Wicked: For Good - Did We Get Too Comfortable?
Last year, Cynthia Erivo’s final vocals silenced cinema rooms, carrying a sense of novelty and magic that helped Wicked reinvent itself from stage to screen through fresh casting and striking cinematography. Having said so, I approached the sequel with great hesitation. The second act of Wicked has always been more convoluted. Darker and politically charged, it’s far less inclined to “dance through life.”
Traditionally, Act One has enjoyed a cushy reception from audiences. Its upbeat tone has been endlessly recycled in digital culture; cut, pasted, and replayed beyond recognition. Even if you have never seen the Broadway show, it’s impossible to avoid Act One’s signature numbers like “Popular” or “Defying Gravity.” Meanwhile, Act Two has often been snubbed as uneven and the weaker half, making me anticipate a similarly mixed response when embarking on Wicked: For Good.
Like many who are familiar with the musical, I was unsure and nervous about how splitting the adaptation into two feature-length films would impact the pacing. From a financial standpoint, the choice makes sense, though it risks narrative fragmentation. Much like theatre, the story relies on a fresh memory of Act One’s events, making it a wise choice to combat the year-long interval by revisiting the first film before delving into the sequel’s heightened tensions and political conflict.
Despite my reservations, I found myself moved by the emotional depth that unfolded on screen. The dynamic between Ariana Grande and Cynthia Erivo - whether grounded in genuine friendship or a curated PR stunt - translates into a compelling on-screen relationship. With limited screen time, Ethan Slater’s Boq is similarly memorable; his ability to genuinely unsettle an audience in a few lines makes it difficult to reconcile him with his cheerier turn as SpongeBob on Broadway, showcasing his impressive vocal and emotional range. Equally, Jonathan Bailey stands out as a fierce, thoughtful, and effortlessly charming Fiyero. Together, these key performances have a personal touch that honours the source material while giving the story new texture and warmth.
That’s not to say the film is perfect. Michelle Yeoh’s portrayal of Madame Morrible has become a particular point of contention online. Yeoh has stated that she is not a singer, a concern she raised with director Jon M. Chu. Though her vocals fall short of the musical-theatre-trained cast, Yeoh convincingly embodies a conniving Madame Morrible. Crucially, her singing occupies little screen time and isn’t detrimental to the film’s overall impact.
Despite much of the joy and whimsy defining the first film being largely absent, the sequel still offers moments of humour and tenderness between its grand musical numbers. Grande’s comic timing stood out in particular, withthe rarity of these moments making them all the more appreciated. However, it’s essential to recognise that the sequel was never intended to replicate the grandiose worldbuilding and humour of its predecessor. Instead, the sequel exposes the cracks within Oz, exploring how its characters navigate them, and in doing so, implies that the corruption of this fantastical world resonates with our current political realities.
Ultimately, if you’re looking to waltz into the sequel to experience the sensations the first Wicked feature film elicited, you may leave disappointed. Considering both films together, Jon M. Chu’s two-part adaptation brings Wicked to life in an accessible, cinematic form. Despite the film’s imperfections, it has undeniably sparked a new wave of theatre fans. With time, the heat the sequel is currently receiving will hopefully cool, allowing it to be appreciated not as an “unsuccessful” replica of its predecessor, but as a vital piece of a larger masterful story.
Publicity still from Wicked: For Good — © Universal Pictures.
