WICKED is Wickedly Fantabulous

In 1939, The Wizard of Oz, adapted from Frank L. Baum’s novel was made into a feature premiering to vitriolic reviews. The New Republic completely eviscerated the film,  “…The Wizard of Oz was intended to hit the same audience as Snow White, and won’t fail for lack of trying. It has dwarfs, music, technicolor, freak characters, and Judy Garland. It can’t be expected to have a sense of humor as well — and as for the light touch of fantasy, it weighs like a pound of fruitcake soaking wet.”

The musical adaptation of Gregory Maguire’s book would suffer a similar fate. The NY Times found almost nothing to their tastes in Wicked. Unimpressed with the songs, filled with now-classic showtunes like “For Good” and “Defying Gravity”  its critic stated “its swirling pop-eretta score sheds any glimmer of originality.”  New York Magazine said Chenowith sang worthless songs and The New York Daily News dismissed Wicked as “an interminable show with no dramatic logic or emotional center. Constantly lurching in different directions, the show seems to believe that whenever you reach an artistic impasse, throw money at it — in this case, $14 million.”

Yet, the now iconic backstory of the two witches had the last laugh garnering Tony Awards in 2004 for Idina Menzel (Best Actress in a Musical), Eugene Lee (Scenic Design) and Susan Hilferty (Costume Design) and has now been running now for over 20 years all over the globe

This week, the groundbreaking musical has been adapted for its source material by Gregory Maguire for the big screen by the original Broadway team Winnie Holzman and joined by Dana Fox and directed by Jon M. Chu.

This musical adaptation of a Broadway musical to the big screen is hands down the best one yet. While staying completely true to the source material of the musical, Chu expands the imagination of Oz into a visually stunning world my wildest dreams couldn’t even begin to comprehend.

The stage version of Wicked clocks in under three hours.  Yet, the cinematic adaptation is broken up into two features (Part Two will be released in 2025).  Part One illustrates how Glinda (Ariana Grande) and Elphaba (Cynthia Erivo) ultimately cross paths, become besties and eventually part ways under the most dramatic of circumstances culminating with the finale of this chapter with a scene leading into the iconic Defying Gravity (performed to perfection by Cynthia Erivo).

Erivo and Grande lead a group of Ozians including Michelle Yeoh (Madame Morable), Jeff Goldblum (Wizard), Jonathan Bailey (Fiyero), Ethan Slater (Boq) and Marissa Bode (Nessa Rose), all of whom are perfectly cast, into what will easily become one of the highest grossing films of 2024 and iconic in its own way separate and apart from the stage production.

Chu and his production team pay homage to every solitary version of Oz starting with the 1939 film, The Wiz and the stage production still running on Broadway and toured the globe (with even a surprise or two from some very familiar faces).  The production design (Nathan Crowley), makeup (Frances Hannon),  sound (Malte Bieler)and costumes (Paul Tazewell) are of the worldly and a sheer fantasy feast.

From the opening film logo to the orchestrations, this film never skips a beat. All the way down to the Erivo and Grande insisting upon singing their songs live and not to track.  It provides the same intimacy and energy one would garner from a stage performance.

Representation of those being othered is a central theme here seen in the casting of newbie Marissa Bode as Nessa Rose.  As a member of the disabled community, her presence here is insurmountable as is her talent coupled with Tony nominated  Ethan Salter as Boq.

Jonathan Bailey (known for his star role in Netflix’s Bridgerton) is giving Gene Kelly energy dancing on wheels and things thanks to choreographer Christopher Scott, as well as, bringing humor and charm in the guise of vanity as Fiyero.

Goldblum and Michelle are magical, but it is Cynthia Erivo and Ariana Grande who make this film entrancing.

As a woman of color (literally), Erivo taps into the insecurity, bullying of being different and what that means for people in her orbit of family and friends.  She brings a vulnerability masked under undiscovered confidence that makes Elphaba soar and sing above the rest.  With a voice that cuts through, Erivo grabs the heart and shatters it into chards of glass leaving audiences gasping for air through the ugliest of cries.  Her rendition of “The Wizard and I” is stupendously understated.

Grande is every bit ethereal, humorous, sweet, yet conniving as Glinda.  Whether breaking into battement’s to her head gliding down hallways or engaging in duets with Elphaba, one can not the star power she exudes along with her co-star.

It goes without saying that the messaging of this film is more timely today than ever.  With lines like, “…can not escape the past and ignore it at your own peril” or Dr. Dillamond (voiced by Peter Dinklage) statin “…animals should be seen and not hear” really strikes a chord.  Not to mention “the best way to bring folks together is to give them a real good enemy.”

Wicked is the feel good film of 2024 reminding us that it only takes one person to believe, inspire and aspire for you to be great. As Elphie says,…

Something has changed within me
Something is not the same
I’m through with playing by the rules of someone else’s game
Too late for second-guessing
Too late to go back to sleep
It’s time to trust my instincts
Close my eyes and leap