Common Thread

Let us rejoicify! Wicked has finally arrived! 

Based on the 2003 stage musical (which is loosely based off the 1995 novel of the same name by Gregory Maguire), Wicked tells the backstory of the infamous witches of Oz. 

We open on the glimmering world of Oz, where its citizens are celebrating the death of the notorious Wicked Witch of the West. When Glinda the Good (Ariana Grande) arrives on scene to partake in the celebrations, her connections to the Wicked Witch are brought to light, and our story rewinds to a time where the infamous sorceress was merely a misunderstood student named Elphaba (Cynthia Erivo). It is here where the story unfolds, and we learn how Elphaba and Glinda went from reluctant roommates to unlikely friends, and how their paths ultimately diverged. 

While the concept of a Wicked movie feels beyond a long time coming for followers of the musical, the film’s extensive marketing campaign has only managed to exacerbate anticipation. Amidst announcements of a star-studded cast, the choice to present the story into two parts, and enough merchandise to power the Emerald City, Wicked has spent the last few years perching itself on a very high pedestal in terms of audience expectations. 

Luckily, it manages to blow the roof off most of them. 

What serves Wicked best is the dynamic between the two leads. Erivo shines as Elphaba, striking a balance in her performance of being strong yet vulnerable, steadfast but self-effacing. Her vocal talents are well on display, and she makes Elphaba’s ballads like “The Wizard and I” and “Defying Gravity,” some of the most notoriously difficult songs in musical theatre canon, seem easy. 

Grande also gives a stellar performance as Glinda. In a clip that’s recently re-surfaced on TikTok, where director John M. Chu offers her the part of Glinda, a tearful Grande promises to “take care of her,” and her portrayal of the iconic witch proves she’s succeeded in doing so. Her airy vocals are well suited for the role, and her comedic timing is spot on. Her clear love for the source material is ever apparent in her performance. Her poignant take on “No One Mourns the Wicked” has stuck with me since I saw the film. 

However, both ladies are strongest together. Their ability to play off each other translates delightfully on screen, their voices are harmonious and well suited, and their chemistry is well matched. While they are just the two latest names to be added to the long lists of people to have taken on these iconic characters, both seem aware of the fact that their takes on Elphaba and Glinda are likely to be most cemented in the eyes of legacy (arguably right behind Idina Menzel and Kristin Chenoweth, who originated the roles of Elphaba and Glinda respectively on Broadway), given the nature of the permanency of a film adaptation. However, neither actress seems to take this legacy lightly, and both do right by the source material. 

Though, while Erivo and Grande are fantastic, they are far from the only strong players here. Jonathan Bailey feels like a Fiyero out of someone’s wildest dreams, exuding charm, charisma, and a touch of sensitivity all at once. Much like its stage counterpart, “Dancing Through Life” is a standout number in the film, and Bailey leaves the audience wanting more (in the best way), with eager anticipation for what he’ll do in the film’s second installment next year. 

Jeff Goldblum also gives a standout performance as The Wizard of Oz, despite only being utilized in the last quarter of the film. Goldblum’s natural persona feels well suited for the character, as he’s able to effortlessly pull off The Wizard’s charm and showmanship, simply by being Jeff Goldblum. 

The supporting cast is stacked, with Ethan Slater and Marissa Bode portraying a serviceable Boq and Nessarose, and Bowen Yang and Bronwyn James adding a good touch of comedic timing as Pfannee and ShenShen (two characters that were featured in the Gregory Maguire novel, but were cut from the musical), and Michelle. Yeoh as Madame Morrible. 

While the choice to cut the film into two parts (with this first part being the first act of the musical) was met with some controversy, it ultimately works. Chu is leaving no stone unturned, no moment wasted on screen, and despite “Part One” being about as long as the entire stage musical, the pacing keeps the viewer from feeling the runtime. Such thoroughness only feels a service to this story that had impacted generations well before the musical even made its crash landing to Broadway.

If there is one thing that is ever apparent in this film, it is that every person involved, from the cast, to the director, to the set and costume designers, have not only an understanding of how beloved this story and these characters are, but that they also share in the admiration. The result is not only one of the stronger stage-to-screen adaptations of late, but an epic cinematic production. 

While Wicked will certainly appeal to any fan of the stage musical, or any fan of the “Wizard of Oz” universe, the bright, colorful displays on screen, coupled with a gorgeous score by Stephen Schwartz and stellar performances from a stacked cast will make it a delight for anyone. Although it feels like this film has been in the works for about as long as the musical has existed, its (eerily) timely story is needed now more than ever. It feels as if despite all the speed bumps along the yellow brick road that delayed its release, Wicked has reached its audience at a time where it is arguably needed most. And, for that, I can’t help but say, “Thank Goodness,” even if we have to wait another year for that song.