It would take much longer than the space of one review to explain how much Wicked has meant to me throughout my life. Somehow, as if by a twister of fate, the musical has intersected with so many pivotal points in my life and so many wonderful people, which is to say, my expectations for the Wicked movie were sky-high. And somehow, it exceeds every hope.
The Witches of Wicked
When Cynthia Erivo and Ariana Grande were announced to lead the Wicked movie, I was worried they were major miscasts. I will happily eat my words now because both actresses turned in stellar performances — not just vocally, but getting at the heart of these two deceptively complicated women. There’s a reason Elphaba and Glinda are dream roles for a generation (or more) of musical theatre actors.
Despite Elphaba being the titular “wicked” witch, we meet Glinda first. Grande’s soprano is lovely if a smidge thinner than the classic “Broadway” sound. More importantly, she handles the tricky balancing act of “Glinda the Good.” She “celebrates” with the Ozians while subtly conveying her inner grief through tiny expressions. Naturally, though, Grande really shines as Shiz-era Galinda, a frothy confection of mean-girl cattiness and self-absorption who — eventually — learns to lead with her heart. But she does have her limits. Her willingness to rebel remains superficial (like changing her name), and she tries to make excuses when the Wizard and Morrible’s treachery is revealed. It’s hard not to see parallels with the real world.
And speaking of parallels! Erivo’s Elphaba is, more than ever, a parable for our times. Yes, she’s born “different,” but she also chooses to stand up and raise her voice. Erivo has played many women of immense strength and courage, so she’s a great fit for Elphaba’s fierceness. She also, however, is so lovable during Elphaba’s more vulnerable and hopeful time. That’s the tragedy of Wicked: Part One, isn’t it? After a lifetime of being pushed aside, Elphaba finally gets to be the girl she wants to be: control over her magic, friendship, people cheering for her, and the Wizard himself offering her a place. Then it all crashes down, and Erivo plays Elphaba’s resignation simmering into fury note-perfect.
The World of Oz
One of the best things about the Wicked movie is its attention to detail in the world-building. Jon M. Chu’s decision to build physical sets and effects pays dividends. There’s a rainbow of color and incredible textures, matching the richness of the music. No, it’s not a fantastical Technicolor approach — but it doesn’t have to be. The steampunk-fantasy style pays homage to the Broadway show, but always without mimicking directly. It reads like a love letter to the show, not a carbon copy.
I also have to shout out the tiny details that reveal how the Wicked team did their Oz homework. A shot of Elphaba on a cliffside reveals a vast desert all around Oz, with a rainbow barely visible far away. In the novels, Oz is surrounded on all sides with an “impassable” desert. Dorothy crosses it to return home to Kansas (back “over the rainbow”). I also loved how, during the “overture,” the segment using Elphaba’s “unlimited” theme plays exactly as the camera passes over a rainbow on a waterfall. The “unlimited” motif is one of Wicked‘s best Easter eggs. The first seven notes of the theme are the same notes that make up the melody of “Somewhere Over the Rainbow.”
Then there are the cameos — and not just of the original actors!
Despite the runtime, Wicked: Part One never feels overstuffed. The expansions to the plot and score are subtle and well-paced. And, oh, that score has rarely sounded better. Chu’s more-is-more approach to production numbers isn’t always perfect. But when it hits, as it does in the whirlwind of “Dancing Through Life,” it’s pure musical magic. All the songs you know get loving renditions, from the madcap comedy of “Popular” to the explosive power of “Defying Gravity.”
(Yes, I cried from the first overture chords; what of it?)
The Rest
Outside the witches, the cast is uniformly excellent. Jeff Goldblum is wonderfully smarmy as the Wizard. He’s less paternal than the standard Broadway characterization and more of an obvious con man. Likewise, Michelle Yeoh tones down the camp for a Madame Morrible, who is quietly yet unmistakably menacing. Her Morrible isn’t a comic villain — you would genuinely fear to cross her. Peter Dinklage, meanwhile, lends a warm and tragic voice to the wise, doomed Doctor Dillamond.
There’s little to say about Ethan Slater’s Boq, nor is there anything new to his characterization. I do love the tweaks to Marissa Bode’s version of Nessarose, though. Instead of just wanting to fit in, she wants to be respected and not talked down because of her disability. There are a great couple of moments where she asserts herself by wheeling her chair instead of having someone push her. It also dovetails nicely with her own start-of-darkness: it’s easy to see how her need to be respected turns into a willingness to be feared.
I’ve always been picky about my Fiyeros. After all, he has to be amazing if we’re to believe that two strong, incredible women grow to love him. Jonathan Bailey, unsurprisingly, understands the assignment. His Fiyero starts as an indiscriminate flirt, then a bad-boy-slash-jock type as he woos Glinda and sneaks everyone out to the Ozdust Ballroom (now reimagined as a scandalous speakeasy). But from the start, he’s more than meets the eye — just as Elphaba and Glinda are. The movie slightly changes Elphaba and Fiyero’s first meeting in a smart way. They still start off on an arguing foot, but he responds casually to her “green” spiel. Just as she throws him off by not falling for his charms, he catches her off-guard by not caring about her skin. Watching Fiyero learn to acknowledge his own depths is an underrated joy of Wicked.
Ready for Part Two
Of course, Wicked: Part One ends like Act 1 of the musical, with Elphaba taking flight. The visuals emotionally echo the classic “look” of Elphaba onstage, with her cape billowing around. If there’s a minor quibble to be made, it’s that the song cuts deflate the final moments. Rather than Elphaba’s battle cry leading to a smash-cut-to-credits, the movie adds about 10-15 seconds of Elphaba flying away after singing the big riff. It’s minor but noticeable.
There’s no denying that watching the Wicked movie is a very bittersweet experience in the world today. The movie uses its expanded runtime to pull on a few threads, particularly with the Animal Rights storyline. A clandestine meeting of persecuted individuals desperately trying to strategize against powerful forces; the silencing of dissent; the manipulation of an entire country by a con man who cares only for his own power and interests; ordinary people easily whipped up into a frenzy against those who are “different”… it’s all painfully timely. I can only imagine what Part Two will feel like a year from now — but I feel certain it will still connect with our brains, our hearts, and our courage.
And now we wait for the first peek of Part Two! What did you think of the Wicked movie?
Wicked: Part One is in theaters now. Wicked: Part Two arrives in theaters November 21, 2025.
First Featured Image Credit: ©Universal Pictures