Holding Space for Wicked (Part One)

The first time i saw Wicked was on broadway, around 2006-2007 when i first moved to the US

i don’t remember the next 2-3 times i saw it, but once was with my sister who loved it and one of her most treasured possessions was a Wicked hoodie, and once was with my cousin who was visiting NYC (and i went and bought the Grimmerie photobook they sell at ridiculous prices) around 2018-2019ish. We may even have seen a version of it in Singapore played by Aussie actors, whose accents really took me out of it for some of their songs (different words pronounced in the songs).

you can see said hoodie:

I’ve also of course had it played back to me nonstop via Glee and Rachel Zegler and TikTok birthdays, gotten enraged by how Wicked lost the 2024 Tony Awards to Avenue Q and also read the book, but most importantly you should watch Stephen Schwartz’s Tiny Desk:

In 2024 of course with the movie coming there was another viewing when it played here in SF.

I saw it opening night 2 weeks with my sis again, and have just done the second viewing when my friend Barr booked out a whole theater for her friends (surprisingly cheap - only $300 to do this for a couple dozen people!). I figured I would write down my thoughts on it for an hour or so. here goes.

Thoughts on Wicked (overall)

drafted on chatgpt canvas https://chatgpt.com/share/67552813-99a4-8012-913f-efc3b08c0b02

Wicked takes a story we all think we know—The Wizard of Oz—and gives it layers of depth and complexity. It’s a revisionist prequel that reexamines the narrative, asking whether the so-called “Wicked Witch” is truly wicked or simply misunderstood. This trope of reinterpreting the antagonist is a brilliant device, and it’s one that resonates with me deeply. It’s the kind of storytelling that stays with you.

This idea of reframing a known story is not unique to Wicked. It echoes through literature and theater:

• Take Ender’s Game by Orson Scott Card, for example:
  • The original story follows Andrew Wiggin, a hero in a high-stakes war.
  • The “Bean” books provide a whole new perspective, showing the life of Bean—the boy who would have taken Ender’s place if things had gone differently. This backstory adds layers to the main narrative and deepens the emotional stakes.
• Similarly, in Tom Stoppard’s Rosencrantz and Guildenstern Are Dead:
  • The side characters from Hamlet take center stage, becoming the protagonists of their own narrative.
  • Their off-screen lives are explored through a mix of humor and existential musings, giving new dimensions to Hamlet while challenging traditional storytelling norms.
• Recent examples include:
  • Cruella: The movie reimagines the villain of 101 Dalmatians as a misunderstood anti-hero.
  • The Clone Wars: A brief mention in Star Wars expanded into a rich animated series, adding depth to a pivotal era in the franchise.

This narrative device—turning what you thought you knew into something richer—is a timeless tool that Wicked wields masterfully. It’s also a fascinating writing challenge: the constraints of the original story force creativity, requiring the writer to expand on throwaway lines or hidden dynamics to craft something new. For example, my own recent hackathon project flipped the Little Red Riding Hood story by making the Big Bad Wolf a sympathetic character and Red the villain, titled Big Bad. Exercises like these highlight the power of shifting perspective.

Exploring Labels and Their Power

One of the most compelling aspects of Wicked is its exploration of labels and their power. The “Wicked Witch” is a label you accept without question in The Wizard of Oz:

• Is she wicked, or was wickedness thrust upon her?
  • Madame Morrible, the story’s PR-savvy manipulator, actively perpetuates Elphaba’s label as “wicked” to serve her own agenda.
  • Elphaba’s actions, often born of good intentions, are reframed as malevolent, showing how societal narratives are constructed.
• Gregory Maguire’s original novel delves deeper, drawing parallels to how historical figures have been labeled and vilified—raising uncomfortable but vital questions about moral complexity.

The duality of labeling:

• Labeling operates in different ways throughout the story:
  • Elphaba, labeled “wicked,” is ostracized but also pushed to excel. This dynamic reflects the Pygmalion effect, where expectations drive performance—for better or worse.
  • Galinda, despite her advantages—wealth, beauty, popularity—is ignored by Madame Morrible, who is captivated by Elphaba’s raw magical talent. Galinda’s lack of recognition for magical skill adds a poignant layer to her character, highlighting how labeling can exclude even those who seemingly “have it all.”

This theme of labeling extends beyond the characters, encouraging the audience to question how labels shape perception and behavior in their own lives.

The Music and Its Impact

The music is, frankly, incredible. I’m not ashamed to admit that I’m basic when it comes to this: Wicked is one of the best musicals ever.

