Get ready to celebrate in style! It’s been 21 years since the groundbreaking musical “Wicked” made its dazzling debut on Broadway, and now fans can finally experience the iconic narrative of two enchanting witches unfold on the big screen. This highly anticipated adaptation directed by Jon M. Chu brings to life the beloved tale through vibrant visuals and captivating performances, thanks to Universal Pictures.
The forthcoming film version of “Wicked” features powerhouse talents Cynthia Erivo in the role of Elphaba and Ariana Grande as Glinda. This cinematic take is packed with thrilling references to its various source materials and introduces some intriguing alterations from the beloved stage production. Mark your calendars, as “Wicked: Part 2,” which will delve into the second act of the musical, is set to be released on November 21, 2025.
For those unfamiliar, the Tony Award-winning 2003 Broadway sensation starred the incomparable Idina Menzel and Kristin Chenoweth, and it was inspired by Gregory Maguire’s imaginative novel, “Wicked: The Life and Times of the Wicked Witch of the West.” This novel, in turn, is based on L. Frank Baum’s classic 1900 work “The Wonderful Wizard of Oz” and its celebrated 1939 Technicolor film adaptation featuring the legendary Judy Garland.
The vibrant Universal Pictures logo has been creatively swapped out for a vintage rendition of the globe, reminiscent of the classic 1939 design that coincides with the premiere of “The Wizard of Oz.” This nostalgic touch sets the stage for a reimagined journey into the beloved land of Oz.
In a fascinating visual sequence before the captivating number “No One Mourns the Wicked,” the camera glides over the fantastic landscape of Oz, revealing iconic characters Dorothy, the Tin Man, the Cowardly Lion, and the Scarecrow as they leisurely traverse the Yellow Brick Road. Fans are left to wonder whether “Part 2” will intertwine the classic “Wizard of Oz” storyline more directly than in the original musical.
An enchanting overhead view of Munchkinland showcases over 9 million brilliantly colored tulips blooming in a stunning rainbow pattern, paying homage to the legendary song “Somewhere Over the Rainbow,” which has become synonymous with the lore of Oz. This lavish display encapsulates the magical essence of the world.
As the playful children of Munchkinland revel in the delightful flower-filled fields, they jubilantly celebrate the demise of the Wicked Witch of the West. The joyous occasion is marked by a chorus of ringing bells and clanging pots, accompanied by the recognizable and triumphant tune of “Ding Dong, the Witch is Dead.”
Introducing a new character, Elphaba is cradled at birth by her nurturing caretaker, Dulcibear, played by the talented Sharon D. Clarke, whose presence is absent from the stage version. Dulcibear stands out as one of the few individuals who treats Elphaba with kindness and respect during her childhood, enhancing the film’s overarching theme about the significance of animals, who are often misunderstood in society.
The film dives deep into Elphaba’s childhood, an exploration that the stage version neglects. Audiences witness her magical abilities manifest from birth, as she astounds with the power to levitate objects, including a mystical green elixir bottle, even as an infant. The narrative also highlights the emotional turmoil she endures due to bullying, which triggers magical outbursts, including retaliatory actions against her young tormentors.
Hot air balloons, a significant motif in the lore of Oz, appear prominently throughout the film. From artistic engravings on the facade of Shiz where the students attend school to whimsical invitation deliveries, these balloons enhance the sense of adventure. They even provide a mechanism for escape during an exhilarating finale.
The name Elphaba is a clever homage to L. Frank Baum, the original creator of the “Wonderful Wizard of Oz” series, whereby phonetic play transpires to reveal “El-pha-ba” as a twist on “L.F. Baum.” Elphaba’s last name, Thropp, receives greater emphasis in the film than on stage, drawing sharp attention as the Wizard himself delivers a formal invitation addressed to “Elphaba Thropp.”
To evoke nostalgia, the film’s title card—making a grand appearance at the close of “No One Mourns the Wicked”—is designed in the stylistic flourish of “The Wizard of Oz’s” iconic curly script, signaling the connection between these two beloved tales.
