I Want.’ But we don’t have a song for the film's title. Could you come up with a song called ‘Grease’?” I said, “How do you write a song called ‘Grease’? I don’t understand what direction I would take to do that.' And Robert said, 'Just Grease duh-duh-duh-duh-duh, Grease duh-duh-duh-duh-duh.' So he wasn’t very helpful. But I understood that they really wanted something that was positive and sunny. It really all happened in that afternoon. I walked on the dock for a bit…."

Indeed, the feature film version of the musical is known for its upbeat and optimistic music when compared to the slightly darker tones of the stage musical.

Grease was a box-office smash and became the highest-grossing film of 1978. Unfortunately for Stigwood, his follow-up film, Sgt. Pepper’s Lonely Hearts Club Band, starring the Bee Gees, would be one of the biggest flops of the decade.

To celebrate the 40th anniversary of “Grease” in 2018, Barry Gibb released the demo he originally recorded of the song accompanied by piano. Take a listen and chill out for a few minutes.

- YouTube www.youtube.com

This story originally appeared last year. It has been updated.

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grease

Movies

Julie Andrews said she literally could "feel the evil" when visiting the Von Trapp house

The story behind the movie might be more interesting than the movie itself.

Image via Wikicommons

Julie Andrews in The Sound of Music

Sometimes the story behind the movie is more interesting than the story in the movie.

In her autobiography, Home Work, Julie Andrews shared some of her experiences filming The Sound of Music. Andrews spoke with BuzzFeed News about her book, revealing her thoughts on the actual von Trapp family house. The movie musical, which is based on a section of the real-life Maria von Trapp's book, The Story of the Trapp Family Singers, was shot in a Hollywood studio.

The classic scene of Julie Andrews spinning in a meadow was shot in Bavaria, and the exteriors of the von Trapp house were filmed at a different house entirely.

- YouTubewww.youtube.com

Andrews did visit the von Trapp house in Salzburg, Austria later on in her life.

"It wasn't until much later that I happened to visit the real villa where they actually lived," she told BuzzFeed News. During her visit, Andrews said she could "feel the evil that once permeated those walls." The evil Andrews refers to is, of course, the Nazis. "Because after they fled the country, which they had to do, as in the film, [Heinrich] Himmler took over that villa, and the atrocities there were just terrible," she continued.

The story behind the von Trapp house is much darker than what's touched on in the splashy Hollywood musical. The actual von Trapp family lived in the house from 1923 until they fled Austria in 1938. In 1938, the Nazis annexed Austria, making life hard for the singing family. Georg von Trapp refused to fly the Nazi flag on his house, and declined a request to sing at Hilter's birthday party. There was fear their neighbors would spy on them and their children would become brainwashed by Nazi politics. Even though the family was offered fame, they decided to stay true to their principals and leave Austria.

Julie Andrews, The Sound of Music, musicals, Germany, World War 2, Nazi Germany, Von Trapp Christopher Plummer and Julie Andrews on location in Salzburg, 1964upload.wikimedia.org

Not one year later, the house was occupied by Nazis. Heinrich Himmler used the house as his summer residence until 1945.

Himmler was the second most powerful man of the Third Reich. Himmler set up and ran the Nazi concentration camps. The house was surrounded by armed guards and barbed wires. A barracks for the SS was built in the garden. Himmler also built the white wall around the house using slave labor. After the wall was completed, he had those who constructed the wall shot. Very monstrous.

Now, the von Trapp house is a more peaceful place. In 1947, the property was purchased from the von Trapp family by the Missionaries of the Precious Blood. In 2008, it opened to the public as a hotel.

- YouTubewww.youtube.com

While the house has a heavy history, the previous residents of the property took satisfaction in knowing the von Trapps resisted the Nazi party. "What Himmler did here is a heavy weight on the house," Precious Blood Fr. Andreas Hasenburger, the rector of the Kolleg St. Josef, told the National Catholic Reporter. "But we are also proud to live in the von Trapp house, the house of the man who said no to the Führer."

It takes a lot of guts to stand up for what you believe in, especially when you're pressured to forfeit your integrity. Knowing that the family gave up their life to stay true to their principals makes The Sound of Music so much better.

This article originally appeared five years ago.

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Music

Man transforms 'Phantom' and 'Les Mis' hits into acoustic folk songs, much to everyone's joy

It's weird how well this works.

