{"id":10040157,"date":"2024-11-22T12:24:46","date_gmt":"2024-11-22T17:24:46","guid":{"rendered":"https:\/\/vanyaland.com\/?p=10040157"},"modified":"2024-11-27T05:02:40","modified_gmt":"2024-11-27T10:02:40","slug":"wicked-review-well-the-fans-are-gonna-love-it","status":"publish","type":"post","link":"https:\/\/vanyaland.com\/2024\/11\/22\/wicked-review-well-the-fans-are-gonna-love-it\/","title":{"rendered":"‘Wicked’ Review: Well, the fans are gonna love it"},"content":{"rendered":"\n

Before I go deep as to why I’m not too fond of this on principle, I\u2019d like to go ahead and address Wicked<\/em><\/strong> fans to give them the information they\u2019re looking for up top: Jon M. Chu has made an adaptation you\u2019ll probably enjoy quite a bit. This is, of course, Wicked: Part One<\/em>, which extends the act-break of the Stephen Schwartz-composed musical from 15 minutes to a full year \u2013 a good choice, given that the big climax makes for a decent enough ending all on its own (and, arguably, one that doesn\u2019t need any follow-up). Chu\u2019s one of the strongest big-budget directors (or even the only one) working in the musical space, and if anyone\u2019s been able to seize the post-music video cinematic style and make it work with traditional Broadway vibes, it\u2019s him. His staging is fantastic, per usual, with some wonderful little grace notes sprinkled throughout, such as a lovely shadowplay soft-shoe routine that Jeff Goldblum\u2019s Wizard does or an amusing moment when he lets his camera simply follow Ariana Grande rather than cutting her routine to pieces. <\/p>\n\n\n\n

Chu finds the rhythm in Schwartz\u2019s music and can use the cut to provide well-placed emphasis in comedic songs like \u201cWhat is This Feeling?\u201d \u2013 an ideal representation of the song regardless of whether or not it\u2019s on stage or screen. However, he dips heavily into superhero style during the finale, speed-ramping during \u201cDefying Gravity\u201d like if Zack Snyder kept on the track he was on when he started out making Morrissey videos \u2013 it\u2019s a wonder Grande doesn\u2019t turn towards one of the Wizard\u2019s guards and starts talking about how Cynthia Erivo is \u201ca silent guardian, a watchful protector, an olive-green knight.\u201d A little Marvel goes a long way, and this is just too much of it.<\/p>\n\n\n\n

As far as casting is concerned, your fears or worries weren\u2019t well-founded: Grande, the most controversial casting choice, is shockingly<\/em> good in this. It\u2019s always surprising when a pop star \u2013 even one with a Nickelodeon past \u2013 goes out and steals a work away from the more stately cast members, but it\u2019s rarely this astonishing. She strikes a decidedly cinematic compromise between Kristen Chenowith\u2019s iconic stage comedy and various Mean Girls from modern cinema but never really loses sight of the fact that Glinda isn\u2019t simply comic relief: She\u2019s haughty, narcissistic and kind of shallow, but she\u2019s not a person without the makings of a \u201cgood\u201d witch within them. She\u2019s a ham, however, and most of the film\u2019s best moments belong to either her or Goldblum (who, as well, is solid casting). The rest of the cast is merely laying the foundation for their second-act dynamism: Erivo is solid enough as Elphaba, but Grande\u2019s dynamism and the narrative\u2019s centering of Glinda\u2019s perspective means that most of her best moments will come later on, and the same applies to Jonathan Bailey (on loan from Bridgerton as Fieyro) and Ethan Slater (Spongebob), who have brains and hearts to lose in dramatic fashion. If there\u2019s any sour note among the cast, it\u2019s Peter Dinklage, a fantastic actor who isn\u2019t that great at voice work \u2013 his audio presence as Professor Goat can\u2019t help but remind me of that time he did dialogue for the video game Destiny<\/em> and was subsequently patched out when Bungie overhauled the game.<\/p>\n\n\n\n

