Yesterday, women were empowered; today, they use magic. What’s next? Political office? Well, no, of course not. That’s silly. For that to happen, we’d have to develop a society in which an exceptional woman were valued at least as highly as the worst piece-of-shit man you can find. Geez, even in Oz, the Ozonians or whatever clearly favor a mediocre, talent-challenged, scape-goating piece-of-man over any woman. It’s sad this is the world we live in … and yet, Wicked, a fantasy about a green-skinned telekinetic and her pink pastel frenemy is as relevant right now as the 2024 election.
We can sidestep the obvious metaphorical parallel while we talk about this fabulous musical come-to-life. Wicked is the story of Elphaba (Cynthia Erivo), a green telekinetic but otherwise normal citizen in the land of Oz. Her father initially disavowed baby Elphaba, but this antipathy eventually morphed into molding her into a caretaker for her wheelchair-bound younger sister, Nessa (Marissa Bode). The plot begins when Nessa arrives at Shiz, the Hogwarts of Oz, and while supporting her sister, Elphaba accidentally destroys the courtyard telepathically, in turn making a friend of Madame Morrible (Michelle Yeoh) -the teacher of magic- and an enemy of her pastel counterpart, Galinda (Ariana Grande).
This is all just an excuse to show off Shiz adventures in delightful song. I know I’m biased here, but “Wicked” is my favorite Broadway musical – and that’s almost entirely based on the music, for I’ve never quite understood the plot. This version explains the plot very clearly without trading an ounce of musical integrity. I 
thought there might be something lost in the aging-out of original stars Idina Menzel (or Adele Dazeem, as I like to call her) and Kristin Chenowith, but this production loses absolutely nothing in transferring the notes to Erivo and Grande. This is more important than it looks; we’ve seen a number of adaptations fall flat in going for star power over signing talent *cough* Les Miz *cough* *cough* Mamma Mia! *cough*
Sudden enrollee Elphaba is equally as ostracized as school as she is at home. This is an easy sympathy for anyone who has ever felt like an underdog … or has been the focal point of alienation … or has ever held an unattainable dream … it is only too easy to sing along when Elphaba belts out her aspirations in “The Wizard and I” to an empty canyon (the cinematography in this film is brilliant; every bit as good as Barbie) only to be met with a Galinda duet entitled “Loathing” -which is as hilarious as Broadway songs get, btw.
This musical is also for anyone who has ever had roommate pain, which I daresay describes almost everyone who has ever had a roommate.
What stuck out the most to me about this version of Wicked are two things: the evolution of friendship between Galinda and Elphaba which starts as “loathing” and slowly becomes something positive. As the girls slowly become BFFs, the continual xenophobic subplot about “fear of the other” shifts from our avocado heroine to the talking animals of Oz. It is unmistakable that this film champions those who speak against discrimination and castigates those who would arbitrarily punish entire groups of intelligence, all out of misplaced fear. Yet Oz remains a fantasy land of bright colors and unchallenged artistic vision. (Those who need to see only fantasy will see only fantasy.) And yet, like most quality film, there is more here than is contained in the screenplay.
Part I concludes with the literal and figurative show-stopping number “Defying Gravity.” On stage, this intermission preceder is about
empowerment; Elphaba is finally taking control of her circumstances. On screen, it was so much more. Because of the enhanced background in the story, we realize this song is not just about Elphaba, but about speaking truth to power regardless of cost. “Defying Gravity” may well become an anthem for those who took an honest look at the last decade of American life and are appalled at the conclusion of re-electing a dumbass, narcissistic, scandal-generating liar. As we had the most depressing election of my lifetime just weeks ago, I daresay the entire nation needs a lesson in speaking truth to power. Now, do I believe that millions of morons who happily chose lies and hate ahead of sanity will pay attention to five minutes of girl-dominated screentime? Of course not, but maybe there will still be music when democracy dies.
I have to separate my own personal bias here, but my initial thought is that Wicked is the best movie of 2024. I downgrade it only slightly for 160-minute runtime -which flew for me, but is a large ask of a family-oriented audience- and the fact that this is a Part I; no musical should ever be divided by anything but an intermission. Otherwise, I love this film. I love this musical. I love this adaptation and I love the choices Jon M. Chu and company made to shorten both of my least favorite numbers while explaining what was going on so much better than the stage. Enthusiastic thumbs up for any potential fan described by my words above.
A young woman of power and passion
Could do things her peers could not ration
Elphaba, castigated
And wholly denigrated
Yet, you can’t deny her as an icon of Oz fashion
Rated PG, 160 Minutes
Director: Jon M. Chu
Writer: Winnie Holzman, Dana Fox, Gregory Maguire
Genre: Hazing rituals
Type of being most likely to enjoy this film: Feminists, musical theater enthusiasts
Type of being least likely to enjoy this film: My brother Andrew