• Great art deserves reflection:

  • Often, we consume art too casually, letting the experience pass us by.
  • Truly great works deserve time to revisit and process, to hold space for the emotions they evoke.

• Highlighting standout songs:

  • “The Wizard and I”: This is the musical’s “I Want” song, setting up Elphaba’s hopes and dreams before her journey begins. It’s a deeply emotional piece, filled with irony and ambition. Rachel Zegler’s performance of this song is particularly outstanding and a must-watch.
  • “Defying Gravity”: A powerful anthem of independence and self-acceptance. It captures Elphaba’s decision to embrace her identity, no matter the cost. As a belter song, it’s both iconic and incredibly challenging to perform.
  • “Popular”: With its girly put-down vibe, this song serves as a character-establishing moment for Galinda. It humorously showcases her personality and her efforts to reconcile differences with Elphaba. The irony in this song, as well as others like “The Wizard and I,” is one of the musical’s strongest elements.

• Accessibility of songs:

  • “Popular” is approachable for regular singers, making it a fun and relatable choice for fans to perform.
  • By contrast, “Defying Gravity” and “The Wizard and I” are demanding pieces that require exceptional vocal skill, making their successful execution even more rewarding.

That’s what I’m doing here—pausing to capture my thoughts and feelings about Wicked. It’s a story and a musical that will endure for decades because it’s timeless. Its fantasy setting means it’s untethered from fleeting technology or cultural references. It simply is.

Thoughtful Prequel Storytelling

What makes Wicked even more rewarding is how it ties so naturally to The Wizard of Oz. Every character, every detail has a connection:

• It doesn’t feel forced; it feels like a lived-in universe where everything fits together organically.
• From the origins of the Scarecrow and the Tin Man to the dynamics of the witches, every thread is tied back to the original story in thoughtful ways.
• For example:
  • The Scarecrow’s creation becomes a pivotal moment in Elphaba’s story, symbolizing her compassion and unintended consequences.
  • The Tin Man’s origin reflects the unintended fallout of magical experiments, showing the moral complexity of Elphaba’s actions.
  • The Cowardly Lion, seen in Wicked Part 1, is set to make another appearance in Part 2, tying his storyline back to Dorothy’s journey.
  • Origin stories for the winged monkeys add to the world’s texture, explaining their tragic and magical enslavement.

The Yellow Brick Road:

• The movie adaptation introduces an origin story for the Yellow Brick Road, which wasn’t part of the original musical.
  • While intriguing, its inclusion feels slightly jarring since it stretches the “lived-in universe” concept. Not everything needs an origin story occurring simultaneously.
  • That said, the effort to connect disparate elements of The Wizard of Oz into a cohesive timeline still fits the narrative’s intent.

This “lived-in universe” quality ensures that everything has its place—nothing is forgotten, and every detail adds to the richness of the world. It’s an approach that makes Wicked feel as immersive as the original Oz universe itself.

The Movie Adaptation: A Dramatic Journey

The journey of the Wicked movie adaptation has been nothing short of dramatic:

• Development Hell:

  • The movie was mired in development hell, taking years to come to fruition. Ariana Grande had openly expressed her desire to perform in this role for over a decade, adding a personal layer to the anticipation.

• Production Changes:

  • Numerous people have come in and out of the production, though the full extent of the drama isn’t entirely clear. This reshuffling has added to the movie’s long-awaited arrival.

• Social Media Controversy:

  • Controversy erupted on social media regarding the casting, particularly around Cynthia Erivo.
  • Discussions ranged from critiques of the actors’ portrayals to nitpicking aspects like facial expressions in promotional posters. Despite attempts by some to “cancel” the project, the movie’s commercial appeal remained intact. It’s refreshing to set aside the political views of the actors and enjoy the work for what it is.

• Movie Length and Content:

  • The movie is twice the length of the original production, yet it doesn’t feel overlong. The additions enrich the story, offering new material for longtime fans to appreciate and deeper layers for newcomers.

• Overexplaining:

  • Some moments, however, lean into overexplaining. For instance:
    • In the scene where the Wizard asks Elphaba if he can “de-gravity” her—a callback to the song lyrics—it adds a bit of on-the-nose character growth.
    • While this addition works for a broader audience, it’s less subtle than the musical, where Elphaba’s motivations are implicit and don’t require explicit dialogue.

• Comparison to the Musical:

  • The musical assumes its audience understands Elphaba’s choices without needing them spelled out, maintaining a leaner narrative. The movie adapts these moments for accessibility, making them understandable and appropriate for its audience.

