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Both in the book and the musical:
- Abled in the Adaptation: She has both eyes intact, unlike in the original books.
- Adaptational Heroism: The book portrays the Wicked Witch as a more sympathetic character than L. Frank Baum's original, and then the musical in turn portrays her as even more sympathetic than the original Wicked. In the book, she still becomes a heinous, tragically insane Villain Protagonist. The musical drops this characterization and puts her in a much more heroic light, making her a benevolent protagonist that's more misunderstood than she is evil.
- Adaptation Dye-Job: She's based off of her MGM design, not her Land of Oz design. As a result, she's green skinned and has a black color motif.
- Back from the Dead: Glinda greets... something... with a "well, you took your time!" when she's freed from prison in the final book. This... mysterious something... is implied to be Elphaba, back from the dead.
- Byronic Heroine : Elphaba is antisocial, emotionally sensitive, intelligent, against social norms, usually rude to people but affable with who is close to her.
- Beautiful All Along: Depends on the version.
- In the book it was stated that she had a long pointed chin, a rather mannish jaw, and Fiyero commented that she seemed to have a strange scar near her genitals. And that was before she went utterly insane and stopped sleeping all together, she probably looked like hell by then. Despite this, there are still indications that she's still rather good-looking, in an unconventional way—her nose, while strong, is described as lovely, and both Galinda and Fiyero tell her she's pretty at separate points. Galinda even goes on about Elphaba's beautiful hair, and says that there's an "exotic" type of beauty about her after a mini-makeover. Elpahaba is described as looking like her mom, but with green skin, at least once in the books.
- In the musical, she only calls Elphaba pretty after "Popular", after she's Galinda-fied her with a flower and better hairstyling. Fiyero in the book refers to her as being "beautiful in her own way", meaning she's not conventionally attractive, and in the musical he finds her beautiful because he's "looking at things differently", meaning that he knows how to see past her green skin. The makeup designer flat-out states that "Elphaba is not ugly—she's supposed to be beautiful. People just hate her because she's green." Notably, her ensemble changes entirely for the latter part of the play, as she drops the bulky boots, glasses and drab school outfit and switches to an extravagantly crafted black gown instead.
- Big Sister Instinct: She loves her little sister dearly. One of her early berserk buttons was being separated from Nessa.
- Calling the Old Man Out: "Defying Gravity" in the musical. Her role after the same moment in the book as well. Although, she never actually learns that the Wizard is her biological father.
- Child by Rape:
- In the book, at least. Her mother was drugged when she let a man eat dinner with her while Frexspar was away,
- In the musical, it still could be, with the line "have another drink of green elixir," but it's more interpreted as both parties getting drunk and having a mutual love affair.
- Chocolate Baby: Her green skin is either due to her being a Child by Rape (books) or infidelity (musical); the coloration was brought on by an elixir Melena drank prior to conception. Frexspar never suspects anything and simply believes his daughter's skin is due to his failure as a priest.
- Dark Is Not Evil: She may wear dark-colored clothes almost exclusively, have black hair, and seem Gothic, but she cares about her sister, Animals, and her anthropomorphic teacher and desperately wants to do good. This eventually leads to her Villainous Breakdown.
- Deadpan Snarker: She gets most of the best lines, in book and play.
- Friendless Background: She grew up shunned and isolated. Glinda becomes her first friend.
- Hair-Trigger Temper: She tries to keep it under control, but it really does not take much to get Elphaba sniping and shouting at those around her, and we see her temper literally explode several times over the course of the story. No doubt she became this way through having to constantly deal with people's stares and jeers.
- Heroic BSoD:
- Hollywood Nerd: She gives off this image in her initial appearance, being a bookish girl who wears glasses and doesn't concern herself with trying to improve her appearance.
- Human Mom Nonhuman Dad: Well, her father is human, but he's not an Oz native like her mother is. The fact she was born of parents from "two different worlds" was said to be the reason she was so magically gifted. Also, the tonic the Wizard had in his possession and implied to be his own creation was apparently responsible for her coloring.
- In-Series Nickname:
- Glinda calls Elphaba "Elphie".
- In the book, Frexspar and Nessa calls her "Fabala", and Fiyero gives her the nickname "Fae". Many fanfictions based on the musical still have both give her their respective nickname.
- Loners Are Freaks: The attitude towards her in college. With more than a little not-so-Fantastic Racism on the side.
- Motor Mouth: If riled up, Elphaba can get into passionate rants where no one can get a word in edgewise. Fiyero points this out to her once.
- Not Evil, Just Misunderstood: In the musical, this is definitely the case. In the novel, this is debatable, especially early-on.
- Not Good with People: Type two. She is very snarky, has a hard time expressing her feelings and seems to get along much better with Animals and animals.
- Power Incontinence: Elphaba is powerful for sure, but she... doesn't have the best command over her magic abilities. She can make things happen that many can only dream of doing, but aside from enchanting her broom to fly, we never see her cast a spell that exactly has the outcome she desires. This may have something to do with how her magic often reacts to her emotional outbursts. Even the broom wasn't intentional. She and Glinda expected her to grow wings like the monkeys.
- Reality Warper: Implied, discussed and exhibited on one occasion. She seems to be able to make things happen unconsciously, without even thinking them.
- Rebellious Spirit: In the book, she's almost rebellious for the sake of it — she insults almost everybody. In the musical, she becomes this once she meets the Wizard and realizes the depth of his corruption, declaring "I'm through with playing by the rules of someone else's game." and "I'm through accepting limits 'cause someone says they're so / Some things I cannot change, but till I try I'll never know!" She then begins her "campaign of terror."
- Sanity Slippage: To different degrees in the musical vs. the book after Fiyero's death causes her to snap. In the musical, she becomes unhinged and decidedly irrational in her actions but eventually recovers when a visit from Glinda, and news that Fiyero managed to survive as the Scarecrow, helps bring her back down to earth. In the book she goes flat out insane.
- Straight Man: When Glinda is being goofy in the play, Elphaba is the straight man.
- Sugar-and-Ice Personality: She's outwardly snarky and standoffish, but she shows her warmer, compassionate side towards Animals, her sister, and people show grows fond of like Glinda and Fiyero.
- Tomboy and Girly Girl: The Tomboy half. Elphaba is strong-headed, pragmatic, and has no interest whatsoever in gushing over things like makeup and clothes. She's also not afraid to get her hands dirty for her cause.
