REVIEW: Wicked defies gravity and my expectations

By Evan Zhang ‘26

Courtesy of 4K Wallpaper

Goodness knows the past year was filled with remakes, sequels, and adaptations. From Inside Out 2 to Despicable Me 4 to Mean Girls: The Musical, Hollywood companies did not shy away from recycling old content for new audiences. Though many of these movies were considered failures or disappointments, one stood out and won over both viewers’ and critics’ hearts. 

Wicked (2024), the highly-anticipated film starring Cynthia Erivo and Ariana Grande, and adapted from Act I of the 2003 musical, hit theaters last Thanksgiving. It was an astounding $700 million box office success, receiving new-found popularity and praise from general audiences, alongside critical acclaim. In fact, the movie was described by Rotten Tomatoes watchers as “a thrill,” a “joyous eruption,” and “visually captivating.”

However, some viewers were not as convinced. Critical reviews knocked its lengthy running time, given that the movie only consists of the musical’s first act, the “horrible” dancing, and the “muted” cinematography. 

The contrast between these exceedingly positive and decidedly negative comments surrounding the adaptation inspired me to see for myself what the hubbub was about. In this review, I will break down the good, the green, and the ugly aspects of Wicked in four different categories: Musical Performance, Acting, Cinematography, and Design - answering once and for all, is it truly a lifetime of fun or is it deserving of total detestation?

For those unfamiliar with the subject matter of the musical, Wicked, the fantasy adventure prequel to L. Frank Baum’s The Wizard of Oz, follows Elphaba (Erivo), a gifted social outcast, as she attends Shiz University and navigates ostracization, romance, and social division all while discovering the powers that she possesses. She is accompanied on her journey by Galinda (Grande), her popular best friend, and Madame Morrible (Michelle Yeoh), a powerful sorceress, who leads her to meet the Wizard (Jeff Goldblum)–though all is not as it seems.

Now, onto the Emerald City Express! Next stop, Category 1: Musical Performance.

Musical Performance

While Wicked’s soundtrack is not original, its two leads, Erivo and Grande, as well as the rest of the ensemble, brought their own singing abilities to the characters they portrayed. On the flip side, the dances were choreographed specifically for the film and performed on-screen for the first time. Thus, I will analyze each actor and the overall cast’s performance in both areas.

By and large, Erivo shone with her strong vocals, bringing control and power to the character of Elphaba. With a deeper voice compared to Idina Menzel–who starred in the Broadway production–she captured the personality of the young witch in her measured yet pronounced singing. Additionally, her final rendition of Defying Gravity was breathtaking, adding unlimited emotion to an already passionate song.

Erivo suspended midair in “Defying Gravity.”

Courtesy of Entertainment Weekly

Aptly, Wicked’s only award nomination for a solo musical performance was from Hollywood Music and Media and honored Cynthia Erivo’s version of Defying Gravity.

Similarly, Grande met the bar set by Kristin Chenoweth of Broadway, though her more quivering vocals were audible throughout the movie. She injected an infectious energy and sarcastic touch into her singing as Galinda, aided by her famous high notes - present even at dear old Shiz University. Popular, her primary song, did not disappoint, showcasing the extent of her musical range.

Better yet were songs like What Is This Feeling and One Short Day with both singing, as they harmonized well together; Erivo’s measured voice presented a nice contrast with Grande’s melodious one. Moreover, the background cast singing in each of the grander musical numbers helped to round out their imperfections and polish the listening experience.

To my surprise, Jonathan Bailey proved to have a fierce voice that was perfect for the role of Fiyero, belting impressively throughout the entirety of Dancing Through Life. Ethan Slater and Marissa Bode were equally up-to-par, demonstrating stellar soprano voices despite only having a few opportunities to sing throughout the film. Even Yeoh’s brief interlude in The Wizard and I had a soft and whispery air that showed more vocal control than I expected.

However, Peter Dinklage and Jeff Goldblum were duller to hear. Reminiscent of Russell Crowe’s awkward, stiff singing in 2012’s Les Miserables, the two ultimately performed blandly and forgettably, outdone by their counterparts. Simply put, their periods of singing felt more akin to normal speaking than anything else.

