‘Wicked’ Review: A Wickedly Talented Ensemble
The long-awaited Wicked (Part 1), directed by Jon M. Chu, opened on the 22nd of November, quickly assuming the role as the highest-grossing musical film, earning over $164 million globally on its opening weekend. Celebrated as a transformative musical, Wicked, a musical adaptation of the novel by Grgeory Magure, reimagines the years leading up to The Wizard of Oz. Rather than centering on Dorothy, it tells the story of the unfortunately green-skinned Elphaba, who possesses magical powers, and the popular Glinda (the “Ga” is silent), both students at Shiz University in the land of Oz, a world of wizardry. The film redefines the cinematic musical precedent, embracing its Broadway roots while revitalising the story of the Ozians through soaring choreography, sets, costumes, and roaring vocals. It is a prismatic story, reflecting aspects of life that all audiences will find flickers of resonance in.
Running 2 hours and 41 minutes - the same length as the stage production - Chu masterfully ensures the film never loses momentum, rather you are left wanting to dance right into its yet-to-be-released Part 2. Chu expands on the world of Oz with breathtaking establishing shots and enriched backstories that deepen the cinematic experience. He pays homage to the musical’s Broadway roots with clever cameos, including composer Stephen Schwartz and original writer Winnie Holzman appearing in the Emerald City. Broadway legends Kristen Chenoweth and Idina Menzel, the original Glinda and Elphaba, also make nostalgic returns to Oz. Perpetually, homages are made to both the book and the musical. This is especially noticeable in the costume department, with a choice of silver rather than ruby slippers as a nod to the characters from the original 1939 book The Wonderful Wizard of Oz by L. Frank Baum, and the hammerheads’ costumes inspired by the West End production. Costumes in this film are imperative to creating an otherworldly Oz; the department, steered by Paul Tazwell and at times comprising 150 people, manufactured all the costumes in the film. Bringing in visions of the original aesthetics while adding a flair that makes them come alive on screen; true to the spirit of Wicked, the costumes celebrate the mantra that “pink goes good with green.”
The film’s score is impressive, blending slightly updated arrangements with the essence of the original, giving rise to less favoured numbers that now shine as elaborate and triumphant performances. Much of this success is owed to the choreography team, led by Christopher Scott, who brings ample play and prosperity to the world of Oz with his visions for movement. The merging of sound and motion is flawless, from the choreography you see on screen to the resonant movements fused in the musical numbers. Notably, ‘What Is This Feeling’ stands out when the audible sounds of boots stomping liven up the original track with increased energy. In this concoction of musical wonder, impressive vocals are blended throughout. The ensemble cast and vocals enrich the cinematic appeal of Wicked. Glinda’s friends Pfannee (Bowen Yang), and Shenshen (Bronwyn James) add contemporaneity and comedic excitement to the Shiz atmosphere. Meanwhile, Marissa Bode as Elphaba’s sister, Nessa Rose, engages the lead's dynamic background story while exploring the empathetic sides of human nature and the pursuit of love in tandem with Boq Woodsman (Ethan Slater), Glinda’s long-time admirer. Flashbacks featuring the two young actresses, Karis Musongole (Elphaba) and Cesily Collette Taylor (Nessa Rose) provide tender moments, deepening the audience’s emotional connection to the characters. The world of Oz is led by The Wizard, expertly brought to life by Jeff Goldblum, who brings an endearing personality to this seemingly powerful man. Michelle Yeoh executes his counterpart, Madame Morrible, with all the poise, grace, and elegance one would expect, rounding out a cast that brings this masterful world to life.
The production team takes the title of its focal number ‘Defying Gravity’ very seriously. In an impressive ensemble performance of ‘Dancing Through Life’, Jonathan Bailey (as Fiyero Tigelaar) is quite literally turned upside down whilst singing in a fleur of choreography extravaganza. He excels in parkour of the heart - quite literally. Displaying an impressive set of skills throughout the film, he exudes continuous suave and charm, resulting in a giggling theatre at every line and smolder. Jonathan Bailey is a triple threat, a true leading man exemplar. Notable in this performance is the brilliant set design, the coordination between movement and production is a feat throughout the film and the pure scale of the operation is impressive. The audience is placed right in Oz by production designer Nathan Crowley, whether it is the detail-specked Shiz University, an enchanted forest, or the forever-stretching Tulip fields, the illusion is never broken. The movie feeds the senses, making Oz feel truthful while maintaining its magically enchanting essence through bold colours, talking animals, and fairytale landscapes. One speaking animal stands out: the goated professor Dr. Dillamond voiced by Peter Dinklage, whose performance is just that. He delivers much emotion and brings the character’s aptitude to the forefront of the screen.
These talking animals are at once a binding element in the fantasy world-building of the film and a reality check for the audience. The film brings in potent underlying questions of politics from the original Musical in an elegant way, it does not become the focus of the film but remains a continuous footnote. The film is well-versed in balancing its broad audience by embracing themes of otherness, authenticity, and identity that both young and old will relate to. These delicate motifs are tearjerkers, made even more compelling when delivered by the immensely talented Cynthia Erivo who embodies Elphaba’s fearlessness and vulnerability with exceeding emotion. Erivo, along with the rest of the cast, sang live, adding incredible elements of pure feeling to the film, spilling with emotion from every crevice. Like Jonathan Bailey, she defies gravity - literally and metaphorically - performing intricate choreography whilst keeping a stunning display of vocal momentum. A true vocal and emotional magician.
Erivo’s counterpart, Ariana Butera-Grande, immediately shuts down any casting critiques in the first scene, cementing herself as the perfect Glinda. She brings Kristen Chenoweth’s humour and quirkiness to the role while making it her own and adapting it to the screen with stunning displays of micro-expressions that leave cinemagoers moved. Her comedic timing is brilliant, finding a balance between Glinda’s humanity and her occasional distance from it. Grande’s vocals are exceptional, and her opera abilities show a new side to the popular singer that suits both character and concept well. Her performance is silly but permeated with diverse emotional layers. On the big screen, the multiple facets of feeling in their friendship unravel. Her subtle choices allow the audience a glimpse of Glinda’s convoluted disposition, favouring performance over feeling - elements Grande exquisitely aligns.
The key difference in Wicked from stage to screen is the increased vulnerability. The cinematic element allows the actors to attempt subtlety in their reactions, especially noteworthy in the performances of Bailey, Erivo, and Grande. Jonathan Bailey brings more soul and likeability to an on-the-surface shallow character, charging Fiyero’s minor movements with significance. The same is true for both female leads, who succeed in mastering the multifaceted nature of emotion. The complicated relationships between characters become evolved and investing rather than surface-level love triangles. It is these small but increasingly effective moments shared between characters that truly make the film soar. Occasionally, the film loses some of its otherwise surging momentum and impact due to continuous cuts that feel incongruent within a fervently intense scene. However, at times the breaks work to amplify tension and keep viewers on the edge of their seats. One might say we were given space to hold the lyrics and momentous gravity of the scenes.
Through the harmonious collaboration of creative departments, each with immense responsibilities, this film arrives successfully - a true ensemble. Viewers left the cinema enchanted with the magic of Oz, eager to reenter this spell-binding universe and watch the story unfold for its beloved characters. Having already taken the box office and audiences by storm, Wicked is sure to occupy a poignant place in musical film history.
Wicked (Part 1) is out now in UK and Irish cinemas. Wicked (Part 2) is scheduled for release on the 21st of November 2025.
Edited by Humaira Valera, Co-film & TV editor
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