- Trauma Conga Line: Not even counting what went down in the first act, Elphaba has to deal with her beloved little sister not wanting to have anything to do with her anymore, saving the life of Boq by turning him into a tin-man who forever resents her for it thereafter, her favorite teacher losing his ability to speak human language, her sister getting murdered, getting into a nasty spat with Glinda that puts them at odds with each other, and finally, watching Fiyero be dragged off to be killed because of her, all the while being collectively despised and hunted for by the populace. Can anyone really blame her for going off the deep end by the time Dorothy came around?
- The Unfavorite: In both book and musical, her father heavily prefers Nessarose.
- Used to Be a Sweet Kid: Yes, the Wicked Witch of the West was once a friendly, sensitive young girl. She's less villainous in the musical, though.
In the musical:
- Abled in the Adaptation: Unlike in the book, she isn't allergic to water. It's just a rumor people spread about her. This allows her to be Spared by the Adaptation when she fakes her own death.
- Adaptational Attractiveness:
- In the musical, she's much more beautiful than the ugly, hook-nosed witch that we're used to.
- The same can be said for the Elphaba of the books, but only marginally (see Beautiful All Along).
- Adorkable: In the first act of the musical. Oh, she's got a biting tongue alright, but she's also socially awkward and her attempts to interact with people, as well as her mannerisms when excited, come off as rather endearing.
- Betty and Veronica: Fiyero's Veronica.
- Defrosting Ice Queen: Though it wasn't intended as the good deed that it was seen as (and it ends up backfiring spectacularly when it turns out that Nessa's a total Yandere), Galinda setting up Boq and Nessarose turned out to be the key to unlocking Elphaba's softer side, and the relationship between the two roommates changes almost instantly, at least in the musical version.
- Disney Death: She only fakes being melted, actually falling down a trap door, and escapes Oz with help from Fiyero, although the two can never return.
- Emotionally Tongue-Tied: In the Lion cub scene, Elphaba is so bewildered by the situation she starts blabbering frustratedly to Fiyero.
- Evil Laugh: Depending on the actress portraying her, she's had that distinctive cackle from as far back as her schooldays. Nearly all versions have her develop it by the time she's become infamous.
- Flower in Her Hair: Galinda puts one in her hair to show she can be pretty. Elphaba is so shocked by seeing herself as something other than repulsive, she runs off.
- Hero with Bad Publicity: Without a doubt—it's basically the premise of the show.
- Knight In Sour Armor: In the musical. She keeps fighting for what she believes is right even though she doesn't think it makes much difference.
- Magic Misfire: Elphaba causes these far more often than she'd like. Most notably, her messing up an invulnerability spell in her panic and desperation to save Fiyero from being beaten to death, which ultimately turns him into a scarecrow.
- Meganekko: In her days at Shiz in the musical. She loses the glasses during the timeskip between acts I and II.
- Pimped-Out Dress: Her dress in the second half of the musical is meant to look like rags, but is pretty fancy, as the patchwork look required lots of beaded detail. An early version also had some ruffles and netting.
- Seer: Seems to have this power in the musical; When she's envisioning in her head what her life would be like working with the Wizard, she predicts the fact that there will be a celebration all to do with her. (though she doesn't predict that said celebration will be her funeral.) She also senses her sister is in trouble upon seeing Dorothy's flying house.
- The Snark Knight: She's sarcastic and introverted from the start, but at first, she has a distinctly idealistic streak ("The Wizard and I") — after "Defying Gravity", she evolves into a genuine, cynical Snark Knight.
- Spared by the Adaptation: She dies in the novel, but survives in the musical. See Disney Death.
- Then Let Me Be Evil: In "No Good Deed", she decides to stop trying to be good and instead be the Wicked Witch that everyone believes her to be.
- Tragic Villain: The entire musical shows how an ostracized girl slowly became evil because of how society treated her. What's even worse is the fact that she never really did anything to deserve this treatment other than have an odd skin color, reject someone's ideologies based on her moral principles, and unintentionally cause damage to those she tries to help. When she turns Fiyero into a scarecrow, she finally snaps and fully embraces her evil nature.
- Tsundere: Has traits of one in the musical. She's very vitriolic to almost everyone upon first meeting, but she gets awkward and sweet around people who she hopes to impress or who show her kindness. She even gets this textbook tsundere line:Elphaba: Where is [Fiyero] anyway? N-not that I expected him to say goodbye to me...
- Voice Types: Is a classic, prime example of a mezzo-soprano "Belter". Most Elphaba actresses in the musicals are graded (by the fans) on the quality of: the end notes of "The Wizard and I", the long "Fi-yer-o-o-o-o-o!" in "No Good Deed Goes Unpunished, and the end of "Defying Gravity", particularly the final line and the last belted "Ah-aah-ahhhh!"
- Woobie, Destroyer of Worlds: In the musical. No matter how hard she tries to do good in the world, it ends up blowing up in her face spectacularly, especially when her magical powers get involved. Eventually she hits her breaking point.
In the book:
- Anti-Villain: In the book, Elphaba is actually okay with innocent people being hurt while she's furthering her cause, and ends up going mad.
- Apothecary Alligator: Rain finds a stuffed crocodrilos hanging from a rafter in Elphaba's old room.
- Baby's First Words: Her first word, repeating what Turtle Heart had said, was "horrors" at nearly 2 years old.
- Creepy Child: She was born with a full set of alligator sharp teeth. As a result, her mother couldn't breastfeed her. Throughout her infancy, Elphaba was always seen as "off" by those around her. She eventually outgrew this trait.
- An Ice Person: When she runs across a lake to save Chistery, her magic freezes the water she steps on. Later, she magically manipulates an icicle to fall and kill Manek.
- Strong Family Resemblance: Despite her gangly, slightly bony, appearance, Elphaba does look a lot like her mother Melena.
- Villain Protagonist: The book has her genuinely going insane from all the failures of her life, making her into a very malevolent being by the time Dorothy shows up. She stops sleeping entirely, stalks Dorothy, kills a woman, threatens her former friends and when Dorothy and co. finally get to her castle, she's fallen into utter desperation. Very sympathetic, yes, but still quite villainous.
- Well-Intentioned Extremist: Fiyero calls her out on it. She's okay if "accidents" happen when trying to make her point.
- Would Hurt a Child: Kills Manek because his bullying nearly got Like killed.
- Wrong Genetic Sex: Book Elphaba is strongly implied to have been born mildly intersex despite successfully giving birth to a son later, and suffer from some degree of gender dysphoria. Besides her "mannish" features, she occasionally seems to get a little confused about what equipment her body is "supposed" to have.
Lady Glinda Upland
- Adaptation Dye-Job: She's redheaded in Oz canon but is a blonde in Wicked canon.