Throughout pivotal moments in the story, the rich orchestration of “For Good” enriches the narrative, underscoring heartfelt dialogues and connections. This melody resurfaces during key scenes, such as when Glinda nostalgically recounts the significant moments of her friendship with Elphaba and during “Dancing Through Life,” illuminating their budding relationship on the dance floor.
Elphaba’s sister, Nessarose, who transitions into the role of the Wicked Witch of the East, is gifted beautifully adorned silver shoes in the film, the same pair that Dorothy will eventually don. Costume designer Paul Tazewell’s intricate detailing adds a tornado-inspired twist to the heel, linking it strongly to the original twister narrative from Dorothy’s journey from Kansas to Oz. Notably, these silver shoes harken back to L. Frank Baum’s original literary work rather than the famous ruby slippers showcased in the 1939 film.
Nessarose’s character is further enhanced with a visual nod as she wears striped socks under her heels, a subtle reminder of her destined fate as the Wicked Witch of the East, imbued with clever symbolism connecting her to her future role.
Unlike the stage adaptation, where Galinda’s parents remain mere mentions, the film introduces audiences to Galinda’s family as they see her off on her first day at Shiz University. Galinda’s mother, portrayed by Alice Fearn—who famously played Elphaba in the West End—adds a personal connection to the story, enriching the character’s backstory.
While Galinda’s close friends Pfannee and ShenShen are acknowledged in the original musical, the film gives them a more vibrant and comedic presence, with the characters portrayed by Bowen Yang and Bronwyn James. Their antics and humorous commentary, often directed toward Elphaba, inject additional charm and levity into the film’s narrative.
In an interesting twist, the film has Elphaba not arriving at Shiz as a student but rather accompanying her father to oversee her sister Nessarose on her first day. After an enchanting incident unfolds, Madame Morrible insists that Elphaba enroll in classes herself, a plot turn that adds depth to her journey.
Madame Morrible’s character evolves in the film adaptation; when Elphaba impressively takes control of Nessarose’s wheelchair during orientation, Morrible takes credit for the display of power, engaging Elphaba privately to discuss her magical talents. This subtle manipulation highlights a complex dynamic that deviates from the stage version, enriching the character’s motivations.
Class and ambiance are imbued in Madame Morrible’s style; her unique magical abilities extend to controlling the weather, shaping her hair and makeup into visually striking representations of swirling clouds, making her presence distinctly memorable and adding to her enigmatic aura.
Perhaps symbolizing her struggle for acceptance, Elphaba’s powers are depicted in fuller light, showcasing her extraordinary abilities throughout the vast realm of Oz. Whether conjuring magic in the dorm or expressing herself vividly during “The Wizard and I,” Elphaba’s character arc demonstrates a multilayered approach to her powers and their implications.
Amidst the narrative, Miss Cottle, an inventive character introduced in the film, serves as an administrative staff member at Shiz University, brought to life by Broadway star and “Greatest Showman” standout Keala Settle, further enriching the school’s atmosphere.
Miss Cottle’s utterance, “Not to fret – just a slight gulch!” upon witnessing Elphaba’s unexpected arrival, serves as a clever nod to the original Wicked Witch, Almira Gulch. This delightful reference pulls fans deeper into the continuity of the Oz narrative in a tasteful, playful manner.
For those with a sharp eye, the character Ama Clutch makes a subtle appearance in the film, as she is seen on the reading list for Galinda’s dorm assignments, adding another layer of nods to the original “Wicked” novel that goes unmentioned in the stage show.
In a remarkable scene where Elphaba is running through a field while singing “The Wizard and I,” she takes a significant leap accompanied by a beautifully colored rainbow backdrop. This moment not only visualizes a direct homage to Judy Garland’s iconic song but also integrates the orchestration of “Somewhere Over the Rainbow,” marvelously intertwined with Elphaba’s vocals in a heartwarming connection to the timeless classic.
