Wicked resonates with audiences due to its big emotions, themes of friendship and love, and its ability to evoke strong feelings. The film's memorable songs, especially 'Defying Gravity,' and the strong performances by Ariana Grande and Cynthia Erivo contribute to its emotional impact and popularity.
Jukebox musicals and IP grabs are common on Broadway because they bank on audiences' nostalgia for old hits and capitalize on the popularity of beloved movies and stories. These productions are often seen as safer financial bets compared to original ideas, which are riskier and less frequent.
Wicked feels long to some viewers because it runs for two hours and 40 minutes, which is considered excessive by many. The film's pacing and the inclusion of many slower, less engaging scenes contribute to this perception.
Joker: Folie à Deux fails as a musical because it lacks energy and feels joyless. The songs, mostly covers of older tunes, do not integrate well with the plot, and the film's overall tone is unengaging. The addition of musical elements does not enhance the story but rather detracts from it.
Emilia Pérez is an interesting contrast to Wicked because it deals with serious topics like cartels and gender transition, and it uses music to heighten the emotional and dramatic aspects of the story. Unlike Wicked's more traditional musical approach, Emilia Pérez incorporates the everyday sounds of Mexico City into its songs, creating a unique and immersive experience.
Musicals evolved from review-style shows to story-driven productions to provide deeper character and plot development. This shift began in the late 1920s with shows like Showboat, which tackled serious issues like race and social inequality. By the 1940s, musicals like Oklahoma integrated songs more closely with the narrative, making them crucial to character and plot development.
Hamilton is considered a significant innovation in musical theater because it combines diverse musical styles, including hip-hop, rap, and traditional show tunes, to tell a historical story. Its ability to engage young audiences and create a sense of excitement and community in the theater is unparalleled, making it a cultural phenomenon.
Some critics are concerned about the homogenization of musicals because many contemporary productions, including Wicked and Hamilton, feature a similar style of R&B-influenced vocals and slick harmonizations. This trend can prioritize vocal acrobatics over storytelling, leading to a lack of diversity and innovation in the genre.
R-rated musicals like A Strange Loop and Teeth are seen as the future of the genre because they push boundaries and address mature, complex themes. These productions challenge traditional norms and offer a deeper, more realistic engagement with contemporary issues, making them a potential vanguard for the evolution of musical theater.
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, 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?”
This episode originally aired on Critics at Large, December 12, 2024.