This review will explore the newly released Wicked, starring Ariana Grande and Cynthia Erivo, from three different perspectives - how does it hold up next to the book, the musical, and on its own?
Though Gregory Maguire’s popular revisionist novel Wicked: The Life and Times of the Wicked Witch of the West has long been advertised as a companion to fans of the classic Wizard of Oz, the novel tends to step off the yellow brick road more often than not. The 1995 novel topped no charts at the time - and is by no means as popular as its musical adaptation - yet somehow managed to be the basis of a world record breaking musical. How? Gregory Maguire’s Wicked spins the classic Wizard of Oz narrative into a political allegory thinly veiled by a fairy tale. It follows the life of Elphaba Thropp, the so-called Wicked Witch of the West, painting her as a tragic figure navigating a morally murky world. Maguire’s Oz isn’t all yellow brick roads and Technicolor wonder—it’s a complex, often brutal world where personal choices are entangled with larger political forces.
Adapting Wicked: The Life and Times of the Wicked Witch of the West into a movie is no small feat—it’s akin to cramming an entire fantasy opera into a paragraph-long blurb. Gregory Maguire’s novel is a dense (and often convoluted) melange of political intrigue, moral ambiguity, and existential musings wrapped in a very green package. Wicked struts onto the screen with plenty of style but a slightly lighter purse when it comes to substance. The visuals are jaw-dropping, with Oz rendered in vivid hues that make the Emerald City feel like a Pinterest board come to life. But for all its glitz, the film struggles to capture the book’s darker, more introspective tone. Elphaba’s internal struggle—one of the novel’s most compelling threads—is given a Hollywood polish that simplifies her into a misunderstood rebel (and a will they/won’t they romance not nearly as present in the novel).
Though the film boasts dazzling visuals and hummable tunes, it often sidesteps the heavier questions of morality and systemic injustice that defined Maguire’s work. Characters like Glinda and Fiyero lose much of their nuance and complexity, and Oz itself feels more like a theme park attraction than the intricate, politically charged setting of the novel. Some storylines, like Elphaba’s political activism, are relegated to the shadows, while the Glinda-Elphaba rivalry-turned-friendship takes center stage with allll the sparkle and funny quips - as expected. Thematically, the movie leans hard into the “misunderstood outcast” narrative, occasionally sidestepping the novel’s heavier philosophical questions in favor of glossier, crowd-pleasing sentiments. It’s as if the film decided that moral complexity is overrated—let’s just make Elphaba relatable and call it a day. Fans of the book may find themselves simultaneously enchanted by the spectacle and wistfully pining for Maguire’s layered storytelling. Ultimately, next to the book, Wicked may feel like the bubble Galinda makes her entrance in - fun to look at, but fairly empty on the inside.
Elinor Forder
Wicked, the musical, was adapted from the novel in 2003 by Stephen Schwartz and Winnie Holzman and has been running on Broadway ever since. Its roaring success and record-breaking sales prompted its opening on the West End just three years later, where, a little over a year ago, I got the chance to see it. The musical itself is a thrilling and transporting experience, and although there were aspects of which, I must admit, I was skeptical, the film has completely exceeded expectations.
One of the larger concerns was casting, more specifically the casting of Ariana Grande as Glinda. Though she has acted before, the role of Glinda is very demanding, and there was uncertainty as to whether Ariana’s voice would be up to the challenge of musical-style singing. Additionally, there is currently an issue within the industry in regard to hiring big names just to sell tickets. Does it work? Of course, but oftentimes it can end up hurting the experience. If the actor isn’t up to the challenge, or the scripting isn’t quite right, you may not be able to immerse yourself into that world, and instead of seeing the magical Glinda, you end up only being able to see Ariana Grande waving a wand around in a pink ball gown. These two issues, however, were completely superseded. Surprisingly, Ariana’s high notes actually complimented Cynthia Erivo’s powerful voice very nicely, and the longer you watch the film, the more and more you become enraptured in this story being woven before you, and do truly stop seeing Ariana Grande and see Glinda in her place. The latter feat is particularly impressive for someone of her celebrity, and rather admirable given that this is her first big role in a number of years.
However, this movie must not only be commended for its casting, but also its fidelity to the musical. Turning something that is performed live on stage into a movie is an incredibly challenging undertaking, and the team behind Wicked did a phenomenal job. Oftentimes with adaptations, directors take huge liberties with the writing, and change the plot, songs, characters, and so on. Wicked did none of this, and although that might not have any impact on those getting into this universe for the first time through this film, for lovers of the musical, faithfulness is one of, if not the single, most important factor when creating adaptations like this.
All in all, I urge you to go see it while it’s still in cinemas, whether you’re a fan of the musical or not, and get swept away into this wicked, wonderful world.
Lily Yoko Kucera
After nearly two decades of anticipation, the Wicked movie adaptation is finally here, bringing Gregory Maguire’s and Stephen Schwartz’s universe to the big screen. As someone who is unfamiliar with this story, the 2024 film provided a captivating introduction. I found it interesting how the creators have decided to stick with a musical genre, as they could have taken this opportunity to go into a completely new direction. For instance, a darker, more thriller-like approach could have added a layer to the intensity of the story: while keeping the original fantasy genre, such a shift could have explored the conflict between power, rebellion, and morality with amplified suspense and, possibly even, elements of gore. Despite this, it was a delight to see the musical brought to life, with its iconic songs and emotional depth providing a strong foundation to newcomers.
The movie offers a rich contrast between its two main characters, whether in Elphaba’s bold, belting voice reflecting her strength as an upstander or Glinda’s soft, high notes capturing her desire to fit in. It even extends to their visual designs. While Elphaba’s deep greens and earthy tones symbolize a connection with the natural world, her muted tones reflect her status as an outsider. On the other hand, Glinda’s pinks and pastels highlight her privileged innocence and charm. Growing up bullied and marginalized due to her appearance, Elphaba’s character is deeply empathetic to those who are different, developing a sense of moral duty to confront societal injustice. Alternatively, Glinda grew up loved by her family and everybody around, leading to a sense of entitlement and belonging, and developing a sense of conformity to societal expectations in order to maintain harmony. Their performances bring these dynamics to life, with Ariana Grande’s and Cynthia Erivo’s voices blending beautifully to showcase the characters’ evolving relationship and growth.
Finally, the film’s aesthetic choices of vivid colors, detailed backgrounds, and striking contrasts enhance its magical atmosphere, drawing viewers into its fantastical genre. While I personally found the ambiguous ending frustrating due to its nearly three hour length with no clear resolution, it left audiences with plenty to reflect on as they consider the broader messages of identity, morality, and friendship. For both newcomers and longtime fans, the Wicked movie adaptation is a visually stunning and emotionally resonant experience that stays true to its roots while finding new ways to captivate.
Samina Djuraeva
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