Courtesy of C.Scott/Instagram

A musical mashup that no one expects but people can't get enough of.

We've seen a lot of musical mashups and genre-bending performances over the years, and just when it seems we may have seen it all, someone comes up with something fresh and surprising. We saw it with Irish brothers step dancing to Beyonce's country hit. We saw it with an Indian-Scottish wedding march. We've seen it with a South African musician's beats combined with cat's meows, yowls, and growls.

And now we're seeing it with musical theater and acoustic folk music. Musician C. Scott asked what would happen if Phantom of the Opera were sung by a folk singer, and then proceeded to show us in the most down home, sitting-on-the-porch-at-sunset way. And, in the most delightfully weird way, it works.

Check out his version of "Wishing You Were Somehow Here Again" from Phantom of the Opera:

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People were blown away by how much they loved it, with some even preferring it to the original.

"SIR. SIR. I was NOT expecting to be absolutely gobsmacked on a Thursday evening. This is incredible. ❤️"

" Inject it into my veins. I wanna buy this."

"I need all my Broadway shows like this! ❤️"

"Whyyyy does this work???? Loll"

"I like this better actually?"

One person called it "Phantom of the Grand Ole Opry," and another called it "Portland of the Opera," both of which truly sum it up.

C. Scott tells Upworthy that he often comes up with his musical ideas at work. "I love musical theater, and I work a manual labor job where I'm often alone with my thoughts," he says. "So sometimes, melodies creep into my head and end up working really well with the lyrics that also float around my head all day. That's how I write most of my original material, and that's how covers come to be sometimes, too. I'll be walking or working and tunes pop up that I'll put to lyrics."

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After C. Scott shared another Phantom song ("All I Ask of You"), actors who had actually performed in the musical weighed in with their thoughts.

"Oooo as one of the men who has gotten to play this role, I LOVE THIS and would absolutely love to see this version!!!"

"As a former Phantom on the national tour, I approve of this message."

"I played Christine in Phantom for a decade and this is greatest thing I’ve ever heard! Wow! Thank you for this glorious reinvention!"

"As a cast member of the Broadway production, I gotta say… THIS IS 🔥🔥🔥🔥"

Clearly, C. Scott hit a nerve with the musical theater kids and the folk music lovers, but he didn't stop there. He moved on from Phantom and sang "I Dreamed a Dream" from Les Miserables, fully solidifying the unique genre.

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It's not just that he put an Appalachian spin on Broadway; it's that his guitar playing and singing are genuinely enjoyable to listen to. Hearing these songs sung in a different way also highlight the lyrics in a whole new light, prompting us to think about them more deeply, or at least hear them from a different angle

Along with requests for certain songs—"Empty Chairs at Empty Tables" has been a repeated refrain—people have started pushing C. Scott for an album of musical-theaters-standards-turned-folk songs.

"Honestly. You could do a folk rendition of broadway classics and moderns. I’d buy that album. For sure."

"The genre I did not know I needed! Not to seem greedy but can we please have a whole album?"

"Better see an album come out for this."

"My wife would buy every one of your albums."

Ask and ye shall receive. C. Scott shared a message with his followers announcing his plans.

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"From the bottom of my heart, thank you so, so much for all the support I've been getting for these covers that I've been doing, these Broadway covers," he said. "It's really kind of surprised me how interested y'all are in them, and it's really, really exciting. You seem to enjoy listening to them as much as I enjoy making them, so thank you so much for that."

He shared that he'd been talking to his recording studio buddy to help him put together an EP. He said they have some musicians who will be coming on to make a three or four-song EP. (If you love this and want to help with the costs of production, you can find his Venmo here.) So, be on the lookout for that.

You can follow C. Scott on Instagram and TikTok, listen to his music on Spotify, and check out his official website here.

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music

Health

19 musicals that are not only catchy—they could help with dementia, according to science

Back in 2013, researchers in the U.S. stumbled upon a novel new treatment for dementia patients: listening to show tunes. Seriously.

Photo by Jordhan Madec on Unsplash

A picture taken of the Broadway street sign in New York City.

Back in 2013, researchers in the U.S. stumbled upon a novel new treatment for dementia patients: listening to show tunes. Seriously.

A study of nursing home patients found that residents who sang show tunes — specifically from "Oklahoma!" "The Wizard of Oz," and "The Sound of Music" — demonstrated increased mental performance, according to a report in the New York Daily News:

"Researchers working with elderly residents at an East Coast care home found in a four-month long study ... that people who sang their favorite songs showed a marked improvement compared to those who just listened."