- Adaptational Species Change: Glinda is a human instead of a fairy.
- Alpha Bitch: At first. She's more of a Lovable Alpha Bitch afterwards.
- Book Dumb: At least, compared to Elphaba. More so in the musical than in the books.
- Brutal Honesty: In both versions, she's prone to speaking her mind even when she knows that she could potentially hurt someone's feelings in doing so. "Popular" from the musical, for example, is loaded with examples.Glinda: And even in your case... though it's the toughest case I've yet to face...
And with an assist from me, to be who you'll be, instead of dreary who you were (well, are)...
- Dumb Blonde: Subverted. She's set up as a clueless, vapid blonde in contrast with Elphaba's Brainy Brunette, especially in the musical, but she's not actually as airheaded as she initially seems. She just has different talents than Elphaba.
- Hair of Gold, Heart of Gold: Her "Good Witch" persona invokes this trope, although her real personality is more of a subversion of it.
- An Ice Person: Freezing water is one of the first spells she learns from the Grimmerie.
- Inept Mage:
- Early on she qualifies. She gets better. She's the only one of the girls who actually has a formal education in magic in the books, and is not capable of doing many impressive things with it, though by the standards of Ozian society, she is actually very talented (In the sense that she doesn't accidentally set things on fire).
- This gets shown in the musical when during the "Popular" number, she tries to do Gorgeous Garment Generation for Elphaba, and nothing happens. She just tosses the wand away.
- Light Is Not Good: Played with. She may be pretty and popular, but she is vain and too dumb to realize what the Wizard had done. She redeems herself in the end.
- Mystical High Collar: Her "bubble dress", which is after she finally learns magic, has a high collar.
- Named by the Adaptation: She's given the surname "Upland".
- Nice Hat: She wears a number of fancy hats.
- Not That Kind of Mage: Was annoyed that the Munchinkinlanders introduced her to Dorothy as a witch rather than a sorceress.
- Pimped-Out Dress: She gets the most Costume Porn in the play, with loads of very fancy dresses:
- Her "bubble dress" (at the beginning and end) and her engagement party dress have lots of beading and sequins, and a skirt with the layers cut to give a flower petal effect.
- A Denmark production has different, but no less fancy, costumes. Her bubble dress has a bodice covered with beading to look like pearls, white High Class Gloves, and a white feather skirt.
- Even in the book, she's described as wearing all sorts of extravagant dresses after becoming Lady Chuffrey.
- Pink Means Feminine: She loves to wear pink. She later becomes the Woman in White.
- The Pollyanna: She plays this trope straight at first, but then it becomes a facade later on.
- Puppet King: Glinda's "Good Witch" title doesn't actually give her any power, as Madame Morrible explains to her during "March Of The Witch Hunters".
- Stepford Smiler:
- Indicated in the novel Wicked, developed in the sequel, Son of a Witch.
- The musical makes her a Stepford Smiler at the behest of the state for the sake of keeping the populace blissfully unaware.
- That Woman Is Dead: Borderline parody when she changes her name from Galinda to Glinda in the play. Played much more sympathetically in the book.
- Tomboy and Girly Girl: The girly girl half. Glinda is the epitome of stereotypical girly girl, being obsessed with pink, boys, clothes, makeup and parties.
- Vanity Is Feminine: Galinda is vain for a majority of the time, but mainly in ways it's funniest.
In the musical:
- Ambiguously Bi: She's infatuated with Fiyero but her relationship with Elphaba is heavy on Homoerotic Subtext. Several of the OBC think she loved Elphaba, or could have if things happened differently.
- Betty and Veronica: Fiyero's Betty.
- Beware the Nice Ones: It takes until the end of the play, but Galinda eventually decides she's had enough of the Wizard and Morrible. She is directly responsible for ridding Oz of both of them in short order.
- Character Exaggeration: While not truly a Dumb Blonde, the musical milks this quality of her more than the books do. She's also more energetic.
- Clingy Jealous Girl: Fiyero suddenly running off with Elphaba causes Glinda to feel a dark enough jealousy that she gives Morrible information to lure out Elphaba that culminates in the death of Elphaba's sister. This naturally leads to a My God, What Have I Done? reaction from her.
- Cool Crown: In the play, she gets a couple tiaras with her outfits.
- Delusions of Eloquence: A little bit in the play, though not nearly as severely as Madame Morrible.
- The Ditz: In the musical, although she gets better. In the books, she's actually very intelligent and capable.
- Genki Girl: In the musical, especially during the "Popular" and "One Short Day" scenes.
- Heel Realization: In the musical, at the Ozdust Ballroom. She has an even bigger one later, after inadvertently contributing to Nessarose's death.
- Innocently Insensitive: Glinda lacks tact and humility about her status in life (exemplified in her "Popular" number), but she never means to flaunt it maliciously in other people's faces, it's just how she is.
- Kicking Ass in All Her Finery: Beautifully parodied when Glinda and Elphaba start slapping each other just before the Catfight. After the second slap, Glinda, wearing her bubble dress and tiara, starts flipping her wand around like a kung fu staff, in a display that falls under What the Fu Are You Doing?.
- Large Ham: The role practically calls out for this, especially compared to the more dour and sarcastic Elphaba. The song "Popular" is often the benchmark for any actress playing G(a)linda, as it involves a lot of hopping around, dancing, yodelling, and often bits of improvised comedy unique to that actress. Most later actresses took Kristin Chenoweth's performance and built on it, creating a series of zanier Glindas.
- Incoming Ham: Her first appearance in the flashback is her gliding onto the stage (thanks to sitting on a luggage cart), while singing several high notes.
- Locked Out of the Loop: In the musical. She isn't told that Elphaba and Fiyero are alive. Although Kristin Chenoweth's final performance as Glinda has her mention to Elphaba that she needs to "shower" (in her top ten bok of ways to improve Elphaba)... this, in turn, implies that she knows Elphaba hasn't been destroyed and is acting to remove Morrible and the Witch from power as a sort of poetic justice for Elphaba, who is currently in hiding.
- Named by the Adaptation: Got the surname Upland that was used in later books.
- Plucky Comic Relief: In the play, the majority of the comic relief comes from her, and she's certainly plucky.
- Promoted to Love Interest: Had no romance with Fiyero in the book.
- Unwitting Instigator of Doom: All Glinda wanted was to trick Boq into leaving her alone. She never imagined Nessarose was so starved for affection that she would go so far as to become a tyrant to the Munchkins just to keep Boq at her side. Even when Glinda does try to amend her mistake, Nessa's already fallen into Stalker with a Crush territory.
