In one sentence: Wicked is a film adaptation of the celebrated stage musical that reimagines the early lives of the witches of Oz. 

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In anticipation of the release of Wicked: For Good, I revisited part one. The film arrived with enormous hype from long-time fans of the stage musical and newly converted admirers of the movie adaptation. The question on most people’s lips: does it truly earn this level of excitement?

The film covers act one of the stage production and expands it considerably. Songs are lengthened to include dance numbers, relationships are given more room to grow and the story is padded with context that the stage show simply does not have time to explore. In theory, the entire musical could have been adapted into a single film. The original show is no longer than most modern blockbusters and no previous musical adaptation, such as Les Misérables or The Phantom of the Opera, has elected to split itself into two parts. The decision is likely tied to both storytelling and money; prolonging the narrative to enhance the storytelling and hoping audiences will return for part two and it would seem the strategy has worked.

I saw Wicked on stage sixteen years ago and, while I enjoyed it, it never ranked among my favourites. Even so, its standout songs such as Defying Gravity and Popular have earned their place in musical theatre history. It was also one of the first major productions to embrace the villain-origin format, reframing our assumptions about what makes someone wicked. The film commits to this aspect fully. Flashbacks and extended scenes add emotional texture to Elphaba (Cynthia Erivo), who thise unfamiliar with the story will know as the Wicked Witch of the West, and Glinda (Ariana Grande) in a way the stage show cannot.

Casting in musical adaptations often raises concerns for me. Big names do not always mean big talent. Here, however, the choices are inspired. Cynthia Erivo’s formidable theatrical background and previous screen work pair beautifully with Ariana Grande’s global vocal presence and acting experience. Their chemistry is undeniable. Both chose to sing live rather than rely on pre-recorded tracks, which speaks volumes about their skill. Their dynamic is evident on screen and even beyond it, as seen in the many viral interviews and the current hot news item of Erivo protecting Grande from an overzealous fan on the red carpet. Together, they anchor the film with charisma, vulnerability and fresh musical phrasing that honours the original while giving it new life.

The visuals are, as expected, stunning. This is the most immersive Oz ever committed to screen. The colours are vivid, the world feels tactile and the production design is sumptuous. This effect is enhanced by the choice to build extensive sets rather than rely solely on CGI. The team even planted nine million tulips in Munchkinland, an extraordinary detail that adds richness and authenticity.

Despite its length, the film holds together well. Cutting Dancing Through Life into smaller segments softened the impact of one of my favourite Wicked songs, however, I understand the intention to build narrative momentum. Some of the extended dialogue does affect so it will be interesting to see how these choices evolve in part two, which boasts an even stronger set of songs.

The film is peppered with clever Oz references, from the silver slippers that avoid copyright issues to the gear-filled architectural designs and the appearance of a small terrier that hints at Toto. These touches add charm for returning fans without alienating newcomers.

Wicked is a spectacle, although it will not be for everyone. Some viewers avoid musicals or fantasy outright and will not be persuaded to try it. Yet I would encourage those who are hesitant to give it a chance. There is every possibility that this might be the wickedness your life needs.

★★★★ (4/5)