A similar study in Finland, cited in The Guardian, demonstrated that singing not only helped dementia patients feel better and focus, but actually improved certain types of memory as well.

Even better? There are tons of classic show tunes specifically about remembering.

Here are 23 tunes every Broadway fan needs to memorize for the day when it's not so easy to remember. It'll help to start brushing up now.

1. The one about remembering the good old days.

"Those Were the Good Old Days," "Damn Yankees"

If you're the devil in "Damn Yankees," that means the Great Depression, the Black Plague years, and when Jack the Ripper was running around. Good times!

2. The one about remembering a parade that probably never happened.

Any playlist of show tunes about memory has to include this standard from "The Music Man," in which Professor Harold Hill remembers the best day of his life, when "Gilmore, Liberati, Pat Conway, The Great Creatore, W.C. Handy, and John Phillip Sousa all came to town."

Whether or not any of it actually happened is ... up for debate, to put it mildly.

3. The one about remembering a really fun trip you took to a medium-sized Midwestern city.

"Kansas City," "Oklahoma"

"Oklahoma's" Will Parker is so psyched about his Kansas City vacation he can't help bragging about it to all the other cowboys. And why not? It's a neat city! Have you been to Joe's Kansas City Barbecue? Neither has Will Parker, since he was there in 1906, but you should totally go.

4. The one about remembering how fun it was to murder that guy that one time...

"Cell Block Tango," "Chicago"

...while glancing nervously over your shoulder to make sure Queen Latifah isn't around.

5. The one about remembering the questionable choices it's too late to go back in time and not make.

"Where Did We Go Right?" from "The Producers"

Looking back doesn't always go well for characters in musicals. It definitely doesn't for "The Producers'" Bialystock and Bloom, as they tear around their office wondering how their incompetently directed, poorly acted, aggressively pro-Hitler musical wound up becoming a massive hit despite their every attempt to make it fail.

6. The one about remembering the little things.

"I Remember/Stranger Than You Dreamt It," "Phantom of the Opera"

Perhaps the greatest testament to how emotionally transporting "Phantom of the Opera" is: Christine, removing the phantom's mask for the first time, can just straight-up claim to remember mist — like, one mist in particular — and no one calls her on it ever.

7. The one about remembering the worst day of your life.

"The Barber and his Wife," "Sweeney Todd"

No character in musical theater is more nostalgic than Sweeney Todd, who, just moments after we meet him, croons this delightful ditty reminiscing about the time he was framed for a crime he didn't commit and banished from England so that an evil judge could rape his wife who subsequently poisoned herself.

A tune you can hum!

8. The one about remembering things differently than everyone else around you.

"Satisfied," "Hamilton"

Not sure if you've heard, but "Hamilton" is good, you guys.

After Alex and Eliza Schuyler meet and fall in love in "Helpless," Angelica Schuyler basically goes "Wicked" on her sister's song, recalling how agonizing it was watching her sister and the man who she herself is super into get together. But she sucks it up and buries it! Older siblings are the best.

9. The one about remembering that cute girl you just met like five seconds ago.

"Maria," "West Side Story"

A classic from "West Side Story." Sure, it's about remembering a meet-cute that literally just happened — Tony and Maria's orchestral-swell-assisted gaze across a crowded gym — but Tony is super jazzed about it, so it makes the list.

Gosh, I sure hope those crazy kids work out!

10. The one about remembering all the worst things from when you were a kid, and one kind-of-OK thing.

"At the Ballet," "A Chorus Line"

The ballet isn't that great, but it's better than devastating childhood trauma. Score one for the ballet! Thanks, "A Chorus Line!"

11. The one about remembering old hobbies.

"Dentist!" from "Little Shop of Horrors"

"Little Shop of Horrors'" Orin Scrivello, DDS, is just misunderstood. I mean, who among us didn't "shoot puppies," "poison guppies," or "take a pussycat and bash in its head" now and again as a kid? The '50s were a simpler time!

12. The one about remembering watching a dude die on the battlefield and feeling feelings about it.

"Momma Look Sharp," "1776"

47 years before "Hamilton" brought us the swaggery, ass-kicking side of the Revolutionary War, "1776" tore our guts out with this song, in which a courier to the Continental Congress recalls watching a mother comfort a young soldier as he dies at the battles of Lexington and Concord.