When Galinda and Elphaba draw up letters home to complain about their living situation, fresh lyrics from the original score are cleverly injected into their written correspondence. This playful dramatization highlights Galinda’s witty awareness, noting her parents’ limitations in responding promptly via a letter.
The film heightens the comedic aspect of “What Is This Feeling?” by incorporating a combat lesson, foreshadowing a future scene where Galinda brandishes her wand as a makeshift baton in an altercation with Elphaba.
Madame Morrible’s character dives deeper into her mentorship with Elphaba, as they share more private sessions compared to the stage adaptation. Their interactions give a glimpse into her attempts to harness Elphaba’s emotional potential, showcasing the intricacies of their relationship and the stakes involved in her magical journey.
Fans of the original saga will undoubtedly delight in multiple references to the iconic Wicked Witch of the West, enhancing Elphaba’s magical sessions with subtle homages, such as shadowing her fingers as she attempts to conjure magic, paying tribute to the unforgettable performance by Margaret Hamilton in the classic “Wizard of Oz”.
While Dr. Dillamond is recognized as Shiz’s sole animal faculty member in the stage performance, the film expands on his character, illustrating him convening with fellow animal colleagues discussing their diminishing rights. This intriguing subplot emphasizes the broader themes of oppression and the treatment of magical creatures in the land of Oz.
Enhanced storytelling permits Elphaba to manifest her prophetic abilities. Emitting lyrics that hint at a grand celebration centered around her, her optimism soon turns into an ominous warning as her visions portent tragic events, like the Munchkins’ celebration of her demise in “No One Mourns the Wicked.”
Fiyero’s introduction sees a charming pivot as he and Elphaba meet in the forest, presenting a fresh perspective compared to the original that has him meet with classmates at Shiz. Notably, Elphaba’s insult—“Get stuffed”—serves as clever foreshadowing for Fiyero’s fate in the sequel.
Fiyero, diverging from his stage show entrance, makes a grand appearance on horseback, a dramatic and memorable twist that engages cinematography. The same equine performer that worked alongside Jonathan Bailey in “Bridgerton” brings added authenticity to this pivotal character entry.
Production designer Nathan Crowley demonstrates brilliance with Shiz’s endlessly captivating library, complete with rotating circular shelves. Ingeniously designed ladders allow the letters “O” and “Z” to be formed during choreographed sequences, resulting in a visually impressive homage to the iconic characters of Oz.
Fiyero’s playful demeanor during “Dancing Through Life” is heightened with lyric modifications, creating a sense of vibrancy as he captivates others at Ozdust ballroom. Additional choreography and orchestration amplify the lively energy, drawing viewers into the enchanting atmosphere present without sacrificing the essence of the original.
Notably, the books that Fiyero glides across during dance sequences are actual course materials, complete with spell books and Ozian texts, expertly crafted by the talented production team to add a layer of authenticity and whimsy to the film’s educational setting at Shiz.
During “Dancing Through Life,” Fiyero witnesses Galinda’s foreshadowing stance—body slouched and arms extended—an artful nod to his eventual fate that is subtly sprinkled throughout the narrative, intertwining the past and future with impactful visual storytelling.
Creative hints toward Boq’s eventual fate are cleverly embedded in “Dancing Through Life,” with Galinda placing a red handkerchief over his heart while he remarks on crying too much, foreshadowing the heartless transformation he will undergo as the Tin Man in “The Wizard of Oz.”
The sweeping world of Oz expands marvelously on screen, showcasing Fiyero leading a group of students to the Ozdust ballroom via a picturesque boat, a scene that breathes new life into the setting and exploration of Oz as seen in the film, a grandeur unattainable in the confines of the stage production.
The russet-hued Ozdust ballroom sees an increased presence of animals who take center stage, signifying the unification of familiar and newfound characters, enriching the speakeasy-style venue with vibrant associations.
