Stage-to-screen adaptations face many challenges, especially newer musicals – just look to the critical mess of Mean Girls and Dear Evan Hansen as two recent examples. So unless you're a true-blue “theatre kid”, the idea of going to see a Wicked film adaptation might be off putting.
But Jon M Chu's kaleidoscopic vision defies flop-movie-musical gravity, and soars high and mighty as an audio-visual behemoth, reinterpreting the 2003 Broadway show of the same name. And I'm not surprised, given his electrifying body of work – In The Heights, Step Up 3D and Crazy Rich Asians. Fans of the stage musical will fall in love with Wicked all over again (as I did), while those being introduced to it for the first time will bask in its 160-minute glory.
The story explores the intertwined lives of Elphaba, played by Cynthia Erivo, the misunderstood green-skinned witch destined to become the Wicked Witch of the West, and her “good” counterpart Glinda, played by Ariana Grande, the pink-clad, charming and ambitious sorceress.
The movie draws its roots from Wicked: The Life and Times of the Wicked Witch of the West, a 1995 novel by Gregory Maguire that reimagines L Frank Baum's The Wonderful Wizard of Oz (1900). Maguire’s work flips the script on the traditional good-versus-evil trope, offering a sympathetic perspective of Elphaba and the systemic injustices she faces.
Chu succeeds on so many levels in his take of the beloved musical, with his ingenious understanding of big-screen rhythm and movement allowing for a faithful but fresh retelling of the tale. It's evident that he is not afraid to embrace the material's verbose musicality, which seems like a typical mistake in stage-to-screen endeavours. He remains faithful to the original score, preserving the complete tracklist and ensuring the film serves as a reverent homage rather than a self-indulgent remake. But even then, Chu's Wicked is rife with his personal ingenuity, adding layers of cinematic nuance to appeal to new audiences.
The production team matches Chu's ambitious vision for his Land of Oz, with striking set designs, costumes and make-up. The movie beams with life, with a necessary frame-by-frame meticulousness. Observant viewers will truly appreciate the scrumptious details of the film, especially in scene-setting numbers such as One Short Day and Dancing Through Life.
Praises abound for the lead duo, Erivo and Grande, whose powerful chemistry anchors the film and brings its emotional core to life. Casting two master vocalists in roles that demand, well, powerful singing chops, was a strong start. Sceptics, particularly of Grande, have really only known her as a pop star, ignoring her very obvious passion for musical theatre (at 15, she snagged a Broadway role in 13 The Musical in her pre-Nickelodeon days).
But Grande captures Glinda's frivolous energy, particularly demonstrating it in her vocally distinct version of Popular. I had no doubts about her vocal prowess, but what makes her portrayal memorable, if not utterly surprising, is her impeccable comedic timing. Working alongside singing-acting powerhouse Erivo is no joke, and she knocks it out of the park with her playful inflections and mannerisms.
The British actress, on the other hand, was an obvious choice for Elphaba, given her decorated showbiz career – she won a Tony for the extremely vocally demanding The Color Purple and nabbing an Oscar nomination for fury-loaded Harriet. She adds a soulful depth to the scarred-but-ambitious green witch, going big when needed, especially in her solo musical numbers, and flawlessly pulling back to create a layered depiction of the role. One of the movie's highlights is the school party scene where Elphaba endures some awkward bullying, allowing Erivo to showcase a subtle intensity and providing the audience ample room to examine and anticipate her forthcoming character arc.
Together, both actresses are truly “unlimited” in their roles, complemented by a charming Jonathan Bailey as Fiyero, whose role will become more prominent in the second part. Michelle Yeoh exemplifies the perfect command for her role as Madame Morrible, while Jeff Goldblum is exquisite as the wizard.
With 160 minutes of running time, Wicked borders being too long, especially given that it's just the first half of the saga. As a fan of the stage musical, it was not difficult for me to stay glued to the screen for its entirety, but I can understand how some could find it drags a bit. Movies, in general, have been ballooning in length anyway, and Chu's captivating treatment of Wicked allows for some prolonged gratification. It's not long for length's sake, and even if it's just half of Elphaba and Glinda's backstory, it feels complete and satisfying, especially with that banger of an ending – Erivo's breath-taking take on Defying Gravity.
In its closing moments, Wicked leaves you breathless, a testament to the enduring magic of its story and the artistry behind its creation. Now, give Grande an Oscar, or a nomination, at the very least.
Wicked opens in UAE cinemas on Thursday, November 21