Hercules Mulligan does the guest rap. (Just kidding. There is no guest rap. It's just gorgeously somber for a while and then over.)

13. The one about remembering the best four years of your life.

"I Wish I Could Go Back to College," "Avenue Q"

Of course the sad-sack puppet man- and woman-children of "Avenue Q" want to go back to college! Who among us doesn't long for the days of term papers, humiliating romantic encounters, and crushing, debilitating debt? And meal-plan ice cream, too!

14. The one about remembering some A-plus advice from your best friend.

"Cabaret," "Cabaret"

Ladies and gentlemen, Sally Bowles from "Cabaret" is no fool! No matter how many lovers leave, or how much her career nosedives, or how nutty local politics get, she always remembers this important life lesson she learned from her good friend Elsie.

If only you had such a great, wise friend, maybe your outlook would be as good as Sally's. You could be so lucky!

15. The one about remembering last Christmas.

"Halloween," "Rent"

When it comes to the science of memory and cognition, "Rent" asks the big questions:

"Why are entire years strewn on the cutting room floor of memories? When single frames from one magic night forever flicker in close-up on the 3-D Imax of my mind?"

Poetic? Pathetic? We report, you decide.

16. The one about remembering everything and realizing how terrible it all was.

"Rose's Turn," "Gypsy"

Ah, yes. "Rose's Turn." The 11 o'clock number to end all 11 o'clock numbers in "Gypsy," the most musical of all musicals. Truly, there aren't many things more enjoyable than listening to Mama Rose replay the events of the last decade and change inside her own brain in a slow-motion nervous breakdown as the notion that her entire life has been completely worthless gradually dawns on her with ever-increasing dread.

Did I mention how fun musicals are?

Trivia time! You know that thing in music where trumpets go, "Ya da da da daaaa DA. Da DA da DA!" You know that thing? This is the song that thing comes from.

17. The one about remembering the first time you knew what you wanted to be when you grew up.

"Ring of Keys," "Fun Home"

There's nothing better than a song that makes you want to shout: "I am so glad I'm watching a musical instead of a basketball game right now." This moment in "Fun Home," where Alison recalls seeing a delivery woman — the first person who looked like the woman she felt like — is really, really one of them.

"This is a song of identification that is a turning moment, when you think you’re an alien and you hear someone else say, 'Oh, me too,'" composer Jeanine Tesori told Variety. "It’s a gamechanger for Alison. And that’s just Musical Theater 101."

...And the entire audience bursts into happy tears forever.

18. The one about remembering a nice dream you dreamed.

"I Dreamed a Dream," "Les Misérables"

When your life isn't going so great, it's good to remember the positive! Things didn't exactly go super well for Fantine in "Les Mis." But, hey, she had a pretty good dream once!

19. The one about remembering your single greatest regret and vowing to never remember it again.

"Turn It Off," "The Book of Mormon"

What's the ticket to living as fun-loving and guilelessly as the Mormon elders in "The Book of Mormon?" Don't just bury those traumatic, scary, impure memories — CRUSH THEM, OK?!

20. The one about remembering a really successful first date.

"Sarah Brown Eyes," "Ragtime"

Ah, young love. Even in "Ragtime," a musical that features racism, state violence, attempted child murder, and terrorism, at least we have this song, in which Coalhouse Walker Jr. recalls how he got his beloved Sarah to fall truly, madly, deeply in love with him with his peerless piano skills? So romantic.

Gosh, I sure hope those crazy kids work out!

21. The one about remembering a scary dream.

"Sit Down, You're Rockin' the Boat," "Guys and Dolls"

With, perhaps, only a smidge more credibility than grifter-from-another-mother Professor Harold Hill, "Guys and Dolls'" third-most-degenerate gambler Nicely-Nicely Johnson recalls a terrifying dream where he had to convince a group of skeptical evangelical crusaders that he's decided to give up the dice once and for all.

Side note: People in musicals are unbelievably good at remembering dreams. This is, like, full detail. I'd be like, "Um, I was at the Statue of Liberty, and you were there? I think? It wasn't really you, it was like a combination of you and my dad. And we were in prison. But at the Statue of Liberty."

22. The one about remembering how it used to be when you were young and full of hope instead of old and bitter and jaded.

