From its first teasers, “Wicked” proclaimed itself as a production with big ruby-red slippers to fill. The film, which debuted in November 2024, boasted a star-studded cast featuring Ariana Grande-Butera, Cynthia Erivo, and Jonathan Bailey. Its budget? Upwards of 150 million dollars — dedicated only to the first installment of the movie. Its second act? Scheduled to release exactly one year later, with a slightly bigger price tag and just as long a run time.
“Wicked” has long been a theatrical staple and the name on everybody’s lips. The production opened its doors on Broadway in 2003 and hasn’t closed since (with a brief 18-month exception for the COVID pandemic), and has been performed at the Gershwin Theatre for more than 20 years — the fourth longest-running Broadway show of all time.
Based on the lesser-known off-shoot of Frank L. Baum’s beloved story “The Wizard of Oz,” “Wicked” is adapted from Gregory Maguire’s 1995 novel of the same name and spins the backstory of the Wicked Witch of the West, Elphaba, and her friendship with the witch soon-to-be-known-as Glinda the Good.
The production’s legacy has cemented it as a classic, a pop culture phenomenon reaching far beyond the walls of musical theater bars and collected playbill portfolios. In its 20-year run, the show has been produced in over 100 cities and seen by 65 million patrons, owing this fame in part to its masterfully composed score, gripping story, and precisely, yet not shyly, implemented theatrics.
This is all to say that, going into “Wicked,” director Jon M. Chu had a reputation to uphold. Additionally, directing Hollywood’s hopeful next box office hit was going to be an uphill climb.
To put it lightly, recent movie-musical adaptations have been wishy-washy at best. 2024’s “Mean Girls” rendition was just as plastic as its starring clique, a lackluster cash grab that seemed almost terrified to market itself as what it was: a musical. The already washed-up Y2K soundtrack was further pop-ified, the direction was tacky, and the lead just couldn’t sing. While 2022 and 2023 sported “Matilda the Musical” and “The Color Purple” film adaptations, their box office splash was more of a ripple.
As a performing medium, theatre has often struggled with accessibility, both to fanbases and wider audiences. As the majority of shows are locked beyond the theatre doors and guarded with a major paywall or distance gap, wading knee-deep in Broadway is an almost impossible task. If you’re in over your head, you’ll find other ways to get your fix (notably through the treasure trove of “slime tutorials” on YouTube), but even taking the first tap-shoed step into show tunes can be daunting.
Similarly, marketing a musical has proved to be no easy feat. While pro-shots and movie renditions throw bricks at the paywall as they attempt to bring Broadway to a broader audience, the public reception isn’t as grand, or acknowledged, as intended. Thus, theatre continues to linger as a supporting star to music, film, and television.
Since Hamilton’s premiere in 2015 and the following American obsession (a time in which middle schoolers were somehow Broadway’s greatest marketing), we hadn’t seen another show make the transition to pop culture’s centerfolds. Then, sporting a supposed 150 million dollar press tour and enough brand partnerships to turn the world pink and green before the film even hit theatres, “Wicked” became, well… Popular. And that’s exactly the hype they wanted.
Co-stars Cynthia Erivo (Elphaba) and Ariana Grande-Butera (Glinda) above all garnered attention. In part to both stan culture reception and a connection both perceived as mutual loathing or the “Gelphie” connection (a phenomenon of almost unnatural bonding between actresses playing Elphaba and Glinda), the pair successfully created rumors, gossip, and social media stir. Ethan Slater’s casting as Boq connected a few lines in the red-string-corkboard of Grande-Butera’s rumored homewrecker allegations, Erivo clapped back at well-intentioned fan edits and questionable AI renditions of the iconic “Wicked” poster, and the pair most notably held space — and fingers — for the lyrics of “Defying Gravity.” All of this was months before the film even dropped.
To no surprise of its big price tag and even bigger marketing strategy, the work paid off, solidifying “Wicked” as a box office smash and the highest-grossing film adaptation of a Broadway musical.
Although fans were quick to snip at the movie’s color grading, framing, and lengthy run-time, “Wicked” is a musical adaptation that truly used its resources “For Good.” Unlike many predecessors, it’s unafraid to present itself musically and indulges in the Ozian theatrics that have kept the show running for upwards of 20 years.
The movie is rich, flush with well-executed dance numbers, exuberant CGI, and a score that brings magic from Nessa’s slippers to the silver screen. Although doubts were heavy, the performances are stellar; Grande-Butera makes her love for Glinda and trained operatic range evidently clear, Erivo soars through live vocals as effortlessly as Elphie implements her powers, and the supporting cast weaves together the fabric of Shiz University and the Emerald City as if made anew. Admittedly, I cried. A lot.
In the renaissance of “Wicked,” perhaps no one mourns. Rather, we celebrate, indulge, and tap our heels three times as we wait patiently for the end of its year-long intermission.
Author’s Note: If Gregory Maguire can write an adaptation novel 100 years following its source material, the CT can publish a “Wicked” review 2 months late.
