It's Not Easy Being Green

"Wicked" Exceeds All Expectations--My Review

The superb Cynthia Erivo as Elphaba in Wicked

The movie musical is something of an endangered species. It’s been kept on life support in recent years by such superb efforts as Chicago and Dreamgirls—both multiple Oscar winners—proof that audiences and critics alike can still be beguiled by the transfer of a Broadway smash to the silver screen. The much anticipated film adaptation of Wicked will join the pantheon of great movie musicals. It is something to behold: a marvel of artistry, talent, technological innovation, and heartfelt sentiment that could make it an instant classic.

This film of the musicalized “origin story” of the Wicked Witch of the West has such artistic integrity because it was made with the participation of Wicked’s original Broadway creators: composer/lyricist Stephen Schwartz (who makes a delightful Hitchcockian cameo in the film—look for it), book writer Winnie Holzman, Wicked novelist Gregory Maguire, and others, like original Broadway producer Marc Platt, and casting directors Telsey & Company, who know this show inside and out. We’re treated to a fabulous appearance by the two original stars of Wicked, Kristin Chenoweth and Idina Menzel (I won’t spoil it for you—it’s everything). Reverence for the 1939 classic The Wizard of Oz is evident here, too, in the design of the sets and costumes, in small moments of homage throughout, and even in the title font used for the opening and closing credits. The makers of this film wanted us to know that they know how much Oz means to us all—and they did us proud. I find this refreshing in our current, often misguided, “activist” culture, that seeks to “deconstruct” and “dismantle” beloved classics…often destroying them utterly in the process.

Like the Harry Potter films, Wicked creates an entire world for us to lose ourselves in, with its own language, landscape, fashion sense and culture. Every object, hand prop, and costume piece has been exquisitely handcrafted and lovingly designed with a unique, quirky, cohesive aesthetic. One could watch the film a dozen times and never get all the detail. The costume designs by Paul Tazewell are off the charts incredible—innovative, eccentric confections that make one want to pause the film every few seconds to get a closer look at them (the custom knitwear alone is insane). It appears that Wicked employed every hair and makeup artist in Hollywood and it shows. From the design to the astounding visual effects, the world of Oz is a dazzling feast for the eyes.

One quibble I have with the film is director John M. Chu’s insistence on constant camera movement, visual effects and rapid fire editing, particularly in big musical numbers. Perhaps it’s my 59 year-old brain that hasn’t been trained on the frenetic visuals employed in video games, but there were moments when I just wanted the camera to pull back and stay in one position long enough for us to enjoy the singing and dancing (wickedly weird, scintillating choreography by Christopher Scott) and to drink in the powerful performances of the leads. A little restraint by the editor and cinematographer might have allowed the musical numbers to “sing” more. They could have taken a page from those old movie musicals where Gene Kelly or Fred Astaire thrilled us with a song and dance in one long glorious shot.

Cynthia Erivo gives an undeniably Oscar worthy performance, and not just for her otherworldly vocal mastery of the score’s iconic tunes like “Defying Gravity.” It’s Erivo’s grounded, vulnerable and deeply felt acting that make Elphaba real and touching for the audience. Even her American accent is spot on. Truly, this is a great performance, worthy of a place in the Best Actress Oscar pantheon alongside other movie musical stars like Jennifer Hudson (Dreamgirls), Liza Minnelli (Cabaret), and yes, even Barbra Streisand (Funny Girl). She’s that good. This film—certainly not the first of her many artistic achievements—announces the Arrival of Erivo. Of course, I knew, after seeing her on stage in The Color Purple, that Ms. Erivo was one of those once in a generation stars, waiting for the right vehicle—and this is her moment. To her credit and the credit of her director, Erivo plays Elphaba as a brilliant, powerful green woman—not a brilliant, powerful black woman in “greenface.” I know some might flinch at that assessment, but it’s important. Of course the audience will draw parallels between the ostracism Elphaba faces in the world of Oz and the ongoing struggle in our culture with race and prejudice. But the filmmakers allow us to draw those parallels and perceive those potential resonances on our own—without clobbering us with them.

The storyline in the film dealing with the subjugation and persecution of the talking animals of Oz, for me, was more terrifying and impactful than any racial overtones. The scene where Professor Dillamond—the last remaining animal teacher at Shiz University, a goat (voiced by Peter Dinklage)—is arrested and dragged away in front of his class, brings to mind the machinations of the Nazis against Jewish professors in Berlin and Vienna in the lead up to the Second World War. I was reminded of the affecting performance of Frank Morgan (the original Wizard in The Wizard of Oz) in The Mortal Storm, as the “non-Aryan” professor brought to destruction by the Hitler youth who were once his adoring acolytes.