"Our Time," "Merrily We Roll Along"

The closing number of "Merrily We Roll Along" is actually the first chronologically, since the musical goes backward. It's the play's happiest moment — Frank, Charley, and Mary on a roof watching Sputnik go by, giddily talking about how thrilling, perfect, and successful their futures are going to be. It's so hopeful! But so sad, 'cause you already know all the achingly bittersweet stuff that's going to happen.

Ach! So poignant! I'm dead from poignant.

23. The one about remembering.

"Memory," "Cats"

"Cats." The OG.

All right team, what did I miss?

This article originally appeared on 02.26.16

From Your Site Articles

Identity

The Tony Awards touted diversity, but here's how the ceremony can do even better going forward

They've come a long way, but there's much more that needs to change.

Photo by Luca Bravo on Unsplash

Radio City Music Hall is the home of the Tony Awards.

The 2022 Tony Awards was billed as one of the most diverse Tony Awards in history. And that’s not totally untrue. The show saw its first nonbinary winner, “Six: The Musical” writer Toby Marlow. Additionally, there were seven plays written by Black playwrights during this Broadway season, a fact that host Ariana DeBose pointed out in her opening number/monologue. She quipped that it was nice to see that “‘The Great White Way’ is becoming more of a nickname as opposed to a how-to guide.”

And this year was absolutely a benchmark year when it comes to Black representation at the Tonys. As someone who is an avid theater fan (the Tonys are to me what the Oscars are to film people), I love watching the beauty and spectacle of the show. But as a Black woman, I am always aware of the conversations around diversity. They’re incredibly important conversations to be having, and while the Tonys used much of DeBose’s opening monologue to proclaim how diverse Broadway currently is, most of the winners didn’t reflect the sudden push for diversity, more specifically, Black creators and performers.

In the categories of Best Play, Best Director of a Play and Best Featured Actress in a Musical, there were multiple Black nominees, including Black women, but all of the winners were white. Not only white, but white people who have already won before and are critically acclaimed. For most of the show, it would be Black nominee multiple times over a category, only to have a white winner. Watching the show unfold became increasingly more frustrating.

After the national protests and conversations about race in 2020, a group of theater performers and other creatives, including Viola Davis, Lin-Manuel Miranda and Sandra Oh, wrote an open letter, “Dear White American Theater.”

“We see you. We have always seen you. We have watched you pretend not to see us,” the letter reads.

“We have watched you program play after play, written, directed, cast, choreographed, designed, acted, dramaturged, and produced by your rosters of white theatermakers for white audiences, while relegating a token, if any, slot for a BIPOC play. We see you.”

““A Strange Loop”(@StrangeLoopBway) by Michael R. Jackson (@TheLivingMJ) bills itself as a “Big, Black & Queer-Ass American Musical.” Days before he and the show each won Tony Awards, Jackson talked to me about the spectacular show he spent 18 years writing https://t.co/vkf5S0MSSt”

\u201c\u201cA Strange Loop\u201d(@StrangeLoopBway) by Michael R. Jackson (@TheLivingMJ) bills itself as a \u201cBig, Black & Queer-Ass American Musical.\u201d Days before he and the show each won Tony Awards, Jackson talked to me about the spectacular show he spent 18 years writing https://t.co/vkf5S0MSSt\u201d
— Jonathan Capehart (@Jonathan Capehart) 1655236835

One of the biggest issues with diversity on Broadway, at the Tonys or otherwise, is that the people in positions of power are still largely white. Take, for example, the new Broadway musical “A Strange Loop.” It has garnered a lot of buzz since it opened, and it picked up Tonys for Best Book of a Musical and Best Musical. When the show won Best Musical, the award was accepted by its white female producer (Barbara Whitman) along with its Black writer (Michael R. Jackson), despite its performance being presented by Black producers RuPaul Charles and Jennifer Hudson earlier in the broadcast. (Fun fact: Being a producer of the musical scored Hudson an EGOT, making her the second Black woman, and youngest winner overall.)

Clearly, Black producers exist, but they are not the lead producers, and as we know, the lead producers are the ones who become the face of the show in certain aspects. I’m not saying that white producers shouldn’t exist, but to create a more diverse playing field, they should be partnering with BIPOC producers, especially when the show is about a marginalized group. It may not seem like a big deal, but optics really do make it a big deal. It would have been way more impactful to the conversation to see all those Black faces on stage and have a Black person making the speech.

