Was I looking forward to Wicked?  Like any not-quite-reformed theater nerd and Broadway lover, I’d been counting down the days to this big-screen adaptation of the Stephen Schwartz blockbuster musical…and not just because it meant the overwhelming marketing blitz would let up (at least until the second part is released next November).  I had the highest hopes that director Jon M. Chu (In the Heights), along with stars Cynthia Erivo (Harriet) and pop singer Ariana Grande (Don’t Look Up), would do right by the material, but by the time I was in my seat and waiting for the film to begin I started to have a positively hideodeous feeling that I had set a bar too high.  It was the same feeling I had the first time I saw Wicked on Broadway after hearing so much about it – was it going to be the phenomenon I imagined? 

Since its Broadway debut in 2003, Wicked has captivated audiences with its gravity-defying melodies (and effects) and poignant story of an unlikely friendship between two extraordinary young women. Waiting for the movie to begin this past weekend, there was a certain magic in the air for a beloved cultural phenomenon leaping from stage to screen.  And Wicked doesn’t just leap—it soars.  Under Chu’s direction, this long-awaited cinematic adaptation takes flight with dazzling confidence, proving that the impossible can indeed be made possible with the right balance of vision and reverence.

Opening with a celebration as the citizens of Oz rejoice over the death of the Wicked Witch of the West, Galinda the Good (Grande, luminous in every sense of the word) gently guides the narrative back to its origins. From there, we are swept into a vibrant reimagining of the Land of Oz, now seen through the eyes of Elphaba Thropp (Erivo), a green-skinned girl whose brilliance and bravery set her apart—and, ultimately, against the system. Galinda and Elphaba’s story unfolds at Shiz University, a place teeming with enchantments and intrigue. Here, initial rivalries between the two give way to a profound friendship tested by secrets, societal pressure, and the seductive power of the Wizard (Jeff Goldblum, Jurassic Park, delightfully enigmatic).  The path both walk, one to adoration and one to infamy, becomes far more complex than Oz’s history books suggest. 

From the first frame, it’s clear that Chu understands the weight of this adaptation. His masterstroke lies in his ability to preserve the heart of the musical while unlocking its cinematic potential. Wicked astounds with its intricate storytelling, thrilling set pieces, and emotional resonance, leaving audiences as breathless as Elphaba ascending to the stratosphere on the notes of “Defying Gravity.”

As with the musical, a pair of unforgettable performances by Erivo and Grande are key to the film’s success. Erivo, in particular, delivers a tour de force as Elphaba. Her portrayal brims with courage and unyielding strength, perfectly capturing the character’s evolution from outcast to defiant icon. Her voice—by this point a well-known instrument of unmatched emotive power—imbues every note with an aching ferocity that will haunt viewers long after it has rattled the rafters of the theater.

Opposite her, Grande is a delightful surprise as Galinda (the first a gets dropped near the end of the film), balancing effervescent charm with an unexpected depth. While her deft comedic timing sparkles in numbers like “Popular,” she truly shines in quieter moments of reflection, revealing a layered portrayal of a character often written off as frivolous.  The part will always be associated with its originator, Kristin Chenoweth, and though Grande has moments of sounding like one of her childhood idols, she makes the part entirely her own.  Erivo, too, eschews any hint of recreating Idina Menzel’s Tony-winning performance (like she ever would) for full-throated renditions, finding notes that consistently amaze.   Together, Erivo and Grande share a chemistry that is as magical as the world they inhabit, anchoring the film with a relationship that feels both mythic and deeply personal.

The supporting cast proves equally magnificent. Jonathan Bailey’s Fiyero exudes oodles of charisma and a strong voice, easily proving he can handle Christopher Scott’s limber choreography while simultaneously putting his own stamp on it.  While his character plays a more major role in the second film, his introduction, through the stunning “Dancing Through Life” number, leaves a lasting impression and makes for a compelling counterpoint for both leading ladies. Oscar-winner Michelle Yeoh (Gunpowder Milkshake) brings a sinister sophistication to Madame Morrible, and the screenplay from original stage adaptor Winnie Holzman and new contributor Dana Fox makes tiny adjustments that benefit her head “Shiztress” character nicely. 