In a whimsical twist, a pair of sparkling red heels makes a memorable appearance as Galinda playfully provides outfit suggestions to Elphaba during “Popular,” deliberately nodding to Dorothy’s iconic ruby slippers. Notably, these slippers are slipped on and clicked three times for emphasis, bringing the audience full circle in the narrative.
Ariana Grande’s rendition of “Popular” takes a refreshing turn towards the end, as she cleverly opts to change the key multiple times, introducing two extra “La La, La La” sections before concluding with a grand finale that elevates the theater experience into a dazzling cinematic performance.
In an early scene, Dr. Dillamond expresses fondness for poppies—a flower that carries significant weight in “Wizard of Oz,” playing a crucial role in lulling Dorothy and her companions to sleep. This circle of foreshadowing builds suspense as Elphaba distracts her classmates with floating poppies, allowing her to facilitate a daring escape alongside Fiyero and a lion cub.
As they escape peril, Elphaba and Fiyero ride bikes, carefully transporting the liberated lion cub in a basket. This charming reference echoes Margaret Hamilton’s portrayal of the Wicked Witch in “The Wizard of Oz,” where she also rides with Toto in a similar fashion, effectively uniting common motifs shared across the two adaptations.
Madame Morrible showcases a nurturing aspect as she safeguards Elphaba from the rain using an umbrella, followed by her magical display of clearing the skies. In a wry twist, she tells Elphaba, “We mustn’t let you get wet,” a cheeky reference to the Wicked Witch of the West’s infamous vulnerability to water.
Elphaba’s special invitation from the Wizard of Oz arrives in an imaginative format: a mini hot air balloon, paired with a personalized non-transferable paper invite, elaborating on the whimsical and extraordinary means of correspondence prevalent in the land of Oz.
Delving into the Wizard’s backstory, the film pays homage to his humble origins in Omaha, Nebraska, as outlined by L. Frank Baum. Throughout the movie, viewers catch subtle references to Omaha, including a label on Elphaba’s balloon invitation, a catchy chant of “Oh-ma-ha, Oh-ma-ha” voiced through the Wizomania hologram, and even sighted luggage marked with Nebraska during the thrilling number “Defying Gravity.”
Unlike the original musical where Elphaba and Nessarose’s father departs after dropping them off, the film depicts the Governor of Munchkinland arriving to send Elphaba off to the Emerald City while meeting her younger sister’s love interest, Boq—adding depth to their familial dynamics.
Amidst the backdrop of traveling chaos, the beautiful orchestration of “No One Mourns the Wicked” hums softly in the background as Elphaba and Glinda find themselves temporarily separated at the bustling train station, capturing the poignancy of their unfolding journeys.
With new material composed by Stephen Schwartz, the film introduces an extended introduction to the iconic number “One Short Day,” ornamented with bright musical trills as Elphaba and Glinda journey towards the Emerald City—an enchanting treat for audiences.
The Emerald City Express, visually designed to embody the marvels of “fantastical technology,” stands out with its grand proportions at 106 feet long, 58 tons, and towering over 16 feet tall—an architectural feat that complements the vibrant culture of Oz.
Broadway’s original stars, Kristin Chenoweth and Idina Menzel, make a heartfelt cameo during “One Short Day,” weaving their past into the film as they recount the Wizard’s tale. Producers assure that their presence further enriches the narrative, affirming the legacy of the theatrical roots that many have cherished. Menzel showcases her trademark “Defying Gravity” riff while Chenoweth beautifully recreates Glinda’s iconic wand gestures.
The film includes new lyrics for “One Short Day,” incorporating a new verse that brings the Wizomania Choir and Emerald City Players into harmonious celebration, weaving in additional details about the Wizard and the misconceptions surrounding his character.
Composer Stephen Schwartz makes a brief appearance as an Oz soldier, allowing Elphaba and Glinda into the Wizard’s palace during “One Short Day,” seamlessly infusing himself into the narrative he helped create.