In an interview with The Hollywood Reporter ahead of the Tony’s, steering committee members of the Asian American Performers Action Coalition Christine Toy Johnson and Pun Bandhu talked about diversity on Broadway—the strides that have been made and areas that still fall short. The Asian American Performers Action Coalition is a group of AAPI theater folks who for the last 10 years have worked to increase opportunities for mainly Asian and Asian American creatives, but also to helping BIPOC communities as well.

Bandhu pointed out that over the years, there’s this swinging pendulum when it comes to representation. He refers to it as a “scarcity model,” where only one marginalized group can be having success at any given time. For example, after Lin-Manuel Miranda’s first Broadway hit “In the Heights” opened and won Tonys in 2009, there was a boost in interest surrounding Latino representation. After a show like “The Color Purple,” a boost in telling Black stories. He also added that the amount of diversity on Broadway never “went above 20 percent for marginalized and underrepresented groups from year to year over the course of 10 years.”

“"A Strange Loop is a story that centers the queer Black experience in the Broadway space which very well hits a chord when it comes to the creative process and navigating the world while being queer -- specifically Black and queer." @DinoRay https://t.co/IYqVu0bzwm”

\u201c"A Strange Loop is a story that centers the queer Black experience in the Broadway space which very well hits a chord when it comes to the creative process and navigating the world while being queer -- specifically Black and queer." @DinoRay \nhttps://t.co/IYqVu0bzwm\u201d
— GLAAD (@GLAAD) 1655213902

“Thinking that there’s only so much ground that can be given to marginalized groups … leads to this oppression Olympics, a system by which the power structure benefits from having all the marginalized groups competing against each other. What our statistics help to prove is that it’s a larger problem that has to do with centering white narratives and artists at the expense of all else,” Bandhu explained.

While this year was a record year for Black representation on Broadway, that meant that other marginalized racial groups got little to no recognition at all. There were only two Asian nominees this year, for lighting design. And while wins for either of them would have been historic, where is the visible Asian representation?

“I think that there’s been this ongoing myth about [AAPI talent] not existing, which is why we’re not represented,” Johnson told The Hollywood Reporter.

In a 2016 Forbes article, writer Lee Seymour stated that only 12 people of Asian descent have won a Tony—three producers have won more than once. David Henry Hwang was the first—and only—Asian American to win best play, back in 1988.

This is the perfect example of the “scarcity model,” and it feels ridiculous that it’s still a thing in 2022. But again, that leads to my earlier point of having marginalized producers. They will be more diligent about seeking out marginalized creators, actors and others. You have to have equity at the top to have equity at the bottom.

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Culture

Hamilton's missing 'Cabinet Battle #3' addresses the slavery issue the show glossed over

Devon Pasternak/YouTube

"The issue on the table..."

Two of Hamilton's most beloved numbers are the Cabinet Battles between Alexander Hamilton and Thomas Jefferson. In Cabinet Battle #1, the issue on the table was Hamilton's national financial plan. In Cabinet Battle #2, the issue was whether to provide France assistance in their revolutionary war.

But there was a third rap battle written for the show, which was cut due to time and because it didn't actually move the plot along. The issue on the table for Cabinet Battle #3? Slavery.

One of the few criticisms of the Hamilton musical is that it goes light on the issue of slavery—criticism that creator Lin-Manuel Miranda and others in the original cast say they welcome and hope people talk about more.

Squeezing a founding father's life and a huge chapter in American history into a 2.5 hour stage production with adequate character development, plot movement, musical flow, etc. is a herculean task, and Miranda has said he wrestled mightily with what to keep and what to cut. Slavery is obviously a huge issue, but since none of the founding fathers in the show actually did anything to end it, the light treatment makes sense from a plotline perspective.

From a historical perspective, however, the omission is glaring. Much can be said about how the men who founded the United States thought about and engaged with the institution of slavery—and how their beliefs and actions were often at odds with one another.

Jefferson called the slave trade an "assemblage of horrors," and slavery itself a "moral depravity" and a "hideous blot," yet he kept more than 600 men, women, and children enslaved in his lifetime and fathered six children with one of them.

Washington became increasingly anti-slavery in his later years and was the only slaveholding founding father to free his slaves—but he only did so in his will. (He also had false teeth that may have been made up of the teeth of enslaved people.)

