The tune "rejoicing in the departure of the wicked witch" is a musical composition that embodies the triumphant celebration over the defeat or departure of an evil character, namely the wicked witch. This particular tune is often used in storytelling or theatrical performances to evoke a sense of joy, relief, and victory. The main idea behind this tune is the celebration of the removal or eradication of the wicked witch from a situation or a story. The wicked witch is usually depicted as a malicious, malevolent character who brings harm, suffering, and darkness to the narrative. Thus, when she is finally defeated or leaves the scene, the melody of this tune represents the collective happiness and relief felt by the characters and the audience. The composition typically starts with a lively, catchy melody that instantly uplifts the mood and captures the feeling of liberation and ecstasy.
"Wicked Old Witch" is the ninth track of Deja Vu All Over Again, the seventh solo album of John Fogerty. The collection of songs was released in September 2004. It reached #23 in the USA and #1 in Sweden.
Ding-dong the butcher s dead The butcher s dead, shot in the head Ding-dong the baby butcher s dead Wake up you sleepyhead Rub your eyes, get out of bed Wake up the baby butcher s dead. They were watching it like three times each day, and she was just fascinated by the Wicked Witch Interview with John Fogerty , The Washington Times, November 11th, 2004.
The composition typically starts with a lively, catchy melody that instantly uplifts the mood and captures the feeling of liberation and ecstasy. The rhythm is often fast-paced, encouraging people to dance or move in celebration. The use of major chords and harmonies infuses the tune with a sense of brightness, optimism, and positivity.
Wicked lands in Little Rock
Anticipation high for show’s 12-day run at Robinson. by Spencer Watson | November 2, 2010 at 3:13 p.m.
Wicked begins its 12-day run at Robinson Center Music Hall on Friday.LITTLE ROCK — If you don't believe Kermit the Frog that it's not easy being green, just ask Elphaba Thropp. You probably better know her as the Wicked Witch of the West, the classic villain from author L. Frank Baum’s beloved story of The Wonderful Wizard of Oz.
But she's got a story of her own, told in book form by Gregory Maguire and translated to the stage in the musical Wicked, which opens today and continues through Nov. 14 at Robinson Center Music Hall, part of Celebrity Attractions' 2010-11 season.
Yes, that's the buzzing sound you've been hearing for the past few weeks. You know, the one that fueled the on-sale event at Robinson Center at which people started lining up for tickets before 6 a.m.
“We don't know what time they actually started getting there,” said Jessica Lashlee of Celebrity Attractions, who explained that 6 a.m. was when the first employees arrived, only to find queues already formed.
Apparently that kind of enthusiasm is not uncommon.
“We see it a lot, and it's pretty wonderful,” said cast member Michelle London of anticipation for the show's arrival. “It's pretty amazing how much fun we have in every city, because people really get excited.”
London, a veteran of the Chicago Wicked company as well as a member of the cast in the first national tour, plays Elphaba’s sister Nessarose. She’s the Wicked Witch of the East and the one who gets landed on by Dorothy's house. Never knew her name did you? Well, that's not all you didn't know about the inhabitants of Oz, and that's part of the delight of the show, said London.
“The first time I saw the show it was in New York years ago, and it was like one big inside joke for the audience,” she said of the nonstop “aha!” moments as people realize the connections between Wicked’s story and Baum’s. “I think that's what's fun.”
But make no mistake, while the musical shares characters with the book and its subsequent 1939 screen adaptation, it does tell a different story. It follows the relationship of Elphaba and Galinda, later Glinda, who is more familiar as the Good Witch of the North. They room together at school, share the same love interest and ultimately go down very different paths as they come to understand that corruption permeates the Wizard's government in Oz. Apparently he's not so wonderful after all, unless you're into oppressive pogroms against talking animals.
But the nuances of motivation for each and every character not only shed a new light on the tale, they really make Wicked a show with universal appeal, said London.
“I think there's something in it that appeals to everyone,” she said. “I know that sounds cheesy and cliche, but it's true.”
For instance, her own character is disabled and in a wheelchair. Part of the show deals with her and her sister's excitement and optimism at going to school and subsequently having to deal with the fact that no one reacts to them the way they'd thought they would. It's part of what shapes her character, who most folks only know as the pair of legs from which the silver shoes (or ruby slippers) are plucked.
“Everyone has their own ideas of what happens in the Wizard of Oz, it's such an iconic film,” said London. “But now you get to see who is really underneath that house.”
You also gain a new understanding of why the Munchkins are kind of stoked she's dead and why she didn't treat them very well when she was alive.
For the cast, it's also a fun show to do because, in addition to the whole “new twist on an old story” thing, the music and lyrics by Stephen Schwartz are, themselves, a departure from the norm.
“There's no 'feel sorry for me' song. There's no soprano ballad with a lover. It's just not classical musical theater,” said London, who described the numbers as more modern and pop than the traditional Broadway.
For instance, in the opening number, there's a real rejoice in the fact that the wicked witch is dead (we're talking “No One Mourns the Wicked” here, not “Ding Dong the Witch is Dead”). But there's a real menace from some of the characters — and perhaps some mourning from another.
“Every song is really a roller coaster of emotions,” said London.
The same could probably be said for the nervous excitement of those who brought the show here, as well as those who have already bought tickets. Given its success on Broadway as well as on tour, Wicked has built quite a reputation. That alone might make it the biggest show ever to come to Little Rock. But combined with the familiar elements of the story, anticipation is almost at peak levels.
“People who don't even follow Broadway that closely have heard of this show and want to see it,” said Lashlee. “It's a pretty big deal for us to have a show this big here.”
The same could probably be said for the nervous excitement of those who brought the show here, as well as those who have already bought tickets. Given its success on Broadway as well as on tour, Wicked has built quite a reputation. That alone might make it the biggest show ever to come to Little Rock. But combined with the familiar elements of the story, anticipation is almost at peak levels.
In contrast, minor chords might occasionally be used to depict the lingering shadows or remnants of the witch's influence. Throughout the piece, the tune might undergo variations and developments, mirroring the evolving emotions and actions of the characters. As the composition progresses, the intensity and energy can build up, symbolizing the growing joy and enthusiasm of the characters rejoicing over the witch's departure. In addition to its use in storytelling and theatrical productions, this tune can also be employed in other contexts where the theme of triumph over evil is present. For instance, it could be utilized in video games, where players overcome a boss or villain, or in films as the soundtrack for a climactic scene where the antagonist is defeated. Ultimately, the tune "rejoicing in the departure of the wicked witch" serves as a musical expression of jubilation and liberation from the clutches of evil. It embodies the joy and relief felt by characters and audiences alike when darkness is expelled, making way for a brighter, happier future..
Reviews for "The Musical Catharsis of the Wicked Witch's Departure: Analyzing the Tune's Impact"
1. John - 2/5 stars - I didn't enjoy "Tune rejoicing in the departure of the wicked witch" at all. The story felt disjointed and the characters were one-dimensional. The writing style was also confusing and hard to follow. Overall, I found it to be a disappointing read.
2. Sarah - 1/5 stars - I really disliked "Tune rejoicing in the departure of the wicked witch". The plot was weak and the dialogue was cheesy. The characters were unlikable and there was no depth to their development. I struggled to finish the book and would not recommend it to others.
3. Michael - 2/5 stars - "Tune rejoicing in the departure of the wicked witch" was not my cup of tea. The pacing was off, with long stretches of boredom followed by rushed action scenes. The writing lacked subtlety and nuance, and the humor fell flat. I struggled to connect with the story and found it to be a forgettable read.