As a seasoned gamer with decades of experience under my belt, I have seen my fair share of productions that were met with initial derision but went on to become beloved classics. The story of Universal’s Wicked, which has grossed an impressive $1.7 billion since its Broadway debut 21 years ago, is a prime example of this phenomenon.
The musical “Wicked,” produced by Universal Studios, is projected to bring in approximately $85 million during its opening weekend over Thanksgiving. This production is adapted from a highly successful stage show that has accumulated $1.7 billion in box office sales since it first premiered on Broadway 21 years ago, making it one of the highest-grossing shows ever.
Initially, Wicked was almost universally panned by theater critics upon its debut on October 30, 2003, but over time, it has grown to be a cherished staple in the world of musical theater.
The sharpest criticism originated from the esteemed New York Times, with Ben Brantley expressing minimal appreciation for the overall production, save for Kristin Chenoweth’s performance as original Glinda the Good (portrayed by Ariana Grande in the film).
In a critique, Brantley remarked, “She adds the necessary helium to an overblown show that would otherwise last nearly three hours flapping its large wings without actually flying. This production, politically angry and tearing apart L. Frank Baum’s Oz stories, lacks a light approach.
Brantley found almost nothing to his tastes in Wicked. He was unimpressed with the songs, filled with now-classic showtunes like “For Good” and “Defying Gravity” (“its swirling pop-eretta score sheds any glimmer of originality”); its themes (“as a parable of fascism and freedom, Wicked so overplays its hand that it seriously dilutes its power to disturb”) and its choreography (“as a series of spasmodic, disconnected poses”).
He didn’t even like Elphaba, the part originated by Idina Menzel and played by Cynthia Erivo in the movie. “Despite the green skin, Elphaba is a bizarrely colorless role, all furrowed-brow sincerity and expansive power ballads,” he wrote, allowing that Menzel “miraculously finds the commanding presence in the plainness of her part” and will “dazzle audience members whose musical tastes run to soft-rock stations.”
Eventually, Brantley summarized his thoughts as, “Unfortunately, ‘Wicked’ doesn’t seem to be a positive indication of what lies ahead for the world of Broadway musicals.
If I could wish for anything, it would be to have Brantley all to myself, away from the snide remarks of John Simon from New York magazine. His opening salvo in his review was one of the most petty puns I’ve ever seen aimed at a production.
Simon mentioned that two producers of the musical ‘Wicked’, Marc Platt and David Stone, have names that in other languages mean ‘flat’ (Platt) and ‘heavy’ (Stone), respectively. He jokingly suggested a third producer named Long, but found it too much to ask for one called Boring, as these words could also describe the show itself.
The barbs only got sharper from there. “What of a score by Stephen Schwartz, who has clearly lost it? Only one song, ‘Wonderful,’ has a memorable tune, and even that rather trite,” Simon wrote. “As Glinda, Kristin Chenoweth is cute as a button, but rather makes you wish for a zipper. She sings the worthless songs admirably and speaks her would-be-funny lines with spice, even as the accomplished Idina Menzel brings genuine pathos and edge to Elphaba, but all in vain.”
In the early reviews of the production, its $14 million cost was frequently mentioned. However, Simon found the show to be less enchanting and more faded, describing it as “more withered than wicked.
The praise never stopped: Howard Kissel from the New York Daily News considered “Wicked” as a lengthy performance lacking in dramatic coherence or emotional depth. He noted that the show frequently changes direction, implying it appears to solve creative roadblocks by spending more money – in this instance, $14 million. (Ah, there’s that figure once more.)
Critic Charles Isherwood from Variety also expressed concerns about the show’s high cost. In his review, he stated, “The ambitious attempt to appeal to everyone results in a heavy and overstuffed $14 million production that seems burdened by its own grandeur.” (Keep in mind that Wicked has amassed an impressive gross of $1.7 billion before even selling a movie ticket.)
Ultimately, it’s no great shock that the confusing mix of tones and styles in ‘Wicked’ proves challenging for director Joe Mantello. The demands of the medium, coupled with less-than-stellar efforts from certain collaborators, seem to overwhelm him. Isherwood points out some of these contributors as composer Stephen Schwartz, who appears mismatched for this ambitious, subversive material. In fact, the show’s score is filled with competent but unremarkable anthems in a typical Broadway pop style that leans towards easy listening. Similarly, while Michael Kuchwara from the Associated Press was relatively generous in his review of the production, he noted that ‘Wicked’ falters in its music.
It seems that while many may not have taken a liking to “Wicked”, USA Today certainly did. Their critic, Elysa Gardner, praised it as “the most complete, and completely satisfying, new musical I’ve come across in a long time.” Adapted from Gregory Maguire’s novel, “Wicked” offers a modern, socially aware reinterpretation of the story of the Wicked Witch of the West from Oz. Despite sounding potentially intellectual, the script penned by Winnie Holzman – known for shows like “thirtysomething” and “My So-Called Life” – manages to balance witty humor with depth and emotion.
Kristin Chenoweth is perfectly suited for her role as Glinda, a character who appears cheerful on the outside but hides a vulnerable heart. On the other hand, Idina Menzel plays Elphaba, a complex sorceress with depth, especially when she sings emotionally charged songs like ‘No Good Deed’ and ‘I’m Not That Girl.’ The cast as a whole is exceptional, making even the sweetest and most emotional scenes difficult to resist. To top it off, the music is catchy enough that you’ll find yourself humming it long after you leave the theater, creating an overall charming and magical experience, as Gardner describes.
Thankfully, the show “Wicked” managed to persevere past the criticism, not being brought to an early close by the “water thrown” by the critics. Instead, it garnered 10 Tony Award nominations and won 3, with Idina Menzel receiving the accolade for Best Actress in a Musical (it lost the title of Best Musical to “Avenue Q>” ). Ultimately, the audience served as the final judge of its value. As everyone deserves an opportunity to soar, the show provided that chance.
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2024-11-13 22:56