So, in short, dyed-in-the-wool Wicked <\/em>fans are likely going to have a great time, and as such, they can click away and go read Playbill<\/em>\u2019s coverage or something if they don\u2019t want to read about my frustrations with the enterprise\u2019s very existence as revisionist media.<\/p>\n\n\n\n

All that said, I dislike the trends that Wicked, in all of its forms (book, stage musical, movie musical) represents in media, each with its various ways to grate one\u2019s spirit into well-shredded emotional cheese. If there\u2019s one significant contemptible aspect that both Broadway and Hollywood share, it\u2019s an over-reliance on IP to generate audience interest, and it\u2019s a triple-decker here, being both an adaptation of Gregory Maguire\u2019s book, which was itself a riff on the iconic Victor Fleming screen translation of L. Frank Baum\u2019s The Wonderful Wizard of Oz<\/em>. It\u2019s not Rocky: The Musical<\/em> or whatever, but it is still maddening how hard it is for original concepts to break through in either medium, and the cross-media adaptation cheapens the work unless it\u2019s presented dynamically (say, Julie Taymor\u2019s The Lion King<\/em>). <\/p>\n\n\n\n

One can only abuse iconography so much before it loses its luster, much like the slot machines you\u2019ll find at any MGM casino adorned with Judy Garland\u2019s face. What Schwartz and book writer\/lyricist Winnie Holtzman had in their favor was timing: 2003 was just the right point to get in, back when these riffs had novelty, treading in the wake of Phantom <\/em>and Les Mis<\/em> before every producer became enamored with the idea of making a Tin Cup <\/em>musical or whatever. I guess such is the issue when an art form, doubling as a tourist attraction or just an out-of-home entertainment, is beset by extreme competition for the audience\u2019s attention.<\/p>\n\n\n\n

My main issue with Wicked <\/em>is a thematic one. I don\u2019t think revisionist fiction works particularly well when it is represented as an extra-canon parallel narrative that disregards the original work’s meaning in the first place. There are plenty of exceptions to this \u2013 John Gardiner\u2019s Grendel<\/em>, Jean Rhys\u2019 Wide Sargasso Sea<\/em>, Stoppard\u2019s Rosencrantz and Guildenstern are Dead<\/em>, to say nothing of Milton\u2019s Paradise Lost<\/em>, the spiritual predecessor to Maguire\u2019s novel \u2013 but it has to age, and it has to do something that other adaptations or sequels can\u2019t do themselves. This tale doesn\u2019t fit the former attribute, being a cask of wine uncorked before its time. The century mark is a decent approximation of the time needed for proper perspective to form and for thought to evolve. The shortest time between all the examples I\u2019ve cited above is Rhys\u2019 case, which took nearly 120 years and a dramatic restructuring of the global geopolitical landscape to accumulate its resonance. Maguire nearly hit that mark, but, for whatever reason, 95 years just wasn\u2019t enough. Perhaps it\u2019s because American children\u2019s fiction as we know it hadn\u2019t even existed for much longer. It wasn\u2019t a short fable or religious exercise; it was a full-fledged hero\u2019s journey. Even harder, in Maguire\u2019s case, was that Fleming\u2019s adaptation is<\/em> the platonic ideal of Oz <\/em>itself, finding real potency at a poignant point in time.<\/p>\n\n\n\n

I adore a Vonnegut quote about the absurdity of criticism: It\u2019s \u201clike dressing up in a suit of armor to fight a hot fudge sundae\u201d (I wear my chainmail proudly, fully aware of how ridiculous this art is). Yet this simile feels nearly literal when applied to what Maguire does to Baum\u2019s fiction. Its adult jaundice colors a narrative intended for children, rendering the wonder of its world banal by applying the contrast of humanity\u2019s ills to Oz itself. The Ozians are prejudiced and genocidal maniacs united under faux-technocratic fascist rule (one can imagine Oz\u2019s Christopher Isherwood penning a volume called Goodbye to Munchkinland), the good witches aren\u2019t good, and the man behind the curtain isn\u2019t just a charlatan but a tyrant as well. The first two are boring, similar to how Amazon Logistics seized the North Pole for Red One,<\/em> and the third is already present in The Wonderful Wizard of Oz<\/em> itself.<\/p>\n\n\n\n