The book writer, Winnie Holzman, also finds her way into the story, appearing in the Emerald City during the same number, showcasing the Wizard’s reputed ability to read the Grimmerie, highlighting the connection between creation and adaptation.
Sworn to its roots, the film reclaims musical easter eggs from “Wizard of Oz,” subtly weaving the melody of “Follow the Yellow Brick Road” into the “One Short Day” score, reaffirming the bonds between these beloved tales.
A nodding reference to “The Wizard of Oz” classic phrase, “pay no attention to the man behind the curtain,” is interlaced into a new scene where the Wizard dances behind a curtain while unveiling his vision for the future of Oz to Elphaba and Glinda.
The Wizard endeavours to connect with Elphaba and Glinda, presenting a diorama of the city to engage them, while seeking their opinions on a newly imagined brick road, further developing the relationship between characters.
The Wizard’s former identity appears in whimsical moments as we glimpse the attic filled with memorabilia from his magical past, including marketing materials from his former life as “Oscar Diggs” and a nostalgic trunk from his magician days.
The thrilling climax of the film presents a departure from the stage show, where Elphaba and Glinda make a bold escape attempt using the Wizard’s hot air balloon. When their plan goes awry, she enchants a flying broom, taking adventure to soaring new heights.
Alluring imagery and nostalgia abound as fans of the musical experience the iconic moment of Elphaba rising into the air with her broom in “Defying Gravity,” paralleling her stage performance, while Cynthia Erivo’s captivating performance fills the cinematic space with monumental energy.
The film also introduces a significant difference in the lyrics of “Defying Gravity,” with the guards chanting “Kill her!” compared to the stage’s “Get her!”—a stark contrast that immerses viewers deeper into the film’s heightened stakes.
A climactic moment in “Defying Gravity” sees Elphaba bellowing “Unlimited!” amidst dramatic visual expressions, while the audience witnesses the diverse reactions of inhabitants across Oz grappling with the news of her transformation into a wicked witch.
In a poignant reflection of Elphaba and Nessarose’s familial strife, their father collapses upon discovering the public declaration of Elphaba’s wickedness, reinforcing the emotional gravity that permeates their rich backstory.
The turmoil surrounding Elphaba’s plight extends to her peers along with her father’s overwhelming shame, capturing the harrowing reactions at Shiz as chaos erupts around her declaration as public enemy number one.
The film adaptation concludes “Wicked: Part One” in a similar fashion to the stage musical, right after “Defying Gravity,” and features an enticing “To Be Continued” message in a vibrant color scheme reminiscent of the “Wizard of Oz” title, signaling the journey into the world of Oz is far from over.
In contrast to the original stage musical, the “Wicked” movie boasts a significantly longer runtime, clocking in at 2 hours and 40 minutes without an intermission. With a sequel still to come, audiences find themselves thrilled by the promise of more imaginative storytelling.
How does Elphaba’s transformation into the Wicked Witch illustrate her struggle against societal expectations and personal identity?
S the audience deeper into the intensity of Elphaba’s plight. This change underscores the stakes at play in their rebellion against the Wizard’s regime, amplifying the urgency of her stand for freedom.
As Elphaba fully embraces her identity as the Wicked Witch, the film juxtaposes her newfound power with the tenderness she shows towards her friends and the creatures of Oz, highlighting the complexity of her character. This resonance of strength and vulnerability enriches the viewing experience, allowing audiences to empathize with her journey from misunderstood outcast to a formidable icon.
The emotional depth culminates in a poignant exchange between Elphaba and Glinda, reminiscent of their heartfelt ballad “For Good.” The film explores the bond they have forged through trials and challenges, emphasizing the choices that have shaped their destinies—each expressing gratitude and recognition of the other’s impact on their lives.
As the film concludes, the circular narrative of friendship, betrayal, and acceptance weaves a rich tapestry that resonates with viewers. The nuanced exploration of what it means to be “wicked” offers a fresh perspective, prompting reflection on the nature of good and evil in a world filled with shades of gray.