Ariana Grande as Galinda

As Galinda, Ariana Grande holds her own alongside her co-star, giving a delicious comedic performance, with moments of genuine pathos and nuance. I am convinced Grande, a well-known master of vocal impressions, studied the late, great Madeline Kahn when preparing her role. She employs many inflections, vocal mannerisms and deadpan comic takes I associate with Kahn. This is not to take anything away from Grande’s performance—in fact, if she did study Kahn’s work in Young Frankenstein or What’s Up, Doc? I say good on her—borrow from the best! As the film unfolds, Grande reveals herself to be a true triple threat: one moment, singing operatic runs, the next nailing a Broadway belt; executing physical comedy bits with superb timing; she even dances well and has an impressive high kick! Her Galinda starts out a vain and vapid “mean girl,” a kind of malevolent Elle Woods, only to soften and deepen as she learns to connect with her outcast friend Elphaba.

The two actresses create a delicate and beautiful, if doomed, friendship that we really care about. It’s the fate of that friendship that makes us most want to see Part Two of Wicked; that says a lot about the human drama that’s permitted to imbue every corner of this lavish, hyper-visual fantasy musical. It’s why it works. There’s as much substance here as style. I will add that both women are completely believable as college students. Jonathan Bailey, as Fiyero, is not—but who cares?—he’s so damn perfect for the role. With his charismatic swagger, excellent vocals and dance moves, and oh, those tight pants!—everyone at Shiz is a-flutter over him. And so are we.

Michelle Yeoh as Madame Morrible

Michelle Yeoh is majestic as the enigmatic Madame Morrible. She isn’t a singer, but that matters little—she’s stunning. Ethan Slater gives a brief but memorable performance as the Munchkin, Boq. His exquisite singing moments promise great things to come in the sequel. It was great to see Keala Settle, who gave the standout performance in 2017’s The Greatest Showman, as Miss Coddle—one hopes she will be given a chance to show off her amazing voice in the next film. The casting in general is inspired…with two possible exceptions. I’m hoping those performers will prove me wrong in Part Two. My two “mehs?” Marissa Bode as Nessarose and Jeff Goldblum as the Wizard. Bode is perfectly fine, very natural and likable, but her singing in the film doesn’t measure up to the incredible voices surrounding her—and one wishes it did. Goldblum, based on his showing in the first part, is, in my opinion, miscast. I freely admit that I’m biased. As an actor, I long to play the Wizard and have yet to be given a chance to audition for it. The role was created by one of my heroes, Joel Grey, a theatre clown par excellence and a great singer and dancer, famous for his Oscar winning Emcee in Cabaret. The Wizard is a grifter, a carnival huckster who should charm and delight us—until we realize (spoiler alert) that he’s really a venal and ruthless authoritarian. Goldblum seems like a sleaze from the get-go, and based on his lackluster performance of the Wizard’s first number, “A Sentimental Man,” I have doubts as to his ability to nail the pivotal and wonderful duet with Elphaba “Wonderful.” But, we’ll see.

I am tempted to lace into the bizarre and much mocked press tour Grande and Erivo have been doing, where interviews degenerate into tearful therapy sessions and ludicrous discussions of L. Frank Baum’s use of the word “queer” in the source material, his 1900 novel The Wonderful Wizard of Oz, with spurious assertions that Oz is some gay fantasy land, where Galinda and Elphaba’s friendship might tip over into Sapphic love. With the exception of a couple of flamboyant boys in supporting parts wearing kilts, and the rainbow colored fields of the Oz landscape, there’s nothing overtly gay or “queer” in the film. The behavior of the two lead actresses in interviews and on social media has been insipid, and now that I’ve seen the film, I believe their antics threaten to undermine their top notch work in Wicked. Ladies! Let the work speak for itself, and stop with the woke shenanigans. Erivo’s Elphaba is more real and rational than Erivo herself. With her dozens of piercings and her long, sharp “Ming the Merciless” fingernails, combined with her weird spacey vibe, one wishes she’d behave more like her green alter ego in interviews. Then again, we can’t always expect brilliant actors to behave like normal people. I mean…Daniel Day Lewis. I rest my case.

Okay, so I laced. But truly—I loved this film. It brought out the little kid in me who got swept away with wonder by musical fantasy films like Chitty Chitty Bang Bang and Mary Poppins. The overall feeling I was left with after watching Wicked was one of love. Love imbues every moment and every aspect of this film, which was clearly a labor of love. Love for the source material, love for the M-G-M classic, and indeed, every other Oz film and adaptation; love for the beloved, record-breaking Broadway musical, and for musical theatre in general. Most of all, I was touched by the loving way the film explores themes of acceptance, loyalty, friendship, and doing the right thing, no matter what. We need to be reminded of these themes in our world right now, and we can all use, and share, the colorful, exciting jolt of pure love Wicked brings this holiday season.