'wicked' Review

By Nadia Dalimonte

Cynthia Erivo and Ariana Grande in Wicked

There’s no place like the movies. Victor Fleming’s The Wizard of Oz was one of the earliest films to capture such a feeling. Watching Dorothy and her little dog Toto embark on a brave journey, and collect unexpected friends along the way, radiated a timeless story of togetherness and hope. Over 80 years since its theatrical release, this 1939 technicolor masterpiece still shimmers over the rainbow and continues to make dreams come true. The film inspired audiences to follow their own yellow brick roads towards becoming artists, some of whom continued to explore the land of Oz with gravity-defying stories of their own.

The dreams built in Emerald City eventually found their way to the stage with the beloved Broadway musical Wicked. Sung from the perspectives of witches Elphaba and Galinda, before and after Dorothy’s stormy arrival in Oz, Wicked sparked countless passions for musical theatre. The original 2003 production, starring Idina Menzel as Elphaba and Kristin Chenoweth as Glinda, shattered box office records and won the hearts of millions. Menzel and Chenoweth’s powerhouse voices told a story of female friendship and the capacity for goodness to conquer evil, which rest at the heartfelt core of Wicked. It’s a love story, and it’s always been political, as Jon M. Chu’s impressively acted Part I adaptation conveys.

With soulful musical numbers, fantastically detailed production design, and a whole lot of heart running through the characters, Wicked shines as one of the most joyous theatre experiences. Plus, there’s the added layer of hearing reactions to the film from people who hold this story near and dear. For my Wicked screening companion, the stage production changed her life from a young age. It gave her hope and light during a time of darkness. This optimism soars through Wicked and lights a fire that cannot be contained, especially from the perspective of Elphaba, who defies a system designed to silence anyone who speaks out against it.

The green image of Elphaba recalls the familiar Wicked Witch of the West from The Wizard of Oz. With an iconic cackle and all-black attire, Margaret Hamilton’s witch loomed over Oz and melted at the hands of lovable characters. Only her pointed black hat was left behind, leaving us without knowing the whole story of how she came to be an evil witch. Wicked begins with a re-telling of history that hints at how green-skinned witch Elphaba (Cynthia Erivo) became the Wicked Witch of the West. The cinematically grand “No One Mourns the Wicked” celebrates the witch’s death and casts a spell of relief over Oz. While all of Munchkinland rejoice, Glinda the Good (Ariana Grande) sings with notes of somberness as she ponders, are people born wicked? Or do they have wickedness thrust upon them? After all, the Wicked Witch of the West had a childhood. She had a mother and father. She had hopes and dreams. And after all, she had a friend in Glinda the Good, before Glinda became the Good Witch of the North.

The film takes us back to Shiz University, where Elphaba and Galinda first meet. Elphaba initially arrives not as a student, but to support a smooth transition for her younger sister Nessarose (Marissa Bode). The moment Elphaba steps foot on campus, she is immediately ostracized and feared for the color of her skin. A slight commotion involving Nessarose and a professor ignite a power in Elphaba that takes over without control, causing damage to the university property. The incident catches the eye of Madame Morrible (Michelle Yeoh), who sees a potential yet to be harnessed and a possibility to impress the Wonderful Wizard of Oz (Jeff Goldblum).

All the while, Galinda is clearly pampered and adored as the most popular girl in school. From her dreamy bubblegum pink arrival on campus, to her comical hair tosses and excitable energy, she stands out in a sea of students. She’s used to getting whatever her heart desires, but finds a roadblock in Madame Morrible not taking notice of her. The classmates’s eyes may all be on Galinda, as they soon will be on charming new student Fiyero (Jonathan Bailey), but the headmistress focuses on Elphaba’s “unlimited” future. As higher powers convene, Elphaba and Galinda are forced to bond. The two witches go from loathing each other to loving each other.

The film flies high on the exquisite powerhouse talents of Cynthia Erivo and Ariana Grande. With keys to the Emerald City, Erivo and Grande unlock the bewitching potential for their characters to soar from stage to screen. Elphaba and Glinda’s moving relationship arc, not to mention their respective interior conflicts, is absolutely integral to the film’s emotional weight. You feel the world crushing on Elphaba’s shoulders as she navigates life as an “outsider” and breaks from conformity. From the optimism of “The Wizard and I” and the realism of “I’m Not That Girl” to the reverberating rebellion of “Defying Gravity,” Erivo hits every single note with incredible vocal range. Additionally, she shines in the quieter moments with subtle shifts in physicality; the Ozdust ballroom dance sequence is a definitive example of how far facial expressions can carry. It's an absolutely pivotal moment for Elphaba that Erivo plays gracefully, wearing emotions on her sleeve.

You also feel the lonely complicity in Galinda’s eyes as she aches for popularity and ponders her best friend’s future. Grande’s sparkling humor — whether in her excitable line deliveries or her physical comedic timing — bounces across the screen. Galinda feels like the role Grande was born to play, and she embodies the essence of Wicked with a thorough understanding of how Galinda performs goodness. When the performative nature of her character reaches a pivotal crossroads, Grande charts that emotional arc with great subtlety. The film is a beautiful showcase for her operatic vocal range as well, from the somber “No One Mourns the Wicked” to the bounciness of "What Is This Feeling?” and the shimmering personality of “Popular.” Together, Erivo and Grande compliment each other at a pitch perfect rate. Your heart glows when the two truly see each other, and dampens when their paths reluctantly divert at a crossroads. With the characters in such good hands, Wicked can only go up from there, and it mostly does.

​The idea of splitting Wicked into two films admittedly caused some skepticism, but Jon M. Chu justifies the extra time with his elaborate storytelling. He stays faithful to the source material, sets up the character arcs for Part II, and gives all the musical numbers plenty of room to shine. The film has impressively wicked pacing; not once does the runtime feel too long or too crowded. The visualization of each song also feels fully realized as it builds on character development and moves the story along. From the ticking functionality of “Dancing Through Life” to the sheer bubblegum pink energy of “Popular,” the songs are given eye-popping looks to match.

Much has already been said about the cinematography of Wicked. In particular, the use of backlighting as an approach to create a more “realistic” look. This choice feels at odds with conveying the film’s bold colors and textures. While it can be distracting at times, the overall impact on the end result feels inconsequential when you have talent such as Erivo and Grande operating at the highest levels to bring their characters to life. Plus, neat clues along the way indicate the heavy research that went into Nathan Crowley’s production design and Paul Tazewell’s costume design, not to mention the entire hair and makeup department. From the tornado shaped heels on Nessarose’s crystal shoes, and the beaded spiraled on Glinda’s bubble dress, to the textured fabrics of Elphaba’s black silhouette worn at the end of the film, the magical designs of a reimagined Oz come alive. A lot of these details are quite subtle and blend into the world-building, fully part of the fabric of Chu's storytelling.

Filled with so much goodness across the board, Wicked soars as one of the most impactful and delightful musical adaptations. In the hands of Erivo and Grande, Elphaba and Galinda are brought to the big screen in unique and soul stirring ways. With emotionally engaged writing and patient direction, the film echoes the significance and timeliness of fighting for voices to be heard. Given how much care and attention to detail went into this production, one can only anticipate Part II to end on a high note. ​