I’ve heard it said that movies come into our lives for a reason, bringing something we must learn, and Wicked (Part 1). From the director that brought us In The Heights and the masterpiece that was Step Up 3D, Jon M. Chu, comes the much anticipated silver screen adaptation of the beloved musical of the same name. While part of the success of In The Heights comes from the raw and realistic slant to its musical numbers, Wicked is the complete opposite. The polished and perfection of this musical will leave your jaw on the floor.
Some diehard fans of the musical watched the approach of the film’s debut with trepidation. Too many screen adaptations of musicals have let us down, but with the recent success of Means Girls, we started to have hope! Unlike Mean Girls, Wicked doesn’t shy away from its musical roots – leaning into big dance numbers and earnest money notes, defying any hint of cringe factor. Chu, along with screenwriters Winnie Holzman and Dana Fox, balances the cheesiness that musicals are prone to, with fast paced dance numbers that echo modern TikTok dances, and not in a bad way.
One of the many elements to Wicked’s success is the perfection of its casting. Musical fans rejoiced in the casting of Cynthia Erivo as Elphaba Thropp, buoyed along by her Tony for Best Actress in a Musical and her Grammy for Best Musical Theatre Album. However there were some reservations about Ariana Grande as Galinda Upland. Any fears are blown away in the very first number, with Grande effortlessly showing off her impressive range. The rest of her performance is the perfect blend of comedy and musicality, never vying too much toward slapstick but at the same time remaining approachable and a tad ‘goofy’. While Erivo might be musically stronger than Grande, it’s Grande who really steals the show.
It would be remiss not to mention the rest of the cast, as they are just as impeccable as the two headliners. Clearly there was plenty of hype about Jonathan Bailey playing the prince, Fiyero Tigelaar, with his background in theatre and his recent popularity in Bridgerton. More than just a pretty face, Bailey skillfully navigates Fiyero’s hidden depths with style and flair. Continuing with the glowing galaxy of star power in this film are Jeff Goldblum as the Wizard of Oz and Michelle Yeoh as Madame Morrible, the Head of Sorcery at Shiz University. Both give elegant portrayals of their two morally grey characters. Standout performances also come from Ethan Slater as Boq, unsurprising given his Broadway acclaim, and Marissa Bode as Nessarose. Bode is the first wheelchair user to play her and brings her own experience to Nessa, deepening the stage version to turn her into a fully realised and respectfully presented disabled character, aided by some additional scenes.
Clearly the music was always going to be on point and is definitely phenomenal. From the beginning the background music foreshadows the arrival of the big show-stopping classics that we know and love, with delicate tinkles of the main melodies woven through like a complex tapestry. Some numbers are stronger than others – notably ‘Dancing Through Life’ feels a touch more style than substance with most of the focus being pulled by the athletic dancing by Bailey and the supporting performers. Some reviews have been critical of another main bop ‘Popular’, but while it is different to the rendition made famous by Kristin Chenoweth, it is just as strong musically.
Finally, it would be remiss not to mention the phenomenal costuming and staging that brings to life the World of Oz. Each costume is brimming with subtle nods to the internal workings of the character wearing it. From the 50s inspired pink perfumery of Galinda’s wardrobe, to the organic blacks and browns of Elphaba’s, each enhances our understanding of that character and brings depth to their on screen presentation. The settings range from deep forests of lush nature to the clearly Art Deco inspired Emerald City, and it is lovely to see that they take inspiration from the scenes of the original Wizard of Oz film.
While this might seem blasphemous, at times the film feels stronger than the stage musical. If audiences go in expecting an exact facsimile of the production, they might be disappointed. However, for those that are heading along looking for a tour de force of musicality and mayhem, it sure is going to be Popular!
9/10