Choreography was a definish strong suit for Wicked, with many fresh dances that were fun to watch and clearly well-rehearsed. Each leading and supporting character stole the spotlight when it was their time to shine, whether it was Ariana Grande’s comedic tip-tapping or Cynthia Erivo’s silent ballroom dance. 

Again, the background characters raised the quality of the physical performances from good to great with their synchronized movements and collective talent. Thanks to its strong ensemble, the musical went on to earn a nomination from the Screen Actors Guild Awards for “Outstanding Action Performance by a Stunt Ensemble in a Motion Picture” and another in a similar category from the Indiana Film Journalists Association.

Generally speaking, the movie excelled in this aspect, with some minor singing improvements suggested for certain actors.

Acting

Though their chemistry was evident in Wicked’s songs alone, acting is where Erivo and Grande’s pairing truly got to shine. Erivo’s portrayal of Elphaba was touching and intimate, connecting viewers to her struggles while conveying depth and personality. Despite being occasionally overshadowed by Grande’s explosive personality, she successfully made the witch a unique and interesting character.

Grande did an unsurprisingly fantastic job as the comedic Galinda, most likely a product of her days on Nickelodeon’s Victorious and Sam & Cat. Though I was apprehensive that this portrayal would come off as shallow and overly slapstick, she managed to turn her performance around in the second half of the movie when she effectively revealed her character’s caring and complex nature. 

Working in tandem, the two achieved a nuanced, sentimental, and at times romantic element to their relationship. In addition to being individually nominated for SAG, Golden Globe, BAFTA, and Critics’ Choice Awards, Erivo and Grande dually accepted a National Board of Review Award for “Creative Collaboration,” a testament to their playful on-screen dynamic.

Always charming, Bailey was a decent fit for the role of Prince Fiyero, even if his character only served as a love interest for the two female leads and had little substance to it. His performance was adequate, yet the prince’s personality seemed to boil down to two moods: brooding and flirtatious. Slater, playing the lesser love interest of Boq, was equally adequate–albeit two-dimensional, seeing as the Munchkin spent most of the movie with the same smitten expression on his face.

Yeoh excelled in her role as the mysterious Morrible, conveying the majesty and authority necessary for the fascinating mentor character. In a rare split from his usual mannerisms, Goldblum’s Wizard felt serious; toning down his eccentricities allowed his character to feel genuinely intimidating. Likewise, Dinklage’s voiceover for the anthropomorphic Doctor Dillamond was expectedly skillful, showing that even as a goat, he can still be a great dramatic performer.

Yeoh, Goldblum, and Dinklage in their respective roles as Madame Morrible, the Wizard of Oz, and Doctor Dillamond.

Courtesy of Screen Rant, CBR, and Vulture

Of course, I would be foolish not to give credit to Bowen Yang and Bronwyn James, whose minor roles as Galinda’s snobby friends Pfannee and Shenshen were funny and oddly endearing to watch. Contrarily, I felt that Bode’s Nessarose was not as compelling as it should have been, with the sister character mostly shrinking into the background due to the actress’ inflexible tone of voice and facial expressions.

Overall, most of the acting was stellar or at least acceptable, save for Jonathan Bailey, Ethan Slater, and Marissa Bode, from whom I’d hoped to see more than they delivered. Everyone deserves the chance to fly–although some need to rehearse first.

Cinematography
Translating the appearance of an onstage musical to the silver screen while maintaining the original magic is no easy feat (just look at Mean Girls). That said, Wicked does better than most at transporting the audience into the all-grand and all-green world of Oz. Clearly, the physical sets and beautiful filming locations significantly improved the movie’s appearance on-screen.

The Shiz Library set built by Nathan Crowley, the film’s production designer.

Courtesy of Architectural Digest

That said, the camera movements and shots throughout the film were executed extremely well; some specific scenes that deserve acknowledgment are the opening scene showcasing Wicked Witch’s castle, the Yellow Brick Road, and Munchkinland, the dance sequences of What Is This Feeling and Dancing Through Life, and lastly, the ending shot of Elphaba flying off into the western sky. 

