The Ariana Grande-Cynthia Erivo headliner is a spectacle all by its ‘thrillifying’ self.
No feeling is more indescribable (dare I say transformative?) than experiencing the final 10 minutes of Wicked: Part 1. Before the intermission in the stage version, Act 1 crescendos with its pièce de résistance: Defying Gravity. Elphaba (Cynthia Erivo) fully embraces her identity, soaring into the air and shattering the literal and metaphorical glass cage that confined her.
Her sweeping declaration—that no one will ever bring her down—silences Emerald City, leaving those below to watch both in terror and turmoil. The shattered shards mirror Elphaba’s now tarnished reputation, as whispers of her “wickedness” begin to echo across the land. Yet, she is unbothered, knowing she holds the entire sky in her grasp. She belts the iconic final note, a defiant battle cry, before soaring into the unknown.
And so begins the longest intermission known to man.
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Grandeur is far from delusion in Jon M. Chu’s take on the film adaptation of the beloved musical. Based on Gregory Maguire’s revisionist novel Wicked, the story allows a more layered vision of The Wizard of Oz’s antagonist, the Wicked Witch of the West. It explores her complicated friendship with the Good Witch of the North.
Let me preface this by saying that this film hit all the high notes. The only thing that is probably terrible about this is that I have to wait a whole year for the second act. But otherwise, it is a spectacle all by its ‘thrillifying’ self. Not only did it surprise me, but it was a life-changing experience that I wish I could relive.
The final scene in the film was the best 10 minutes of my life, and I would give anything to watch that for the first time again.
Ariana Grande and Cynthia Erivo are both brilliant performers. Grande truly shed her pop star image and went for the operatic pipes. I knew she was a theater kid but her execution of the bubbly yet insidious Galinda blew me out of the water. She carried the role with Kristin Chenoweth in mind and her 10-year-old self in her heart. Her comedic timing and emotional nuances were her two greatest strengths, and I am glad she took this opportunity to shine.
Erivo was a force to be reckoned with; it was evident she took great care of Elphaba. She was able to portray such a misunderstood character, stemming from her being a societal pariah due to her green skin. “It was my fault,” she admitted to an oblivious Glinda during their first night as friends. Elphaba blamed herself for her sister and Wicked Witch of the East Nessarose’s disability, to which Glinda replied, “No, it isn’t.”
While the original performances by Chenoweth and Idina Menzel breathed life into Stephen Schwartz’s iconic songs, Grande, Erivo, and the rest of the cast took them to soaring new heights. The harmonies by Grande and Erivo are on another level of cosmic.
For me, Defying Gravity underwent the most remarkable transformation. It wasn’t just that the song is undeniably brilliant—that’s a given. What set it apart—along with the other numbers—was how it was given space to breathe, to radiate, and to be reborn with a fresh, captivating energy. The final scene in the film was the best 10 minutes of my life, and I would give anything to watch that for the first time again.
Jonathan Bailey brought an impish charm to Ozian heartthrob and Winkie prince Fiyero. His Dancing Through Life performance was one of my favorites, and he was indeed swoonworthy. I especially liked the chemistry he had with Elphaba, succeeded by Erivo’s performance of I’m Not That Girl. That ballad was the song of my childhood, relatable especially because Elphaba felt she was too physically unconventional to be loved.
The harmonies by Grande and Erivo are on another level of cosmic.
Bowen Yang and Bronwyn James as Pfannee and ShenShen, respectively, shone despite being two characters in the background. They were able to stand out despite Grande’s already overpowering performance, and they were a delight to watch.
Jeff Goldblum was another one to watch as the ambiguous sorcerer The Wizard. He played the role with such devilish charm and his voice was one of my favorites as well. His eventual “foil” to Elphaba brings a very disappointing outcome for the latter, as she believed that the former could produce magic for the good. But alas, she was disappointed. Brilliant performance though.
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The cinematography left me speechless, naturally. It was some of the most brilliant world-building yet, and each place felt like a piece from the Game of Thrones opening credits. It was knee-deep in lore and references, especially as a homage to L. Frank Baum’s The Wizard of Oz. From the fishes that greet Glinda upon arrival at Shiz University to Shiz University itself, there is a sense of bringing imagination to the moviegoers.
This review in itself does not do justice to the Wicked experience. It is so much more than that. It is a film that explores the layers of good and bad, and how it cannot always be black or white. Chu’s interpretation of the musical is a case study and a best practice, a sign that musicals do belong on the big screen for everyone’s visual consumption.
As the sun sets on Oz, a witch is on the loose. The wait may be long, but the magic of Wicked ensures that it will be worth every moment. Until then, we’re left suspended—like Elphaba herself—on the brink of something extraordinary. That, despite the year-long pause, will not bring me down.
Wicked is now showing in cinemas nationwide.
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