The anticipation surrounding “Wicked: For Good” has been palpable, particularly following the box office triumph of its predecessor. With Cynthia Erivo and Ariana Grande returning as Elphaba and Glinda, this sequel promises to delve deeper into the complexities of their characters. However, Universal Pictures’ decision to split this musical into two installments raises conspicuous concerns.
“Wicked,” originally adapted from Gregory Maguire’s novel and a successful Broadway spectacle, reimagines the narrative of “The Wizard of Oz.” The Wicked Witch of the West, traditionally viewed as malevolent, is instead portrayed as a powerful figure fighting against societal injustice. Universal’s strategy—breaking the adaptation into two films—is unprecedented for musicals and has sparked plenty of discussion.
The first film’s triumph, grossing over $750 million globally, illustrates why the studio pursued this split. Yet, splitting the story does more than expand profit margins; it alters the viewing experience. The first installment was buoyed by its charm, humor, and memorable musical numbers, while “For Good” veers into darker themes that may disappoint fans seeking the same vitality.
In the first act of “Wicked,” audiences are treated to the dynamic rivalry unfolding at Shiz University, where the friendships and entanglements between Elphaba, Glinda, and their alluring classmate Fiyero come to life. The enlightening villainy of The Wizard and Madame Morrible provides ample entertainment, grounding the story with relatability and wit. This foundational act sets the stage with an emotional punch that moves audiences, a stark contrast to the more serious and heavy themes explored in “For Good.”
The challenges of transitioning to Act II become clear as Elphaba embarks on her journey as a lone figure of resistance, grappling with the weight of her decisions against The Wizard’s oppressive regime. Glinda’s struggle to determine her loyalties adds depth but can feel disjointed, especially for viewers unfamiliar with the stage version. Bridging the stories from “Wicked” to “The Wizard of Oz” proves to be a tricky endeavor, leaving some plot points feeling jarring rather than cohesive.
A notable decline in musical appeal is evident in this installment. Fans will recognize beloved songs like “Popular” and “Defying Gravity” from the first half, yet the second act lacks the same iconic tunes. The inclusion of only a handful of standout pieces detracts from the overall experience, leaving the narrative feeling less engaging than its predecessor.
Cynthia Erivo’s portrayal of Elphaba shines with strength, yet much of her most potent material resides in the first film. In contrast, Grande’s Glinda gains additional layers through her character development in “For Good.” Her performance provides a spark, albeit one that struggles against the film’s heavier themes. Directors must find the balance between maintaining the story’s core and adapting dense narrative material for the screen.
Jon M. Chu’s direction merits applause, particularly for his skills illustrated in “Crazy Rich Asians” and the first “Wicked.” The stunning visuals and lush costumes maintain a level of grandeur, even as the storyline wanders into more somber territories. Moreover, Stephen Schwartz’s addition of new songs attempts to flesh out Act II; still, they serve as an acknowledgment of a missing musical spark within the sequel.
While “Wicked: For Good” delivers a well-crafted, visually arresting film experience, it suffers from the inevitable pitfalls of a sequel following a storied original. This conclusion does not quite match the excitement and enjoyment of the first installment, illuminating the risks involved in splitting movie musicals. Moving forward, a resounding message from audiences could center around a desire for cohesive storytelling rather than purely financial incentives.
Viewers should anticipate “Wicked: For Good” for its intrinsic artistry, yet recognize the absence of the exuberance that defined the original. As preparations ramp up for its release, many may echo the sentiment: splitting musicals might not be the golden ticket Hollywood hopes it to be.
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