I wasn’t sure how he’d fare going into the film, but Goldblum’s Wizard is a beguiling mix of magic and menace. Marissa Bode, makes history in her groundbreaking portrayal of Nessarose, bringing authentic representation to a character that can feel overshadowed in the stage production by an abundance of characters with stronger material. Even Ethan Slater’s Boq and Peter Dinklage’s voice work as Doctor Dillamond manage to leave indelible marks, all part of sincere attempts at fleshing out the ensemble with humanity that supports but doesn’t betray their fantastical creation.

Nathan Crowley’s breathtaking production design for the film version of Wicked reimagines Oz with a richness that feels imaginative and grounded, from the shiny corridors of Shiz to the opulent halls of the Emerald City to the shadowy corners of the Wizard’s lair.  Working alongside Chu, Crowley finds wondrously intimate moments within these spectacular set pieces, integrating practical and digital effects to create a seamless world where magic feels tangible yet otherworldly. Paul Tazewell’s costumes, meanwhile, are works of art in their own right, charting the characters’ journeys with subtle yet powerful transformations. In particular, Elphaba’s iconic black ensemble is reimagined with a fierce elegance that matches her defiant spirit.  Alice Brooks’ cinematography bathes every scene in evocative light; her use of color—subtle greens that mirror Elphaba’s journey, golden hues that amplify G(a)linda’s radiance—adds layers of meaning to Chu’s visual storytelling. Myron Kerstein’s editing is similarly on target, maintaining a grand and intimate pace (even at 160 minutes!), allowing each moment to land with maximum impact.

No discussion of Wicked would be complete without addressing its music, and here, the film does not disappoint. I’m used to musicals transitioning from the stage by compromising their well-known songs but was pleased to find Schwartz’s beloved score has retained its iconic melodies.  New orchestrations have added a cinematic grandeur that enhances the story’s emotional power and allows for a richer sound to come through.  You can hear every word and every note, and even major fans might find themselves tuning into pieces of music they’ve missed before.

The musical’s centerpiece, “Defying Gravity,” is also its cliffhanger finale, and this iconic number is the kind of goosebumpy thrill rarely experienced in a movie theater. From its soaring arrangement to Erivo’s supernatural performance of it, the sequence captures the full scope of Elphaba’s transformation, leaving audiences properly exhilarated and yearning for more. It’s the kind of cinematic moment that reminds us why we fall in love with movies in the first place.  It was featured so heavily in the trailer, almost in full, that I feared it wouldn’t land with the same weight, but it is an astronomical high point in a film so far in 2024.

What sets Wicked apart from other musical adaptations that have arrived in the last decade is its ability to balance respecting the source material with innovation. Chu and his team have created a film that honors the original stage production while pushing it into bold new territory. This is no mere replicating what millions across the world have already seen; it’s a reimagining that feels tailor-made for the screen. The narrative is tighter, the stakes feel higher, and the emotional beats land with a significance that transcends the theater.  Most impressive is how the film bridges the gap between fans and newcomers. For longtime devotees, there’s a thrill in seeing the story come to life with such care and creativity. Those just discovering Wicked will find an invitation to a world of wonder that’s as welcoming as it is awe-inspiring.

With a tantalizing finale that promises even greater heights to come in November 2025, this first part of Wicked is a triumph in every sense of the word.  It transforms a beloved stage musical into a cinematic experience that feels fresh, exhilarating, and deeply moving. Whether you’re a diehard fan or a curious newcomer, this film has something to offer: spectacle, heart, and a reminder of the transformative power of storytelling.  Next November can’t arrive soon enough.  Until then, prepare to be changed—for good—by this extraordinary achievement in musical filmmaking.