Decadently thrillifying in every possible regard, eagerly awaited movie Wicked: Part One faithfully serves the stage musical’s legion fans while ingeniously expanding its universe with dazzling creativity.
Many a stage-to-screen movie musical has been thwarted by unnecessary interference with the book, song list, and design that made the original musical a success. Part of the joy of experiencing Wicked: Part One is realising what a close adaptation it is; every act one song is included, and book writer Winnie Holman serves as screen writer, in collaboration with Dana Fox. The respect shown to the original presumably also derives from the involvement of Universal and producer Marc Platt from the very beginning of the much-loved musical’s life.
Surely matching the thrill and awe that The Wizard of Oz must have given 1939 audiences, Wicked: Part One fills the screen with extraordinary visuals that not only demand to be seen in a suitably large cinema but also will require at least one return viewing to fully absorb and appreciate. Film director Jon M. Chu adroitly balances design, music, and performances to conjure a splendidly realised whole.
Drawing further inspiration from the The Wizard of Oz and the 1995 Gregory Maguire novel Wicked: The Life and Times of The Wicked Witch of the West, the movie enriches and enlivens the world of Oz from within, organically adding eye-popping design elements and fascinating character details within pre-existing locations and songs.
Production designer Nathan Powell crafts a magical world of riotous colour and quirky invention, all the more visually appealing for the amount of design that has been physically constructed rather than inserted via CGI. Costume designer Paul Tazewell complements the scenic sparkle with an almost impossibly vast range of stunning, characterful, witty costumes.
The flashback to Elphaba’s birth is followed by a scene of she and her sister Nessarose as young children. “Something Bad” moves from an after class chat between Elphaba and Doctor Dillamond to an underground meeting between scared learned animals. “Dancing Through Life” thrills anew with a fantastic rotating library setting followed by a swarming subterranean nightclub.
As with Wicked on stage, Wicked: Part One upgrades the spectacle for Elphaba and Glinda’s visit to the Emerald City, with the Wizomania sequence of “One Short Day” expanded with new material including some new music.
Finally, the movie ramps up the action and excitement leading to iconic finale “Defying Gravity,” giving the standalone movie a satisfying climax of its own, with the full set of characters seen again in the closing minutes.
The boffo scale of production extends to music, with Steven Schwartz’s revered score played by an orchestra of 80 musicians. Original music director Stephen Oremus conducted the songs while underscoring composer John Powell conducted the background music.
Choreographer Christopher Scott fills the screen with flashmob-like full company dance, also bringing individual flair to quieter moments of dance. As with the stage musical, the importance of choreography to storytelling in “Dancing Through Life” is expertly handled.
Over and above design and production, the success of Wicked: Part One lies squarely with the mesmerising performances of the impeccable cast. Director Chu clearly has his actors living and breathing these roles, allowing each to deliver vibrant, meticulously detailed performances for the screen.
In this first half of Elphaba’s story, Cynthia Erivo tempers the young woman’s passion and frustration with underlying vulnerability that gradually yields to self empowered strength. Erivo soars through Elphaba’s vocals, with touching ballad “I’m Not That Girl” a gentle highlight. “Defying Gravity” practically defies audiences not to cheer aloud in the cinema as Erivo takes Elphaba to the skies and beyond.
With delicate vulnerability all of her own, Ariana Grande-Butera deftly rounds out Glinda well beyond the blonde hair tosses and sparkly pink dresses. A gifted soprano, Grande-Butera delights with Glinda’s songs, making the most of an extended conclusion to beloved hit “Popular.” Erivo and Grande-Butera enjoy crackling chemistry, leaving audiences who do not know the musical wondering how the two appeared to have grown apart as shown in the prologue.
In a role he was born to play, Jonathan Bailey smoulders shamelessly as restless Winkie prince Fiyero, singing the role with ready flair. As sparks fly between the three leads, the love triangle between Glinda, Fiyero, and Elphaba is well established, leaving the audience wanting more for its resolution in the second movie.
Sinister and aloof, Michelle Yeoh brings imperial inscrutability, not to mention lashings of elegance, to Madame Morrible. Sporting trademark devilish twinkle, Jeff Goldblum is inspired casting as the not-so-wonderful Wizard.
Ethan Slater gives eager, lovestruck Munchkin Boq a grounded, convincing characterisation. Peter Dinklage voices professorial goat Doctor Dillamond with affecting pathos.
Across the leading, supporting, and ensemble performers, a world of inclusivity is confidently portrayed, setting the standard for all such projects.
Wicked super fans will need no encouragement to see Wicked: Part One, it is more a question of how many times and how much to spend on additional merchandise. The popularity of the movie with a wider world audience will be interesting to observe, with the dazzling and engaging spectacle well placed to reach and attract even more viewers.
Wicked: Part One plays in cinemas from 21 November 2024. For local session times, click here.
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