Madison argued that slavery was incompatible with the values of the Revolution, but he himself enslaved people his entire life, even selling people for a profit.

Hamilton himself, though publicly against slavery, did nothing of consequence to change it.

All of these hypocrisies and contradictions are highlighted as these men debate the issue in Cabinet Battle #3. It's too bad it didn't make it into the final cut of the show, but it can be found on the Hamilton Mix Tape album. And someone made a nice animatic video for it, making it a bit clearer who is speaking (since the recording has Miranda rapping all the parts):

Cabinet Battle #3 (Animatic)www.youtube.com

And there you have it. "Let's hope the next generation thinks of something better."

As much as many of us would love to see the slavery problem tackled more directly in Hamilton, the truth is that at that time and in that place and with those men, slavery wasn't going anywhere. It was wrong and they knew it, but they benefited from it. It was a sin and they knew it, but like Hamilton with Mariah Reynolds, they didn't say no to it. Instead, they chose to pass the ticking time bomb to their descendents.

Miranda explained Hamilton's slavery complicity in an NPR interview last week. "Hamilton—although he voiced anti-slavery beliefs—remained complicit in the system. And other than calling out Jefferson on his hypocrisy with regards to slavery in Act 2, doesn't really say much else over the course of Act 2. And I think that's actually pretty honest. ... He didn't really do much about it after that."

"None of them did. None of them did enough," Miranda added. "And we say that, too, in the final moments of the song. So that hits differently now because we're having a conversation, we're having a real reckoning of how do you uproot an original sin."

Here's another video of the song with the lyrics and names to make it easier to follow:

The Hamilton Mixtape - Cabinet Battle 3 (Demo) Music Lyricswww.youtube.com

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musicals

"I fell down onto the ground laughing at the thought that they had gone to college together."

Barry Gibb's version sounds completely different.

The story behind the movie might be more interesting than the movie itself.

Andrews did visit the von Trapp house in Salzburg, Austria later on in her life.

Not one year later, the house was occupied by Nazis. Heinrich Himmler used the house as his summer residence until 1945.

It's weird how well this works.

Back in 2013, researchers in the U.S. stumbled upon a novel new treatment for dementia patients: listening to show tunes. Seriously.

1. The one about remembering the good old days.

2. The one about remembering a parade that probably never happened.

3. The one about remembering a really fun trip you took to a medium-sized Midwestern city.

4. The one about remembering how fun it was to murder that guy that one time...

5. The one about remembering the questionable choices it's too late to go back in time and not make.

6. The one about remembering the little things.

7. The one about remembering the worst day of your life.

8. The one about remembering things differently than everyone else around you.

9. The one about remembering that cute girl you just met like five seconds ago.

10. The one about remembering all the worst things from when you were a kid, and one kind-of-OK thing.

11. The one about remembering old hobbies.

12. The one about remembering watching a dude die on the battlefield and feeling feelings about it.

13. The one about remembering the best four years of your life.

14. The one about remembering some A-plus advice from your best friend.

15. The one about remembering last Christmas.

16. The one about remembering everything and realizing how terrible it all was.

17. The one about remembering the first time you knew what you wanted to be when you grew up.

18. The one about remembering a nice dream you dreamed.

19. The one about remembering your single greatest regret and vowing to never remember it again.

20. The one about remembering a really successful first date.

21. The one about remembering a scary dream.

22. The one about remembering how it used to be when you were young and full of hope instead of old and bitter and jaded.

23. The one about remembering.

They've come a long way, but there's much more that needs to change.

““A Strange Loop”(@StrangeLoopBway) by Michael R. Jackson (@TheLivingMJ) bills itself as a “Big, Black &amp; Queer-Ass American Musical.” Days before he and the show each won Tony Awards, Jackson talked to me about the spectacular show he spent 18 years writing https://t.co/vkf5S0MSSt”

“"A Strange Loop is a story that centers the queer Black experience in the Broadway space which very well hits a chord when it comes to the creative process and navigating the world while being queer -- specifically Black and queer." @DinoRay https://t.co/IYqVu0bzwm”

““A Strange Loop”(@StrangeLoopBway) by Michael R. Jackson (@TheLivingMJ) bills itself as a “Big, Black & Queer-Ass American Musical.” Days before he and the show each won Tony Awards, Jackson talked to me about the spectacular show he spent 18 years writing https://t.co/vkf5S0MSSt”