The movie expertly employed a wide variety of distant or close-up shots to make scenes either feel grand or personal. Moreover, cinematographer Alice Brooks evidently knew how to record a musical, as each motion of the camera was in line with the movements of the singers and dancers, conveying the appropriate fervor or moderation needed.

On top of that, the special effects were effective and did not once take me out of the story. Given that all of the animal characters, including Dinklage’s Dillamond and the flying monkeys, were generated with CGI, it was highly impressive to witness the artificial aspects integrated so well into the live-action settings. Wicked’s accomplishments in cinematography and CGI earned it nominations for a BAFTA and two Critics’ Choice Awards.

Some have criticized Wicked for its muted tones and low saturation, causing the fantastical world that it depicted to feel uninteresting. This description proved to be accurate - while the Emerald City’s verdant halls and the pristine ocean surrounding Shiz University definitely popped out looks-wise, the rest of the movie’s sets appeared beige and blasé, lacking visual flavor. It goes without saying: something bad was happening in the editing room.

In summary, the musical excelled in terms of camerawork and special effects, though the post-production alterations made to its color palette led the vibrant sets to appear duller than they were before, ultimately to the movie’s detriment.

Design

Last but not least, it is imperative to rejoicify Wicked’s set design and costumes, which played an important role in giving the film a truly magical feel. Most, if not all, of the movie’s scenes, involved physical sets that the actors could move around in and interact with, including Shiz University, the Emerald City, Munchkinland, the completely operable Emerald City express train, and the field of tulips flanking the Yellow Brick Road. Deservedly, the musical was nominated for “Best Production Design” by both the British Academy and Critics’ Choice Awards.

A key effect the team attempted to achieve was practicality, as our modern age of fantasy filmmaking often favors greater amounts of CGI and fewer genuine set pieces. By straying away from the norm, the movie created landscapes and buildings that enveloped the audience in its mystical atmosphere, invited its characters to explore their surroundings, and captured attention with its ultra-realism. Wicked felt real because it was, at its core.

In addition to spectacular sets, the film’s lavish and rich costuming reflected the glitz and glamour of Oz and was nominated for BAFTA and Critics’ Choice Awards. All of Galinda’s brightly-colored dresses stunned me - the best one by far being her butterfly-like prom dress - while Elphaba’s dark gowns echoed her quieter personality. By subtly placing only the two girls out of Shiz’s school uniform, costume designer Paul Tazewell drew attention to their uniqueness.

The clothing of the supporting cast, such as the jewel-studded, regal outfits worn by Morrible and the green velvet coat donned by the Wizard, emphasized their characters’ primary traits and enhanced the viewing experience in a similar fashion (no pun intended). A definite highlight was seeing the ensemble, background actors included, decked out in Ozian formal wear for the midnight dance. It would bring me bliss to have seen the Shiz students dressed in such eye-catching attire in other scenes but I digress.

Altogether, the set design and costumes were overwhelmingly high-quality, serving only to boost audience enjoyment and assuredly made with heart.

Defying Gravity or Sheer Depravity?

Now, for the final rating. Drumroll please…congratulotions, Wicked earns an 8/10 in my book (which is not the Grimmerie)! On the whole, the musical was an absolute rush of joy to sit through; strong spots were the lead performances by Erivo and Grande, original choreography, quick-paced camerawork, polished special effects, and well-crafted set and costume design.

On the other hand, aspects of the film deserving of simple, utter loathing were the singing and acting of certain cast members like Goldblum and Bode who failed to meet the standard set by their peers and its visually boring appearance. Constructive criticism aside, I highly recommend it to all who are still on the fence…it will be a wicked good time.
So if you haven’t already, get to watching; I promise that it will not disappoint. Here’s the strange thing - your life could end up changing. While some may protest their disinterest, I know clandestinely that Wicked deserves more than one short day of being very, very popular, like me!