- Valley Girl: Some actresses give her moments like this, particularly during "Popular".
- Voice Types: A soprano—the role in the musical was written for Kristin Chenoweth. Many notes were added (at her request) to the opening number just so she could hit some high notes.
In the book:
- Ambiguously Bi: Glinda seemed as interested in Elphaba as she was in anyone. Word of God is that she loved Elphaba, but she also ended up married (albeit not for love). Glinda's feelings towards men, however, are harder to tell. In the book, she was never interested in Fiyero, and, while she lets Boq kiss her, she regrets it afterwards. There is a brief moment, after Morrible reveals her plans for the future, where Glinda fantasizes about sex with a rich man. From her reaction, it's unclear if the thought arouses her or repulses her. This is all aided by the fact that in the books, Everyone Is Bi.
- Canon Immigrant: Some elements from the play were used in Son Of A Witch;
- She gets the surname "Upland". The closest thing to a last name she had in the original novel was her calling herself "Glinda of the Arduenna Clan".
- Uses the phrase "Sweet Oz" when surprised.
- Character Development: Galinda starts of as rather vapid and shallow. But after meeting Elphaba, along with Dillamond's death, she realizes there's much more important things to worry about besides boys and popularity.
- Hidden Depths: In the fourth book, she protects Rain, who is working as a maid in her household. This appears to be an afterthought on her part—when forced to release most of her staff, she chooses Rain to spite her other maid—but she gradually realizes Rain's magical potential and enlists her aid in casting a spell. The Hidden Depths is proven at the end of the book, when it's shown that Glinda knew exactly what she was doing the whole time, and even raised Rain like a parent before it became dangerous to do so.
- The Lost Lenore: She's still distraught after Elphaba's death, even years afterwards.
- We Used to Be Friends: Unfortunately unlike the musical, Galinda/Glinda and Elphaba don't stay friends. Something that the ending of the book and its sequels hint.
In both the book and the musical
- Adorkable: Shows shades of this. Mostly once he starts falling in love with Elphaba. Even moreso in the book, where he's shyer and more soft-spoken.
- Deadpan Snarker: He's no match for her, but Fiyero does have his share of witty remarks that will occasionally catch even Elphaba off guard.
- The Lost Lenore: For Elphaba, as it is his death that triggers her descent into wickedness. Played straight in the book, but subverted in the musical where at the end he turns up alive as the Scarecrow.
- Love Interest: To Elphaba (and also Glinda in the musical).
- Rebel Prince: He takes advantage of his royal privileges without showing any particular enthusiasm for his role as the heir to a throne that constitutes 20% of Oz's population. As he falls deeper in love with Elphaba, he ends up abandoning that role completely.
- Unexpected Virgin: In both the book and musical, his peers expect him to be more sexually experienced considering his arranged marriage (in the books) and attitude.
In the musical:
- Adaptation Name Change: His name goes from Tigelaar to Tiggular.
- The Anti-Nihilist: Fiyero's justifications for his hedonistic lifestyle ("Nothing matters but knowing nothing matters!") fly very close to the concept of existential nihilism, wherein nothing matters because life is meaningless. Although he initially comes off as a negative influence who preaches that making an effort is futile because "dust is what we come to", he is later shown to value positive traits like compassion, altruism and love. He shares Elphaba's sense of justice enough to follow her into a difficult future in exile, thus giving up everything that made his life comfortable.
- Big Damn Heroes: He saves Elphaba from the Wizard and they run off together. He does this a second time (coming in swinging on a vine no less!) but with mixed results; Elphaba escapes, but he gets captured.
- Brainless Beauty/The Ditz: Self-stated. He perpetuates this image so much that people actually become worried when he starts "thinking".
- The Casanova: Apparently this was the general perception of him. To quote Galinda, "his reputation is scandalacious"
- Composite Character: In the musical he's a mix of Book!Fiyero (with his name, position of Prince, and role as Elphaba's love interest), while his personality is more along the lines of Avaric (and possibly Crope and Tibbett) taken Up to Eleven. Also he actually is the Scarecrow in the musical, whereas in the book, Elphaba entertains the possibility that he never died and was hiding in that Scarecrow suit only to learn that the Scarecrow is nothing more than a Scarecrow.
- Comical Nap Drool: Aaron Tveit plays Fiyero in the musical as someone who drools in his sleep, it's fitting with his affable social butterfly, intelligent, loveable and at times naive personality.
- Cool Shades: In his first appearance in the musical.
- Crash-Into Hello: Sort of, in the musical. He was asleep at the time, but his first meeting with Elphaba is instigated by his carriage nearly running her over.
- Crucified Hero Shot: In the musical, him getting hoisted onto a pole with his arms stretched out and being carried into a cornfield to be tortured is the last we see of him. Or so we think.
- Delinquent: He brags about how he's been kicked out of several different schools at the beginning of "Dancing through Life".
- Disney Death: In the musical, he fakes his death and helps Elphaba to escape while at the same time Faking the Dead.
- Emergency Transformation: He's the musical's version of the Scarecrow through this, through Elphaba's slightly botched invulnerability spell she tries to cast to save him from being beaten to death (she doesn't find out it actually worked until much later).
- Emotionally Tongue-Tied: He starts tripping over his sentences when he finds himself taking notice of Elphaba.
- Expelled from Every Other School: Fiyero has been expelled from multiple different universities for being lazy and irresponsible. During his song "Dancing Through Life", he casually says he's been kicked out of a lot of schools.
- Foreshadowing: His ultimate fate is alluded to many times up until The Reveal. He references being "brainless" in both of his songs, and a perceptive eye will notice in "Dancing Through Life" that his choreography is based on the movement of a scarecrow on a pole.
- Form-Fitting Wardrobe: The tight, white pants that Fiyero wears in his introduction are considered infamous by his actors and the show-goers alike.
- Friend to All Living Things: Fiyero is shown to be friendly and kind to pretty much everyone he meets and the reveal that he's the Scarecrow shows that he's great with children as well.
- The Hedonist: Initially, his life motto is to live life however the hell he pleases. He eventually outgrows it.
- Hidden Depths: So hidden that Fiyero himself was convinced of his shallowness. Elphaba calls him out on it.
- Hidden Heart of Gold: Turns out he's not so self-absorbed after all.
- Ironic Echo: When they get together, Fiyero has to convince Elphaba that he thinks she's beautiful. At the end of the musical when Fiyero has been turned into a scarecrow, it's Elphaba who has to convince him that she still thinks he's beautiful.