Yet Wicked,<\/em> the musical, <\/em>takes it a step further. Not only is The Wicked Witch not evil in the first place but did you know she actually<\/em> did everything Dorothy was supposed to do?\u00a0She made her companions (or freed one of them from their cages), the very virtue of her existence ensured the downfall of the Wizard, and she precisely planned that her would-be death would be the spark that ignited the revolution. Oh, and she\u2019s also the most powerful being who is real magic not fake magic like the Wizard\u2019s gizmos and is the only person who can read the pivotal spellbook and is pretty witty and funny if you only got to know her. She is the vengeful nerd, endowed with the power of her fantasy, her every wish fulfilled by the narrative: At least Maguire, for all of his bitterness, knew not to put that fine of a point on it. Elphaba is a static character, to an extent: She\u2019s self-righteous and independent long before she discovers the origin or extent of her powers, and her evolution over the narrative is the accumulation of things rather than transformative.<\/p>\n\n\n\n

This is the problem with taking Oz out of the mind of Dorothy Gale. The dream logic becomes drearily mundane, the romance is made literal rather than enchantingly thematic, and the story becomes a martyrdom narrative with a happily-ever-after ending instead of a sainthood-worthy sacrificial flaying. The point of Oz, to an extent, is that it\u2019s an accidental hero\u2019s journey that explores the consequences of getting what one wants. In Dorothy\u2019s case, it\u2019s an adventure in a fantastical land, one that she finds only makes her homesick. She finds her dream world full of charm and magic, yet only misses Kansas. Her journey isn\u2019t accumulative in stature or status: She discovers that what she wanted all along, much like her companions\u2019 desires, was within her the whole time. We\u2019ve never quite been able to overcome the disappointment that a black-and-white farm might mean more than the technicolor world she discovers. It\u2019s why Baum wrote sequels, it\u2019s why Disney made Return to Oz<\/em> (the only good revisionist take on the Oz <\/em>books and drastically underappreciated as such), it\u2019s why Wicked exists.<\/p>\n\n\n\n

Indeed, this fabulous land must be deeper than what we\u2019re shown on the page, the stage, or the screen! We identify with the conscious men and women of action within this world \u2013 the two major screen versions of Oz this century should be about the Wizard and the Witch, as they did things with purpose and intent rather than by sheer fairy-story accident. Yet none of these continuations or revisionist takes will ever eclipse the poignancy of that arc, and the power fantasy of Wicked<\/em>, with its crushing needs to recenter the world\u2019s locus and to establish Oz as a mediocre Narnia, makes it all the more powerful. After all, one can only defy gravity before the sun melts your wings.<\/p>\n","protected":false},"excerpt":{"rendered":"

Before I go deep as to why I’m not too fond of this on principle, I\u2019d like to go ahead and address Wicked fans to give them the information they\u2019re looking for up top: Jon M. Chu has made an adaptation you\u2019ll probably enjoy quite a bit. This is, of course, Wicked: Part One, which extends the act-break of the Stephen Schwartz-composed musical from 15 minutes to a full year \u2013 a good choice, given that the big climax makes […]<\/p>\n","protected":false},"author":48,"featured_media":10038125,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[19452],"tags":[7907,20180,26409,24217,34338,35133],"class_list":["post-10040157","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-filmtv","tag-ariana-grande","tag-film-review","tag-header","tag-musicals","tag-wicked","tag-wizard-of-oz"],"yoast_head":"\n'Wicked' Review: Well, the fans are gonna love it<\/title>\n<meta name=\"description\" content=\"If you like 'Wicked,' you'll probably have a great time with Jon M. 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