When it comes to big-budget musical adaptations, expectations are sky-high. Wicked, Universal's take on the wildly successful Broadway prequel to The Wizard of Oz, is no exception. With a star-studded cast and a beloved story about the Wicked Witch of the West’s time at university, it's hard not to expect an experience that defies expectations, much like its signature number, “Defying Gravity.” But in all honesty, what we get here feels like the complete opposite—a grand, thundering crash more akin to a grand piano hurtling off the roof of St. Paul's Cathedral, shattering the calm and leaving viewers scrambling for cover.
And when I say “grand,” I mean it. Universal's adaptation of Wicked comes in at a whopping two hours and 40 minutes for just the first half of the story. That's right: this film is split into two parts, with the second half set to drop next November. Now, before you get your hopes up, let me make it clear: there is absolutely no artistic reason for this decision. We’re not talking about a dense, 900-page Frank Herbert novel here. Instead, we’re dealing with a sprightly, postmodern tribute to L. Frank Baum’s Oz universe—a story that the Broadway and West End productions managed to wrap up in about two and a half hours, including a 15-minute intermission.
Instead of delivering the tightly-paced, emotional thrill ride that the material could easily support, Wicked feels bloated. It’s as if the filmmakers decided, "More is more," cramming in unnecessary scenes and stretching the material beyond recognition, much like Peter Jackson’s infamous Hobbit trilogy. In Wicked, after an hour of screen time, we’re still slogging through introductory songs that aim to introduce the main characters. At that point, you may find yourself longing for something—anything—to shake things up. Perhaps a cameo from some dwarves doing dishes could provide some much-needed relief.
But the excess doesn't stop at runtime. The casting decisions are where things really start to feel a little off. Cynthia Erivo, a powerhouse vocalist, plays Elphaba, the green-skinned future Wicked Witch of the West. While she’s certainly got the vocal chops, her portrayal of Elphaba leans heavily on a wet-eyed seriousness that makes the character’s emotional moments feel more like a medical examination than a compelling story. Instead of adding depth, this choice gives her character a grim, almost clinical quality, robbing her of the fierce independence that made Elphaba such a fan favorite on stage.
Then there’s Ariana Grande as Glinda, the bubbly and vain counterpart to Elphaba. On paper, Grande fits the role vocally, and she dives headfirst into the physical comedy—hair flips and all. But here’s the issue: the role of Glinda requires a certain manic energy, a stage-school brittleness that’s harder to pull off than it looks. Grande, despite her immense pop-star talent, doesn’t quite bring the necessary comic zing to the role. It’s hard to shake the feeling that you’re watching a pop icon having fun while attempting to branch out rather than someone fully invested in her character.
Perhaps the most jarring moment of all comes during the Emerald City sequence, where we get a surprise cameo from the original Broadway Glinda, Kristin Chenoweth, and the Elphaba herself, Idina Menzel. For a few minutes, it feels as though you’re watching a Bullseye episode from the '80s, where the contestants are taunted with what could have been, only to fall short. Menzel’s song, in particular, includes a vocal flourish so iconic that it ends up preemptively overshadowing Erivo's own take on the same moment. It’s an odd choice, to say the least, and it leaves a sour taste when the very people who defined these roles on Broadway come in, take the stage, and steal the show for a brief but unforgettable moment.
As you can imagine, the rest of the supporting cast struggles to compete with such a dynamic entrance. Michelle Yeoh does manage to leave an impression as the witches' scheming tutor, but Jeff Goldblum’s portrayal of the Wizard is… well, it’s just Jeff Goldblum. Which, for some, might be a draw, but for others, it might feel like a distraction. What should be a collection of memorable characters ends up feeling somewhat flat, especially when you factor in the lackluster visual presentation of the film.
Speaking of which, let’s talk about the visuals. In a Wizard of Oz film, you'd expect bright, vibrant colors to jump off the screen. But instead, much of the movie feels as though it’s been dipped in a dull beige or gray filter, robbing the magical world of Oz of its usual sparkle. It’s baffling, to say the least, especially when there are fleeting moments of stunning visuals that show what the film could have been. For instance, the dramatic lighting as Elphaba reads from the Wizard's forbidden spellbook is beautiful, and the moment when the world flushes puce during Grande’s performance of Popular is a visual feast. But these flashes of brilliance are far too few and far between to make up for the overall drab aesthetic.
And let’s not forget the music, which, despite everything else, does remain a highlight. The iconic numbers Defying Gravity and Popular are still the shining gems in the film’s soundtrack. These songs, out of the 11 featured in the movie, feel utterly uncuttable—compelling, exciting, and full of energy. But the question remains: is it worth sitting through the bloat to hear them? That’s the real dilemma here.
So, as we approach the second half of this cinematic journey next November, potential ticket buyers may find themselves wondering: is it worth it? Would Wicked have been more enjoyable at half the length, with a tighter focus on its strongest elements? Perhaps. But the decision to stretch out the story, combined with a cast that doesn’t fully deliver on its potential, makes this adaptation feel more like a missed opportunity than a must-see event. For now, the only thing Wicked is really defying is our expectations. And unfortunately, it’s falling short.
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