- I Will Find You: His motivation for joining the witch-hunting Gale Force is to find Elphaba before anyone else does.
- Jerk with a Heart of Gold: Fiyero tries to remain aloof and entirely self-centered and succeeds for a little while, but ultimately when the chips are down he fails. Fiyero is also the first person we see in the musical who doesnt scream/flinch/run away/etc when he first sees Elphaba. He is utterly unfazed. Already we start seeing that her being green doesnt matter in the slightest to him. Even his joke about her being green is one of the tamest in the show. He doesnt call her an artichoke like Glinda does or any other sort of rude name meant to demean her for being green. He just says Maybe the driver saw green and thought it meant go. Even if he doesnt see anything WRONG with her being green, being green is still unusual. We INTERPRET that moment as a joke because thats the expectation, but all we all know his INTENT is simply Avaric was surprised, give the guy a break. After that point he doesnt mention her being green again.
- Ladykiller in Love: Despite showing any real signs of being a 'ladykiller', in the musical, he still gets the entire female population of Shiz University pining after him within hours of arriving on campus and instantly hooks up with G(a)linda. Then he falls in love with Elphaba so hard that his life thereafter is spent trying to find her after she disappears from the public eye.
- Love at First Sight: How he ends up in a relationship with Glinda in the first place, because they mutually deemed themselves to be "perfect together" upon first meeting. Of course, it doesn't end up lasting...
- Promoted to Love Interest: Glinda never fancied Fiyero in the books. In fact, there's a scene there she specifically says how she doesn't fancy him!
- Safety in Indifference: His reason for having such a lackadaisical approach to life. Just look at the lyrics to "Dancing Through Life":Fiyero: Life is painless, for the brainless
- Non-Action Guy: Compared to Elphaba and Glinda, he comes off as this.
- Race Lift: Fiyero's ethnicity is never actually mentioned, he is simply referred to being dark or ochre in colour, which could mean yellow-brown (Olive) skin, right through to reddish-brown skin. In the musical, he has no determined physical features and his appearance relies on the person who's acting him. There have been Fiyeros of all colors and races on stage.
- Pragmatic Adaptation: When the musical was in its concept stages they considered keeping the blue tribal paint, but then decided it would be too much of a hassle to deal with.
- Silly Walk: After becoming the Scarecrow in the musical, actors playing Fiyero tend to imitate Ray Bolger and his distinct style of walking in the the 1939 film.
- Spared by the Adaptation: He and Elphaba die in the book.
- Stepford Smiler: In the beginning of Act II, he, like Glinda, puts on a facade that he's enjoying his life and being against the Wicked Witch of the West, when the truth couldn't be further in the opposite direction. Even in Act I when they're in school, it's heavily implied Fiyero's devil-may-care attitude is a coverup for the fact he's unhappy.
- Unexpected Virgin: In the books Fiyero mentions that until he married his childhood bride Sarima, he was a virgin and never had an affair until he reunited with Elphaba. In the musical Sarima doesn't exist and like the song itself being a reference to Fiyero and Elphaba consummating their relationship, the deleted lyrics in ALAYM subliminally make it very clear that in the musical verse, Fiyero was still a virgin when he ran away and became a fugitive with Elphaba.Replaced solo in As Long As You're Mine (First 4 lines lack audio recording):What am I doing?Whats this I feel?The boy who was certainLove isnt realTell me its hopeless,Tell me its wrong.Theres still no denying,Desire so strongShrouded in secretMeeting the nightWe know our chancesDont live in the lightRecklessly racingToo fast and too farWe know as long as we are
In the book:
- Arranged Marriage: In the book he is arranged to be married when he is in Shiz. He ends up marrying her and having three children with his wife. That doesn't seem to stop him from having some "fun" with Elphaba in the Emerald City, as Sarima and Fiyero's marriage is generally a loveless union. Fiyero even goes as far as to tell Elphaba that Sarima sees the marriage as a campaign to be won.
- Badass Native: The inhabitants of the Vinkus are the Ozian equivalents of Native Americans, and the book makes several mentions of him being an extremely experienced hunter and chieftain.
- Funny Foreigner: He first comes off as this in the book, especially at the beginning.
- In-Series Nickname: Elphaba calls him "Yero, my hero" at one point. Fanfiction authors often have her still give him the nickname "Yero" in musical-based work.
- Killed Off for Real: Elphaba wants to believe its a Disney Death, but its not.
- Likes Older Women: It's implied in the book that Elphaba is about 1-2 years older than Fiyero, she mentions that when Nessarose attends Shiz, she (Elphaba) will be in her third year. The year Nessa begins attending Shiz, Fiyero is mentioned as having started attending as a new student, and during this time Elphaba would be 19 or 20 years old and Fiyero directly mentions that he is only 18 years old.
- Shrinking Violet: In the book (contrasting sharply with the musical) he starts out kind of like this; he's stated to speak quietly and somewhat timidly.
- The Savage Indian: Nearly every Non-Vinkun Ozian's opinion of the inhabitants of the Vinkus. Fiyero is mentioned as being one of the books' Native Americans, the problem is that Fiyero, like most of the other POC end up dead and while they are alive they are viewed as savages and barbarians and prejudice against them is regarded mildly as snobbery. The flip side is that, in a book full of rather unpleasant characters, the POC tend to be some of the very few that are genuinely decent people.
- Unexpected Virgin: When it is discovered that he was married at age 7, the other students he is talking to start feeling uncomfortable until he mentions that he is not officially allowed to be with her until he is 20 and he mentions that he is only 18 at that current time. This relaxes the students as he is therefore still just as virginal as they are. Fiyero later mentions to Elphaba that the only women he has ever slept with was his arranged wife Sarima and Elphaba herself.Fiyero: I married a child bride and to preserve my power I haven't been unfaithful. Until now.
- Your Cheating Heart: He's married with several kids yet has an affair with Elphaba that leaves her pregnant.
Both in the book and the musical:
- Adaptational Heroism: Zigzagged. In both the book and the musical, Nessa isn't as bad as the Wicked Witch of the East in L. Frank Baum's original. She possesses sympathetic and admirable qualities, but these are ultimately overshadowed by her increasingly uncompromising and self-righteous nature.
- Disabled Love Interest:
- In the musical she was a lovely young girl in a wheelchair.
- Less so in the book, where she was a zealous girl who had functioning legs, but no arms to speak of, which puts a damper on finding love. Changing the lack of arms to a wheelchair was a Pragmatic Adaptation.
- Dropped A House On Her: Though it was kind of necessary, since it's a Foregone Conclusion from the original story. The musical spared several characters from the book, but Nessa's death was too vital to remove.
