Jennifer. Made in the '80s. Ohio. Writer, dreamer, fangirl extraordinaire. Multifandom blog: herein you will discover life-ruining women of a certain age; badass gay lady cops (who sometimes double as doctors, lawyers, mayors or President of the Twelve Colonies) and their equally high-powered better halves; an inordinate amount of The Closer, Kyra Sedgwick & Mary McDonnell; and excessive tagging that's just this side of the absurd. And yes, there will be occasional wailing and gnashing of teeth about a little show called Glee.
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.