Team Elphaba vs. Team Galinda

In our post-show discussion, the debate was fierce: Are you Team Elphaba or Team Galinda?

Why I’m Team Elphaba:

• Elphaba is a symbol of resilience and integrity:
  • Despite being ostracized and vilified, she stays true to her values.
  • Her “wickedness” is often just a reflection of how society treats her.
  • Admittedly, Elphaba isn’t perfect. At times, she overemphasizes her “otherness,” which can make it harder to build bridges with others. This is a valid critique but also reflects the challenges of navigating a world stacked against her.

Galinda’s duality:

• Galinda starts off privileged and self-absorbed but has redeeming qualities:
  • Befriends Elphaba in her own way, even helping her gain acceptance at school.
  • Normalizes Elphaba’s differences, like her dancing, making her feel included in ways that matter.
  • Orchestrates a full send-off for Elphaba when she leaves to meet the Wizard.

Does Galinda evolve?

• Some argue that Galinda remains largely static by the end of the story:
  • She becomes an “arm of the state,” wielding powers and living in her bubble of privilege.
  • The bubble itself can be seen as a metaphor for her comfort zone, which she never truly escapes. This lack of growth is what makes her less compelling to me.

But Galinda’s ultimate betrayal is unforgivable:

• When Elphaba is demonized by the establishment, Galinda chooses self-preservation over loyalty.
• She’s complicit in perpetuating the narrative that Elphaba is evil.
• “Oh yes, I knew her,” she says dismissively, downplaying their relationship.
  • Excuse me, Galinda? You were her best friend. Her roommate. You know what was done to her. And yet, you align with the system that destroyed her.

Final Thoughts

Wicked is more than a musical; it’s an experience:

• It takes familiar material and reshapes it, leaving you questioning everything you thought you knew.
• Its timelessness, emotional depth, and layered storytelling make it a masterpiece.

Whether you’re Team Elphaba or Team Galinda, one thing is clear: this musical will remain a cultural touchstone for years to come.

Thoughts on the Movie

The movie had a lot of baggage to it, I would say. There was some drama around the posters, where they recreated the Whisper logo of the original musical. I’ll just close the musical for now. It was in production hell for a long time. Obviously everyone is excited by Ariana and Cynthia being the main leads. I didn’t really know everyone else. But if you’re clued in, you’re excited by Jonathan Bailey and Ethan Slater. I would say Marisa Boad really stood out during the show. She’s actually a wheelchair user, which is very nice. Peter Dinklage not casting him as a munchkin, very nice. Michelle Yeoh. I don’t know. I feel like she’s a little bit typecast, because it’s basically the same role that she had in Crazy Rich Asians. Except now she’s obviously a villain. Maybe that’s a bit of a spoiler.

One thing I was unsure about was how the reception would be. Obviously for those who are theatre kids like me, who have loved this movie for fucking 20 years, we’re obviously going to see it, but what would the broader population think? And I think the big gross numbers were really affirming, I guess, that the people cared about this. It is meant to be more adult, but I think it’s still accessible to kids. There’s like two cases in the movie, like who cares? There are, I mean, there’s overt themes of racism, there’s overt themes of propaganda and evilness that I think the kids will easily skip over that stuff because they just want to watch Wicked, they just want to watch witches. What else about the movie? I think the best way to do this is see my scene and I’ll recap the movie at the end.

Scene by Scene Thoughts

I don’t have a great memory so I’m basing this on the big numbers

No One Mourns the Wicked

Dear Old Shiz

a very good collegey song

The Wizard and I

listen to this rendition from Rachel Zegler: https://www.youtube.com/watch?v=-OI—CLCrlE

What Is This Feeling?

Cynthia fumbled “Blonde.” i think Ari was fantastic in her dance and self presumptuousness

Something Bad

Dancing Through Life

Ozdust Duet

This is in the musical - https://www.youtube.com/watch?v=bUXpMgmzOEw&list=PLVfChAjsg5xN4qr7ba2gJDoFeCUb_oG05&index=3

Popular

Okay, so statements on popular is that it’s popular is very popular. I think the irony of establishing it as like making your roommate your new projects and bestowing your charity on her. And then also in the same voice, giving her the black hat that you hate and think is gross. And then ending by saying you’re not going to be as popular as me because nobody is as popular as me. I think it’s really good as character establishment. Like it’s just fantastic writing from them. I think it was awkwardly staged because like the camera and the movie doesn’t like being in one room the whole time. And I think that’s what happens in this in this in the movie version. So tricky, but there’s, it’s fine. I would say like Kristen Chenoweth tends to nail the job of being a ditzy blonde college girl better because she’s tiny. Ariana is also tiny, but Kristen is tinier. And, and she like jumps on the bed and goes like, ah, you know, like, and that’s something that Ariana’s Glinda doesn’t do. Which is stuff you notice, because you just watched it a lot. What else about popular? No, I mean, I just fantastic song.

