Originally published to 8 News Now on November 19, 2024.

Twenty-one years after its debut on the Broadway stage, the big-screen adaptation of the beloved musical Wicked is finally here. Fans of the original production have waited two decades for this moment, and the result—while not without flaws—is unexpectedly great.

Set in the Wizard of Oz universe, Wicked takes us years “before Dorothy dropped in,” chronicling the relationship between Glinda, the Good Witch of the North (initially Galinda Upland), and Elphaba Thropp, who will later become the infamous Wicked Witch of the West.

At first glance, Wicked may seem derivative to modern audiences, thanks to the flood of villain-redemption stories (Maleficent, Cruella, even Joker to some extent) that have populated screens in recent years. However, it’s worth remembering that Wicked was one of the trailblazers of this storytelling approach. Its 2003 debut ushered in a new era of reframing well-known narratives through a compassionate lens, even influencing works like Frozen. That said, the prevalence of this trope means Wicked may not feel as fresh as it once did.

The good news is that Wicked has more going for it than a concept repeatedly sliced, diced, and served by other franchises over the years. The music is still classic. The characters are still wildly entertaining. Indeed, the core of what made Wicked special in the first place is very much present in the movie adaptation, and that includes our witches, the main characters who are our window into this version of Oz.

Cynthia Erivo (Elphaba) and Ariana Grande (Galinda) had big shoes to fill, following in the footsteps of Idina Menzel and Kristin Chenoweth, and both rise to the occasion. Erivo brings earnestness to young Elphaba, capturing her idealism and vulnerability. Grande, meanwhile, leans into Galinda’s comedic absurdity with precision, channeling the role’s over-the-top charm.

Their performances don’t venture far beyond the boundaries of what fans would expect. Neither does that of the supporting cast, including Jonathan Bailey, Michelle Yeoh, Jeff Goldblum, and Marissa Bode. While they fit seamlessly into the ensemble, like Erivo and Grande, their portrayals are faithful to the musical’s spirit without reimagining their roles in any groundbreaking way. This consistency will likely please longtime fans, though it leaves little room for fresh creative interpretation.

A significant caveat: Wicked is not a self-contained film. Clocking in at two hours and 41 minutes, this adaptation covers only the first act of the stage show. A second installment, expected in late 2025, will complete the narrative. While this format allows the movie to preserve nearly every moment and song from the musical, casual viewers might find the abrupt ending unsatisfying. For those unfamiliar with Wicked, the two-part structure could feel like a needlessly drawn-out experience rather than an opportunity for deeper storytelling.

With those minor quibbles aside, Wicked is excellent. Its musical numbers are uniquely framed, allowing the final product to stay true to its theatre roots while translating for the big screen. The cinematography is colorful and vibrant, and for those watching closely, there are even tendrils to 1939’s Wizard of Oz that didn’t exist in the original Broadway production. The film rewards attention to detail.

Wicked is a lovingly crafted adaptation that honors the legacy of its stage predecessor. Its performances are solid, its visuals striking, and its musical numbers deeply satisfying. Yet, it’s not without its challenges. The two-part format may frustrate audiences expecting a complete story, and its adherence to the original material, while admirable, leaves little room for reinvention.

For fans of the musical, this film is a joyous celebration of everything that made Wicked special in the first place. For newcomers, it offers an accessible entry point into the world of Oz, albeit one that might feel incomplete until the second installment arrives. Until then, we’ll have to savor this impressive, if slightly imperfect, opening act—and prepare for the long intermission.