The success of the musical Wicked is assured, both as a stage production and now as a movie, though I am not sure why this is the case.
My first problem with Wicked, which purports to be a prequel to the beloved Wizard of Oz, is that I simply couldn’t get into the book, even though I tried several times. A decade or so ago, I saw the stage production and came out decidedly confused, largely because I had difficulty understanding the lyrics to the songs. Now, having seen the movie, I can at least say that I understand the plot – but I can’t say that as a musical it will ever rank high in my estimation.
Part of the problem for me is that the lyrics of the songs are decidedly banal, while the melodies are eminently forgettable. Even the song “Defying Gravity” – perhaps the most popular in the show – is hardly one that invites one to sing it, even in the shower! Yet, despite that, I can fully understand why the screen version is so popular.
To start with, the production is one of the most creative ever accorded any screen musical. A mixture of a wildly creative artistic vision, the use of special effects, and some superb choreography make it the most alluring musical visually since Moulin Rouge, the 2001 movie. It is given wonderful realization in spectacular costumes and sets, which are a crazy mixture of art deco, industrial funk, whimsy, and Disneyland. Wicked takes one on a magical visual journey.
At the same time, the musical raises a number of highly charged issues, including racism, bullying, and hints at the dangers of political extremism. Ironically, however, far and away the best musical number in the show is “Dancing Tonight,” which invites young people to toss aside their books and concentrate on having an immediate good time. And if some of that goes over the heads of the many young people flocking to see the film, at least many of the adults attending will be sensitive to it.
For everyone, the contribution of the cast cannot be ignored. Cynthia Erivo performs and sings well as Elphaba, born green in colour, the subject of scorn, and destined to become the Wicked Witch. She provides a fine contrast to Ariana Grande, who, while also rendering a fine musical performance, manages the difficult transition from self-absorbed conceit to warm friendship.
Add to this, Michelle Yeoh’s expectedly fine performance as Morrible, a professor who takes Elphaba under her wing, and Peter Dinklage voicing a professorial goat, and one wonders why the total result was not more satisfactory.
Here, at least for me, a large part of the problem is that, despite all the impressive razzle-dazzle of the production, it became tediously long-drawn-out. While one can admire the artistic creativity, the film is over-stuffed. One can have too much of a good thing! Whereas the stage show (including intermission) is probably not more than 190 minutes in length, the running time of the film is over twice that. The result is that the film in current release tells only half the story in that time. Audiences will have to wait until November for the second half. Doubtless, they will attend in enthusiastic droves, but I will only be reluctantly in their number.
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