- God Save Us from the Queen!: As the Ruler of Munchkinland.
- Sibling Yin-Yang: She's talkative and sociable, quite unlike her quiet, allusive older sister. In the books, they also have vastly contrasting religious beliefs (with Elphaba being an atheist and Nessa being devoted to the Unnamed God).
- Throwing Off the Disability: Thanks to the magic slippers (that Dorothy later obtains).
In the musical:
- Abled in the Adaptation: Played with. Due to the pragmatic issues of depicting an armless woman on stage using able-bodied actresses, her disability was edited for the musical. Nessa is paralyzed and wheelchair bound, instead of lacking arms like in the book.
- Adaptational Early Appearance: Starts school the same year as Elphaba instead of the year after.
- Adaptational Personality Change: The Unnamed God and Lurline were both Adapted Out, stripping Nessarose of her religious element. The musical instead emphasises her
- Clingy Jealous Girl/Yandere: She is willing to strip the Munchkins of their rights and keep any of them from leaving the country just to keep Boq with her and then curse away his heart when he expresses the desire to leave.Nessa: You're going to lose your heart to me, I tell you! Even if I have to... I have to... magic spell you!
- Inept Mage: A truly tragic example in the musical, when she gets her hands on the Grimmerie.
- Love Makes You Crazy: And how.
- My God, What Have I Done?: She expresses horror when she realizes that her attempt on casting a spell on Boq ends up shrinking his heart rather than making him be hers.
- Not Good with Rejection: Boq turning into the Tin Man? Well, he proclaimed his love for Glinda and was happy thinking that Nessa didn't need him anymore. Nessa attempted to cast a spell on him to make him love her, but it went horribly wrong.
- Race Lift: In the 2006-08 national tour, as she was played by Deedee Magno (yes, THAT Deedee Magno). She even lampshades this in the second act.
- Super Wheelchair: In the musical she eventually ends up with a fancy wheelchair that resembles a throne.
- You Don't Look Like You: In the books, Nessarose was born without arms. She wears long dresses and shawls to hide her disability. The musical changes her so she was born paralyzed from the waist down, meaning she's wheelchair bound. She also wears sweaters and dresses in a "school girl" manner.
In the book:
- Church Militant/The Fundamentalist: In the book. She's very religious, like her father.
- Cruel Mercy: In the book a Munchkin asks her to enchant a woodsman's ax so that it would kill him when he swings it. She said this would be cruel, so instead she enchants it so it simply cuts off his limbs. And thus the tin woodsman is born.
- Disabled Means Helpless: She was raised this way. She required constant supervision and assistance. The reason she arrives in Shiz one year earlier than expected is because Elphaba needs a new chaperone, but Nessarose can't be left in just the care of her ten-year old brother and aging father. Despite this upbringing, Nessarose is quite capable nevertheless.
- Mama's Baby, Papa's Maybe: It's intentionally vague for much of the series whether her father is Frexspar or Turtle Heart, with signs pointing to both. The family tree in the third book finally confirms Frex is her biological father.
- Tender Tears: She's prone to tearing up spontaneously, usually due to some sort of thought about the Unnamed God popping into her head.
In the musical:
- Accidental Misnaming: Glinda keeps calling him Biq.
- Adaptation Distillation: He has a whole portion of the book devoted to him, yet is at-best a side character in the musical — he doesn't even get a whole song to himself, just small bits of other people's songs.
- Adorkable: Especially around Glinda. Then he's turned into the Tin Man...
- All Love Is Unrequited: Musical only. He loves Galinda, who won't give him the time of day. Nessarose is absolutely smitten with him, but he doesn't feel much more than sympathy for her, which decreases rapidly as time goes on.
- Character Exaggeration: His crush on Galinda he has for a summer or two in college becomes the defining character trait of his whole life in the musical.
- Composite Character: In the musical, he becomes the Tin Man after Elphaba casts a spell on him. In both the novel and the original L. Frank Baum story, the two are separate characters.
- Emergency Transformation: He's the musical's version of the Tin Man through this, after Nessa magically curses away his heart in a fit of jealousy and Elphaba in panic tries to save him.
- Hero Antagonist: He essentially becomes one after turning into the Tin Man in the musical. During "March of the Witch Hunters", he becomes utterly hostile towards Elphaba, calling her out for casting a spell on him and turning him into tin (even though she only did it to save his life).
- Promoted to Love Interest: Nessa was never in love with him in the book.
- Stalker with a Crush: Glinda's clearly not interested, and he still wants to break up her engagement years after they leave school.
In the book:
- Dogged Nice Guy: In the book he pursued Galinda for quite a while during his time in school. But eventually she set the record straight that it would never work out, and he gave up when she became more serious, and he grew up a bit.
- The Everyman: In the book, he's a defining "this is what normal people are like" character, compared to snobby Galinda and her friends, sullen and sarcastic Elphaba, and whacky frat boys Avaric, Crope and Tibbett.
- Happily Married: In the book he winds up living a happy, yet mundane, life as a farmer, father, and husband.
- Stalker with a Crush: Loves Glinda from the start but she isn't interested. He eventually gets over her though.
Both in the book and the musical:
- Anti-Villain: His goal in the musical is to keep his people happy and let them have what they want.
- Demythification: The only "magic" he knows is how human nature works and how to lean on it to get what he wants.
- Luke, You Are My Father: Although Elphaba never finds out. The Wizard goes into something of a quiet Villainous Breakdown upon realizing that he's actually Elphaba's biological father, and thus sentenced his own daughter to death. Afterwards Glinda tells him to leave Oz and he goes willingly.
- Related in the Adaptation: He is the Wicked Witch of the West's father.
- Villain with Good Publicity: The so called "Wonderful Wizard of Oz" is no more than an amoral con man that rules over the land like a dictator.
- Wrong Genre Savvy: In a way, as his trying to apply real-world logic to Oz is part of the reason everything ends up going wrong.
In the musical:
- Adaptational Nice Guy: Any semblance that his affair with Elphaba's mother could have been anything but just that, an affair, is cut, and he is an Affably Evil, paternal man who wants to help people.
- Affably Evil: In the musical at least. He genuinely cares for his people and for Elphaba, and is a paternal man.
- Broken Pedestal: Elphaba idolizes him in the musical until she learns the truth.
- The Faceless: In his appearances as the object of Elphaba's mother's affair.
- Heel Realization: In the musical. After Elphaba's apparent death, he leaves Oz of his own accord, grieving for his lost daughter.
