Casting a spell over theatre lovers worldwide, it is easy to see why Stephen Schwartz’s musical Wicked is so beloved by its fans. Originally based on Gregory Maguire’s 1995 novel “Wicked: The Life and Times of the Wicked Witch of the West,” the musical’s revisionist approach to the iconic Wizard of Oz tale opens an accessible door for themes of identity, propaganda, dehumanization, and more to walk through.
Considering that these weighty themes are conveyed from the perspective of a perpetual outsider, it makes perfect sense that director Jon M. Chu would be helming the film adaptation.
No stranger to tales about people navigating spaces they are initially unwanted in, Chu has shown in his previous works (e.g. Crazy Rich Asians, Step Up 2: The Streets, Step Up 3D, etc.) that he understands how class standing and compliancy often leave those who are different on the outside looking in. Gaining a reputation for constructing astonishing and inventive dance sequences, as displayed in his adaptation of the musical In the Heights, what is most shocking about Chu’s approach to Wicked is the level of restraint he employs.
In the past, Chu’s dance numbers were the crutch that not only held up the plot, but sometimes overshadowed it. For all the engaging musical set pieces in Wicked, including a library sequence where ladders and circular bookshelves become the dancers’ personal monkey bars of fun, it is the vocal performances from the leads performers that serve as the film’s guiding light.
As the iconic Elphaba and Glinda, Cynthia Erivo and Ariana Grande are the heart and soul of the film. Erivo gives plenty of emotional weight to hit numbers such as “Defying Gravity” while simultaneously bringing a rich humanity to the often-maligned Elphaba. While Grande is equally wonderful from a singing perspective, it is observing her great comedic timing that is the real treat. Those familiar with her Nickelodeon work (e.g. Victorious and Sam & Cat) know that Grande can generate genuine laughs from the audience. However, her physical presence here, frequently contouring her body and flipping her hair at just the right moments, further highlights her gift for comedy.
Wisely letting his leading ladies take centre stage, Chu’s film weaves an entertaining exploration of female friendship in the face of growing authoritarianism. Commencing after the death of the Wicked Witch of the West in the Wizard of Oz, Wicked finds the citizens of Oz in full celebration. Tearing down warning signs about the witch, the joyous crowd is especially excited to see the pink bubble that carries their beloved, if a tad flighty, Glinda the Good Witch. While confirming the witch’s death, Glinda is questioned as to whether the rumours are true that she was friends with the Ozians’ tormentor.
Launching into a lengthy flashback, Glinda recounts how she and the green-skinned villain Elphaba first met. Of course, the Wicked Witch was not always they tyrant she is perceived to be. Detested by her father since birth, Elphaba spent her entire life to that point navigating prejudice towards her skin colour and dealing with magical powers she was unable to control. It was her magical abilities that caught the eye of Madam Morrible (Michelle Yeoh), the dean of sorcery at Shiz University where Elphaba’s sister, Nessarose (Marissa Bode), was enrolled to attend.
Using her influence at the school to enroll Elphaba as well, Madam Morrible took a keen interest in helping the green student reach her full potential. This did not sit well with Glinda though as her whole purpose for going to Shiz University was to study under the famed dean. Accustomed to getting her way and backed by a student population that hung on her every word, Glinda found herself increasingly at odds with Elphaba, especially when the pair were forced to be roomates.
Playing out closer to a musical version of Harry Potter or Wednesday, the early portions of Wicked capture the challenges that come with being different in a sea of conformity. School is a place where Elphaba both endures ridicule and observes the dangers that can arise when people remain silent about the racism and injustice they witness.
Featuring a subplot involving the mistreatment of talking animals in Oz, Chu’s film hints at the ways fear can be a powerful tool to help give false prophets, such as the mysterious Wizard (Jeff Goldblum), power. While the subplot is intriguing, it is never fleshed out as deeply as it could have been. Part of this may be a result of Wicked, despite its lengthy runtime, being only part one of the musical.
Telling only half of the story, Wicked still manages to be a wholly satisfying experience. Blending colourful spectacle, soaring songs, and plenty of heart, Chu brings the magic of Broadway to the big screen in a vibrant way. Anchored by the wonderful performances by Erivo and Grande, Chu’s film shows that the lines between good and evil are not as clear as one might think. The citizens of Oz may believe that “no one mourns the wicked,” but sometimes those who are labelled as evil actually care about humanity the most.
A joyous work that will entertain both loyal fans and newcomers, Wicked gives audiences plenty to sing about.
