'Wicked' Review: Cynthia Erivo Defies Gravity in This Merry Musical

You'll want to follow Jon M. Chu down the Yellow Brick Road

Eighty-five years ago Judy Garland went over the rainbow in The Wizard of Oz, a movie that has transcended its medium to permeate everything from theme park design to decor. It’s also inspired other studios that don’t have the rights to the Warner Bros. (formerly MGM) movie to try their own takes while skirting the lines of copyright infringement.

But, 85 years later, the question is whether The Wizard of Oz ‘39 is even known to the current generation of Gen Zers and Alphas many of whom no doubt claim the Stephen Schwartz musical Wicked, based on Gregory Maguire’s book of the same name, as their de facto Oz story.

Wicked has had a development period as long and as winding as the Yellow Brick Road itself, going all the way back to 2009 and a never-produced non-musical adaptation of Maguire’s book. Eventually, Universal was able to get things flowing, leading to the adaptation of the Broadway musical you’ll be dazzled by on-screen.

And I do mean dazzled. Director Jon M. Chu is no stranger to the musical genre, having made his bones on the Step Up series and directing the musical adaptation of Lin-Manuel Miranda’s In the Heights (a film sadly undone by the pandemic). But his take on Wicked might be one of the most beautiful and ambitious movie musicals we’ve seen in years, one that rivals some of the best of the Old Hollywood era which, if you know me, is a bold claim.

Chu hearkens back to the MGM bombast of the late-1930s with full-scale choreography, opulent practical sets and exquisite costumes (shout-out to costume designer Paul Tazewell) that will delight. Everything about this movie is a feast for the eyes and multiple viewings will only enhance that.

Wicked is the story of Elphaba Thropp (Cynthia Erivo), a green-faced young woman who has been considered the outcast of her family since birth. When she gets an opportunity to study at the prestigious Shiz University she butts heads with the extremely popular Galinda (Ariana Grande). As Elphaba tries to find where she belongs, her strong magical powers put her on a collision course with everyone, including the great and powerful Wizard of Oz (Jeff Goldblum).

The moment the movie recreated Universal’s logo in the 1940s I knew I was hooked and, no doubt, other Old Hollywood fans will be as well. Chu and the below the line crew no doubt understand the grand world they’re holding onto and do their utmost to pay reverence to the 1939 film (without getting sued) while simultaneously creating their own vision. So, a sweeping overview of Oz will show the things you’d expect from the world, like poppy fields and even a brief glance at Dorothy and crew on the road to Oz, but there’s never an overt need to remake the original film.

But it’s a tall order Chu and the cast, to pay both homage to one of the most famous films of all time as well as one of the most iconic Broadway shows of the last several decades. Cynthia Erivo and Ariana Grande certainly have the pipes for the live musical performances, particularly in the big “Defying Gravity” number in the finale. But even outside of the singing the pair work best when together. Their love/hate relationship is the crux of the movie and leads to some great bits of physical comedy as the pair try to one-up each other. A beautiful dance sequence at the Ozdust Ballroom eventually cements their friendship, though the film always emphasizes their own individual personalities.

Erivo plays Elphaba as a young woman continually underestimated, belittled and scorned due to her green color, especially in contrast to her younger sister, Nessarose (Marissa Bode) who is said to be “a perfectly acceptable color.” The question is asked early in the movie: is a person born wicked or is it something they’re labeled with. The film/show challenge those labels as Elphaba starts to prove she has serious magical ability. Erivo isn’t particularly known for her comedy and she has some great droll comedic timing, particularly opposite the bubbly Grande. When Galinda decides to teach Elphaba how to be popular (la la laaa la, sorry) it lets them both show off their humor with Erivo put into the role of being more awkward.

No one ever doubted Erivo in the title role. The more untested entity is Grande in the second lead of Galinda (“the guh is silent”), the eventual Good Witch. There are shades of original Broadway Glinda Kristin Chenoweth within Grande’s performance, particularly in the vocal cadence. But this isn’t an imitation of Chenoweth’s performance, more a light homage. On her own merits, Grande does well as the loveably selfish Galinda. What works in Grande’s favor is her ability to be vulnerable. When she harps about not getting her way or overly praising herself as a good person, it’s easy to see what a front it is. She’s also, no surprise, fantastic in the musical turns where her dancing is incredibly acrobatic.

The various story threads are all fascinating and move swiftly in Winnie Holzman and Dana Fox’s script. A tale about creating villains and taking people back to a more primitive way of life will no doubt resonate in a post-election world. Goldblum isn’t in the movie much, but makes a solid Wizard, and who knew he could sing? Michelle Yeoh, Jon Chu alumni, gives such cool elegance as Madame Morrible. The true surprise, even more than Grande, is Jonathan Bailey as Fiyero, the charming prince with hidden depths that both Galinda and Elphaba gravitate towards. Bailey has such a light comic touch to him and his performance of “Dancing Through Life” might be the best part of the movie, and the most ambitious set piece in the film.

Those who have seen the Broadway show will know every twist and turn, and exactly what’s going to happen in Part 2. The entire runtime of this movie alone is the runtime of the actual Broadway production. And yet it never feels like there’s an ounce of filler. From Elphaba learning about the various talking animals losing their ability to a small subplot involving Nessarose and her burgeoning relationship with one of the inhabitants from Munchkinland, Bock (Ethan Slater), it all seemingly blends to showcase the full breadth of Oz and its inhabitants in an organic way.

There’s so much to love about Wicked and it no doubt will please fans of both the 1939 film, the Broadway show, or musical lovers in general. I’m waiting for Universal to start doing sing-along screenings. A fabulous, thrilling time at the movies, I immediately want to see this again.

Grade: A-

Wicked is in theaters November 22.