- Obliviously Evil: Depending on the actor portraying him in the musical, he can either be a despicable tyrant, or a misguided leader who genuinely believes that his actions are making things better in Oz.
- Puppet King: To Madame Morrible in the musical.
- Simpleton Voice: He speaks with a southern-sounding accent that's likely to make people think him a bit dumb and calls himself a "corn fed hick." Of course, there's more to it than that...
- Well-Intentioned Extremist: In the musical, he honestly wants to be "wonderful", and help others achieve their heart's desires, but fails miserably. He reaches near Jerkass Woobie levels when he realizes the full extent of his failures.
In the book:
- Adaptational Badass: In the book, he's an evil occultist rather than a carnival worker, and his knowledge of magic is much more formidable.
- Adaptational Villainy: Was merely a dishonest conman in the original L. Frank Baum stories, rather than an outright villain.
- Driven to Suicide: Although only suggested. He fails, however.
- Manipulative Bastard: He is a con man, after all.
Both in the book and the musical:
- Alliterative Name: If you count Madame as her first name.
- Fantastic Racist: Towards Animals.
- Meaningful Name: Her name rhymes with "horrible" for a reason.
- Sadist Teacher: To Galinda, and anyone else she deems as unworthy.
- Villain Takes an Interest: Toward Elphaba in both versions.
In the book:
- Animal Motifs: Her face is consistently described as resembling that of a fish.
In the musical:
- Big Bad Friend: To Elphaba in the musical.
- Chekhov's Skill: Her Weather Manipulation magic is mentioned early on and becomes significant later.
- Delusions of Eloquence: Prone to speaking this way.
- Faux Affably Evil: She treats those she respects with kindness, but it's all a facade.
- Hate Sink: In a musical dedicated to exploring the delicate balance of good and evil and asks the question of whether people are born wicked or simply have wickedness thrust upon them, Madame Morrible stands out as the only character with no redeeming or tragic qualities at all. She's bigoted, greedy, duplicitous, cold and perfectly willing to commit murder in order to get what she wants, all while lacking a Freudian Excuse like Elphaba or Nessarose's and any positive qualities to balance out her negative ones, like those of Glinda or the Wizard. Out of all the characters in the musical, she's the only one who's truly and unambiguously evil.
- Large Ham: In a World of Ham, she stands out the most.
- The Woman Behind The Man: In the musical. In the book she works with The Wizard, but by the time Elphaba becomes a witch, she has retired.
- Spared by the Adaptation: In the book, she's killed by Ephalba. In the musical, she survives, but Glinda orders for her to be thrown in prison.
- Summon Everyman Hero: Accidental example. Creates a tornado to kill Nessarose and bring Elphaba out of hiding and accidentally brings Dorothy to Oz.
- Voice Types: Like most older female characters, she's an alto, and an Alto Villainess at that.
- Weather Manipulation: Her specialty in the musical (not in the book). Becomes a plot point when she murders Nessarose by summoning the famous twister that brings Dorothy to Oz.
Both in the book and the musical:
- Alliterative Name: If you consider Doctor to be his first name.
- Cool Teacher: Well, Elphaba thinks so anyway...
- Mentor Occupational Hazard: He is the favorite teacher of both Elphaba and Boq. In the books he is murdered, while in the musical he is changed into a normal animal.
- Satellite Character: Despite mattering heavily to the plots of both book and musical (indeed; most of either story would have never happened without him), he actually doesn't appear a whole lot. Characters spend more time talking about him in absentia in the book, and he's only in one song in the play, and three scenes altogether.
- Sliding Scale of Anthropomorphism: In the book he is a Civilized Animal while in the play, he's a Petting Zoo Person.
- Talking Animal: Which is the reason he ends up being the target of prejudice and the Wizard, as the Wizard doesn't like that animals in Oz can act like humans and wants to make them like normal animals in the "real" world.
In the musical
- Petting Zoo People: Is now now upright and wears clothes.
- Spared by the Adaptation: He isn't killed in the musical; instead, he loses his job at Shiz and eventually loses his ability to speak.
- Verbal Tic: A truly disturbing instance in the musical, as he loses the ability to speak human language and starts reverting to animal noises.
In the book:
- Civilized Animal: Is physically the same as a normal goat besides being able to talk. He needs Elphaba's help because he can't write with hooves.
- Killed Off for Real: In the book, he is murdered on Madame Morrible's orders.
Both in the book and the musical:
- Adaptation Dye-Job: The books, at least, describe her as a brunette. Her original version was dark-haired, but most of the Oz books use her blonde design.
- Aliens Speaking English: The Grimmerie is implied to be written in English which is unreadable to most Ozites but Dorothy can talk to them just fine.
- Clingy MacGuffin: After being more or less conned into taking Nessarose's shoes, Dorothy finds that she can't take them off, even when she wants to give them to Elphaba.
- Hero Antagonist: In the book, Elphaba's dress caught fire prior to the fateful bucket of water and Dorothy had just been trying to help put it out. In the musical, she is an antagonist due to lack of knowledge rather than malice.
- Naïve Everygirl: Dorothy doesn't really understand the complicated politics of Oz, which makes her a perfect Unwitting Pawn for the Wizard.
In the musical:
- The Faceless: In the musical, we only ever see her silhouette.
In the books:
- Accidental Murder: Poured water over Elphaba and killed her because her robes were on fire and Dorothy didn't know she was allergic to water.
- Adopt-a-Servant: Dorothy was adopted to help on the farm.
- All Love Is Unrequited: Revealed in the fourth book that she had developed feelings for Liir. She arrives too late, as Liir is already married and has a child. Because of this, Dorothy avoids seeing Liir while she is in Oz.
- Ascending to a Higher Plane of Existence: One of the rumors of her leaving Oz says that she rose into the sky like a saint and ascended to the Other Land.
- The Atoner: In the novel, Dorothy was touted as the leader of the witch-hunters. Indeed, she sought out Elphaba under the pretense of planning to kill her, but in reality, all she wanted was to sincerely apologize to Elphaba for what happened to her sister.
- The Dog Bites Back: In the fourth book.
- Good Is Boring: Liir's crush on her didn't last very long after leaving Kiamo Ko. He found that nice girls raised on a farm don't make for particularly interesting people. Not only that, but he finds there is something rather fake about all her goodness. Something that is commented on by several characters (but then again, it never really comes up).
- Unrelated in the Adaptation: Henry and Em aren't related to her in this continuity. They wrote to an orphanage when they wanted a farm worker. In the original books, they're Dorothy's maternal aunt and uncle.
- Took a Level in Badass: As she matures in the fourth book.
