Explore the evolving landscape of the American musical as the hosts dissect the cultural reverberations of 'Wicked' and its impact on audiences in 2024. They delve into the challenges of originality amidst a sea of jukebox musicals, while examining emotional complexity in musical narratives. The discussion also touches on the intricate relationships within 'Wicked,' alongside critiques of recent adaptations like 'Joker: Folie à Deux.' Reflecting on the historical evolution of musicals, they consider how heightened emotions and storytelling intertwine in this artistic form.
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Nomi's Take on Wicked
Nomi Fry found Wicked surprisingly gentle and sensitive, praising the performances of Ariana Grande and Cynthia Erivo.
She was particularly moved by the talking goat, Dr. Dillamond, and his plight in the film's fascist subplot.
insights INSIGHT
Visual Storytelling in Wicked
Vincent Cunningham appreciated Wicked's skillful use of visuals to represent emotional landscapes.
He likened this to the Sound of Music, where the scenery reflects the characters' inner feelings.
insights INSIGHT
Schwartz's Critique of Wicked
Alexandra Schwartz found Wicked dull and too long, criticizing the extended time spent at Shiz University.
She felt the movie's length detracted from the magical experience of Oz.
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The Life and Times of the Wicked Witch of the West
Gregory Maguire
In 'Wicked', Gregory Maguire delves into the life of Elphaba, the green-skinned girl who becomes the infamous Wicked Witch of the West. The story begins with Elphaba's childhood, marked by her unique appearance and her father's missionary work in Quadling country. As she grows older, Elphaba attends Shiz University, where she meets Galinda, who will later become Glinda. The novel follows Elphaba's journey through her involvement in resistance against the Wizard, her personal struggles, and her eventual transformation into the Wicked Witch. Maguire's narrative explores themes of social class, political oppression, and the nature of evil, creating a rich and vivid world that challenges the traditional view of Oz[1][3][4].
The Wonderful Wizard of Oz
L. Frank Baum
The story centers on Dorothy Gale, a young girl from Kansas who is swept away by a cyclone to the magical Land of Oz. There, she meets the Scarecrow, the Tin Woodman, and the Cowardly Lion, each seeking something from the elusive Wizard of Oz. Along their journey, they face numerous trials and eventually discover that the Wizard is a humbug. Dorothy learns to use the magical power of her silver shoes to return home to Kansas.
Nineteen Eighty-Four
George Orwell
Published in 1949, 'Nineteen Eighty-Four' is a cautionary tale set in a future where the world is divided into three totalitarian super-states: Oceania, Eurasia, and Eastasia. The novel follows Winston Smith, a minor functionary in the Ministry of Truth in Oceania, who begins to question the all-pervasive authority of the Party and its leader, Big Brother. Winston's rebellion, fueled by his forbidden love affair with Julia and his interest in the mysterious Brotherhood, ultimately leads to his capture and brutal reeducation by the Thought Police. The novel explores themes of mass surveillance, censorship, and the manipulation of truth, serving as a powerful warning about the dangers of unaccountable governments and the erosion of individual freedom and dignity.
The American musical is in a state of flux. Today’s Broadway offerings are mostly jukebox musicals and blatant I.P. grabs; original ideas are few and far between. Meanwhile, one of the biggest films of the season is Jon M. Chu’s earnest (and lengthy) adaptation of “Wicked,” the origin story of the Wicked Witch of the West that first premièred on the Great White Way nearly twenty years ago—and has been a smash hit ever since. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz discuss why “Wicked” is resonating with audiences in 2024. They consider it alongside other recent movie musicals, such as “Emilia Pérez,” which centers on the transgender leader of a Mexican cartel, and Todd Phillips’s follow-up to “Joker,” the confounding “Joker: Folie à Deux.” Then they step back to trace the evolution of the musical, from the first shows to marry song and story in the nineteen-twenties to the seventies-era innovations of figures like Stephen Sondheim. Amid the massive commercial, technological, and aesthetic shifts of the last century, how has the form changed, and why has it endured? “People who don’t like musicals will often criticize their artificiality,” Schwartz says. “Some things in life are so heightened . . . yet they’re part of the real. Why not put them to music and have singing be part of it?”
Read, watch, and listen with the critics:
“Wicked” (2024) “The Animals That Made It All Worth It,” by Naomi Fry (The New Yorker) “Ben Shapiro Reviews ‘Wicked’ ” “Frozen” (2013) “Emilia Pérez” (2024) “Joker: Folie à Deux” (2024) “ ‘Joker: Folie à Deux’ Review: Make ’Em Laugh (and Yawn),” by Manohla Dargis (the New York Times) “Hair” (1979) “The Sound of Music” (1965) “Anything Goes” (1934) “Show Boat” (1927) “Oklahoma” (1943) “Mean Girls” (2017) “Hamilton” (2015) “Wicked” (2003) “A Strange Loop” (2019) “Teeth” (2024) “Kimberly Akimbo” (2021)
Critics at Large | The New Yorker 