I’m Not That Girl

beautifully written.

One Short Day

A Sentimental Man

Jeff Goldblum made it SOUND GOOD. wtf https://www.youtube.com/watch?v=48ZNkKHGwME&list=PLVfChAjsg5xN4qr7ba2gJDoFeCUb_oG05&index=10

Defying Gravity

written with chatgpt https://chatgpt.com/share/675529a7-80d8-8012-8f82-145b8c35e983

watch all the elphabas https://www.youtube.com/playlist?list=PLfe8YRkLwIaCuSmGuV5rFki-95a2sPNvm - but this list misses Jessica Vosk

Defying Gravity is undeniably the capstone of Wicked, a defining moment in the musical’s narrative and emotional arc. It’s impossible to think of the song without invoking the powerhouse performances of Idina Menzel and Cynthia Erivo, each bringing a distinct flavor to the role of Elphaba.

Idina vs. Cynthia: A Direct Comparison

• Idina’s Portrayal

  • Idina doesn’t just deliver the song; she conjures the very essence of the character.
  • Her voice becomes a spell, channeling otherworldly powers. This raw intensity defines her Elphaba.
  • Idina’s magnetism extends to her performance as Elsa in Frozen, where she similarly harnesses her voice’s maximum emotional and narrative power.
  • Idina’s performance is untouchable to many—the pinnacle of theatrical perfection, setting the bar for every rendition since.

• Cynthia’s Interpretation

  • Cynthia’s take is distinct, oscillating between vulnerability and resolve. While less raw in witchery, her nuanced strength adds a new dynamic.
  • Her performance feels more emotionally layered, appealing to those seeking a fresh perspective on the iconic role.
  • NPR’s coverage noted the divisive nature of her rendition:
    • Some hail it as a superior, emotionally richer version.
    • Others, like me, can’t fathom surpassing Idina’s original.
  • Cynthia’s rendition is a bold flex, her declaration that this Elphaba is entirely her own.

In essence, Idina spikes with electrifying intensity, embodying the archetype of the witch, while Cynthia brings a more dynamic oscillation, balancing power with subtler emotional depth. Both interpretations are captivating in their own right, offering fans a choice between tradition and reinvention.

The cinematic version of Defying Gravity introduces a stunning visual spectacle that pays homage to its stage roots.

• Key Visual Moments

  • At the climax:
    • Elphaba enchants her broom and takes her first monumental flight.
    • She breaks through the constraints of gravity (and glass).
    • Her cloak transforms into an impossibly long, flowing cape—a nod to the musical’s stagecraft.
  • These details feel like Easter eggs, a love letter to longtime fans.

• Stagecraft Details

  • On stage, the illusion of flight is achieved with a lift mechanism.
  • Occasionally, technical failures lead to infamous “no-fly” versions, which have their own peculiar charm and internet lore.

In the film, this iconic number closes Part One of the two-part adaptation, leaving audiences on a breathtaking cliffhanger.

• Comparison to the Musical

  • Mirrors the end of Act One in the stage version.
  • Instead of a 30-minute intermission, audiences must wait an entire year for the conclusion.
  • A daring narrative choice that I respect for its boldness.

• Jon Chu’s Direction

  • The movie stretches two-and-a-half hours but rarely feels bloated.
  • Chu’s additions:
    • Physical contexts.
    • Expanded backstories.
    • Fleshed-out moments.
  • These enhance the experience, even if they occasionally overexplain elements that felt subtler on stage.

• Example: Train Scene

  • Subplot where:
    • Elphaba changes her name.
    • Fiyero reminisces about their past.
  • Adds weight to the story but might test purists’ patience.
  • (Yes, there’s a website that tells you when it’s safe to take a bathroom break in movies—in this case, during the train scene.)

Final Thoughts

Ultimately, Wicked fans—new and old—are grappling with these interpretations and adaptations.

• Amplifying Themes

  • The movie amplifies the original musical’s themes and visuals for a broader audience.
  • Ensures its legacy resonates with millions who’ve never seen it live.

• Personal Take

  • I’ll always hold a special place for the stage version and Idina’s groundbreaking performance.
  • I can’t deny the merit and ambition of this new take.
  • As for me, I’ve obsessed over this enough for now.

Let’s reconvene after Part Two drops next year, shall we?