Both In The Book And Musical
- Dies Differently in Adaptation: Her death is the same either way, but who she gives birth to is not: In the book, she dies giving birth to her only son Shell, while in the musical Shell is Adapted Out and she dies gives birth to her second daughter Nessarose.
- Death by Childbirth: She dies giving birth.
- Missing Mom: She died in childbirth.
In the musical:
- Adaptational Consent: In the books, Elphaba was a Child by Rape. The musical makes it seem like she was the result of an intentional affair.
- Demoted to Extra: She only appears in a bit, unnamed part in the first song.
- Unnamed Parent: She isn't referred to by her book name.
In the books:
- Absence Makes the Heart Go Yonder: She began cheating with Turtle Heart because her husband was away so often. She still loves Frex, but she's also attracted to Turtle Heart.
- Alcoholic Parent: Melena's fond of wine. When describing her mother to Glinda, Elphaba even mentions Melena's fondness of wine as one of her main characteristics.
- Blue Blood: She's from a well-off, high-society family.
- Junkie Parent: She was so depressed with her life as Frex's wife that she often chewed leaves that left her in a drugged state.
- Parental Neglect: She held little-to-no affection for Elphaba as a baby and cared for her in the bare minimum manner.
- Really Gets Around: Prior to marrying, she was like this. She still misses it considering Frex is often away, but she remains faithful... until she meets Turtle Heart.
- Riches to Rags: She's from a well-off family and married Frexspar thinking he's be a rich preacher, but instead they live in impoverish.
- Sleepy Depressive: She intentionally chews leaves that leaves that leave her drugged and in a stupor.
- Adapted Out: He's not in the musical. Which is good, since he would have complicated things.
- Baleful Polymorph: Gets turned into an elephant in the fourth book, as a sort of callback to a spell he helped undo in the second.
- Bi the Way: He is in the center of a Love Triangle with a man and a woman. Who may have fallen in love with each other, too, or died separately. In book four, it's revealed that neither one died, and if they met they didn't hit it off. Liir ended up married to Candle because she was the mother of his daughter, but still in love with Trism although they didn't see each other for years. (This might make him Ambiguously Gay, since while he seems to have regular sex with his wife they don't have much of a romantic attraction, something he and Trism enjoy in spades.) In the end, when Candle and Trism both leave him, he tells Rain he'd be happy if either or both of them would just come back.
- Contemplate Our Navels: He does a lot of this.
- The Ditherer: Seems to go out of his way to avoid making decisions until some tragedy forces him to. Taken Up to Eleven in the fourth book, where his stubborn refusal to act in his own interest ends up removing Mombey's spells on himself and two other characters.
- I Just Want to Be Normal: Even after he finds out that he's the only one capable of riding the broom, the narrative still won't shut up about how unspecial he is.
- Non-Action Guy/Action Survivor: Does surprisingly little, compared to his mom. He's more the type of guy stuff just happens to.
- That said, he certainly accomplishes quite a lot more than his mother, including missions he inherited from her failures.
- Progressively Prettier: He is described as being fat in the first book, but second book onwards has him losing the weight and becoming lean, pale and dark-haired. Possibly justified in that he spent some time in the army and may have gotten into better shape during that time.
- Asexual: Was born too old to conceive and had no desire for romance or sex.
- Blind Seer: Goes blind but still has visions.
- Born as an Adult: Was born as an old woman.
- Buried Alive: Keeps asking for this as she's dying.
- Immortal Procreation Clause: Seems to be immortal and was born too old to bear children.
- I Was Quite a Looker: Claims to have been one in her time and Brrr says he didn't realize they invented time that long ago.
- The Needless: Was able to survive a year in a tomb with only a bottle of wine for sustenance.
- The Nicknamer: After she goes blind, she starts naming people after what they smell like, such as Peppermint Girl and Broccoli Breath.
- Playing with Fire: Somehow sets her deathbed on fire.
Brr, The Cowardly Lion
- Character Development: Bordering on Dynamic Character. He is very different in all periods of his life from what he was at the start of his life, through his journey with Dorothy, integration with human society, etc. etc. All this from a character who doesn't really move the plotline at all. Although he ends the novels as ruler of Oz
- A God Am I: In the fourth book.
- Becoming the Mask: In the second book his conversion to Unionism is solely for politics, however, by the fourth book it appears to have become sincere.
- Big Bad: Seems to be, if we take the four books as one story. Made confusing due to the below tropes.
- Successful Sibling Syndrome: Implied that beneath his proud façade he actually feels inferior to the success of his sisters which compelled him to becoming the ruler of Oz.
Crope & Tibbett
Crope and Tibbett
- Camp Gay: They may or may not be a couple, but they're both campy gay men. They fawn over men and apparently tease Boq endlessly, but stop if he gets too upset about it. They're also very flamboyant and spend a lot of time in the theatre.
- Satellite Character: Both are essentially just there as Boq's schoolchums, though both play minor roles later on:
- Tibbett's experience in the Philosophy Club results in a rapid deterioration in his physical and mental health. Eventually he ends up a palliative care patient in the convent where Elphaba has resided since Fiyero's death gave her a mental breakdown, and it's in renewing their friendship and caring for him during the last months of his life that Elphaba is brought out of her years-long fugue state.
- Crope has a more minor role as Glinda's secretary in the latter half of the first book. He doesn't really do much and develops Chuck Cunningham Syndrome in the sequels, though.
Oziandra "Rain" ThroppAlso known as Oziandra Osqa'ami and Rainary Ko.
- Hidden in Plain Sight: To protect her from the Emperor's forces, her parents magically disguise her green skin and place her in Lady Glinda's household. When soldiers take over her estate and camp there for months on end, she remains unnoticed.
- Hollywood Autism: Averted. Rain seems to have a fairly realistic portrayal of autism, though it is not named as such due to the lack of psychologists in the setting. She pays little attention to people, doesn't make eye contact, focuses on objects and animals, and is thought to be mentally challenged at first. As she grows, she learns how to better interact with people, largely through careful observation, and her intelligence gradually becomes evident.
- Loyal Animal Companion: Tay, a small "rice otter" that accompanies her for most of the book. It eventually turns green.
- Ambiguously Related: It's left vague if he's Nessa's father or not. According to the third book, he isn't..
- Dark-Skinned Redhead: He has "skin the color of roses at twilight: a dusky, shadowy red" and "hair [that] fell out in greasy hanks, sunset red".
- Human Sacrifice: It's mentioned that Turtle Heart was murdered as sacrifice during a drought.
- You No Take Candle: He speaks in a regional accent that sounds like this.