‘Wicked: The Soundtrack’ Album Review: Stephen Schwartz’s World-Beating Song Score Gets Its Due, and So Do the Divas Who Deliver It

As a longtime theater enthusiast who has seen “Wicked” live on Broadway multiple times and now on screen, I must say that this soundtrack is nothing short of magical! The performances by Ariana Grande and Cynthia Erivo are simply outstanding, and their harmonies in songs like “Popular” and “Defying Gravity” will give you goosebumps.

When the live-singing performances of “Wicked” conclude on Christmas Day, I’ll be in attendance – not because I plan to actively participate in the singing, but more likely just harmonizing with Dr. Dillamond, the goat professor, whose vocal quirks might mirror my own abilities best. I’m genuinely intrigued by how a packed audience will manage synchronizing their voices with such complex musical-theater songs, filled with pauses, changes in tempo, and sudden transitions from major to minor chords. It’s likely that there will be some professional singers and actors occupying the AMC seats who can handle these tunes effortlessly. For the rest of us, there might be an acknowledgment: “I’m not Dorothy,” and perhaps neither are you.

There’s nothing quite like eagerly awaiting the official multiplex sing-alongs, and I must say, it isn’t merely the act of singing along that makes it so appealing. The enchantment lies in those cleverly crafted subtitrics that guide us through the lyrics, making every song a delightful sing-along experience!

Essentially, the songs in “Wicked” are exceptional – among the best musical theater has ever produced, in my opinion – and I appreciate a setting that lets me concentrate on the music without being drawn away by the visual effects that the movie naturally provides. As a longtime fan of “Wicked” for 20 years, my only issue with the movie version is that director John Chu and editor Myron Kerstein sometimes divert our attention to something else appealing or stunning happening on screen, when what I truly desire is two-and-a-half hours of continuous close-ups of Ariana Grande or Cynthia Erivo reciting the classic lyrics. This isn’t a major concern, just my personal preference; I understand it’s a movie musical. However, I look forward to seeing every lyric displayed on cinema screens come Dec. 25. Because for some “Wicked” enthusiasts like me, the real star isn’t Erivo or Grande – they are both fantastic – but Stephen Schwartz, the songwriter.

Instead of waiting for Christmas to fully immerse yourself in the experience you’re eagerly anticipating, you can get a taste of it early by streaming or purchasing “Wicked: The Soundtrack” and visiting Genius.com or another lyric site to follow along with the lyrics. Although the theatrical presentation may give you a general understanding of the lyrics, much depth and subtlety can be overlooked due to all the fast-paced action, special effects, glamour, and vocal power. This album serves as an emphatic confirmation of Schwartz’s exceptional talent as both a composer and lyricist, similar to Sondheim. Some might even say that Schwartz, with his work on “Wicked,” has a populist approach to the artistry of Sondheim. The entire score is complex, intricate, difficult to manage, and subversive… yet it can sometimes feel like bubblegum, which only serves to highlight the magnitude of the achievement.

To start, let me say that the soundtrack was well-executed without any unnecessary modernizations. It’s easy to envision how this score could have undergone drastic changes, perhaps incorporating an EDM beat for instance, but it thankfully did not. With the legendary Alan Menken (co-producer) and Greg Wells (“The Greatest Showman”) at the helm, alongside original music director Stephen Oremus, the soundtrack retains a classic Broadway feel, as if the orchestra had twice its usual size. For young theater enthusiasts, this updated version will serve as an introduction to traditional Broadway, even though some of the content may seem as contemporary as a blend of Taylor Swift and today’s news headlines.

In a manner that echoes the path paved by Kristen Chenoweth and Idina Menzel years ago, Grande and Erivo don’t stray far from the established template. Yet, their vocal performances offer delightful, subtle twists that make them stand out. The grand opening number, “No One Mourns the Wicked,” showcases Grande’s impressive range – hinting at comedic moments of innocence and tragic notes she’ll hit throughout the soundtrack. I wasn’t surprised to hear her belt high and nasally in pursuit of laughter (after all, I watched “Sam & Cat”), but her powerful delivery of the line “Good news” with full Sarah Brightman-like soprano strength indicates she’s ready to tackle the entire spectrum of performances ahead.

In a deliberate fashion, Erivo gradually reveals her full potential during “Defying Gravity”. Although earlier in the movie she had already showcased her power with “The Wizard and I”, Erivo appears to be conserving some of her peak capacity for the climactic moment. The cleverness of these songs as twin numbers from the first act lies in the fact that “The Wizard and I” is a typical ‘I want’ song, whereas “Gravity” surpasses it by serving as an actual ‘I don’t want’ number. Erivo and her vocal team have demonstrated wisdom by reserving a small portion of her full power for the upcoming monumental moment when she fully unleashes her defiance on Broadway.

As everyone anticipates what’s coming next, Erivo offers delightful moments in some of the prelude songs. Her voice takes on a casual, conversational tone, sometimes sounding innocent and naive. This helps us connect with her character before she transforms into an indignant deity. After reinforcing the argument for “Defying Gravity” as a timeless masterpiece, which Erivo performs flawlessly, it’s unusual to admit that I have a slightly stronger affection for her heartfelt interpretation of “I’m Not That Girl”.

Despite its seemingly insignificant role, “I’m Not That Girl” in the musical “Wicked” could be considered an underrated gem that might not reach the same level of popularity as other songs, but can have a profound impact when heard at a particularly melancholic moment in one’s life. Its placement during the first act or movie might lead some to view it as a mere time-filler, but it plays a minimal role in moving the plot forward.

Other songs deserve special mention. Jonathan Bailey skillfully glides through his words in “Dancing Through Life,” which, surprising us yet again like “Wicked” often does, appears to be shaping Fiyero into a character reminiscent of Gaston or Prince Hans – a heartthrob-villain. Before his character’s true humanity is revealed, he effectively portrays a carefree youth. The line, “Life’s more painless for the brainless” (and its subsequent pairing with “thoughtless/fraughtless”), would be amusingly nihilistic even if Schwartz wasn’t foreshadowing his later struggles in the next act or movie. The rotating library sets during this sequence are a testament to the production design, but they also highlight the need to listen to the soundtrack separately to fully appreciate the witty darkness hidden within the lyrics.

Title “What Is This Feeling?” provides two appealing aspects: it’s a rhythmic tune, which is as close to a pattern song as “Wicked” can offer, and more crucially, it presents the initial opportunity to observe the harmonious collaboration between Grande and Erivo as rivals, prior to their intense vocal duet in the debate over “Defying Gravity.” (Spoiler alert: ahead.) Subsequently, the creators of that song, Menzel and Chenoweth, appear in newly written verses by Schwartz for a celebrated cameo in “One Short Day.” Schwartz’s freshly composed additions will be unveiled in Part 2, but this inserted piece hints at promising musical surprises to come in the upcoming year.

20 years after its debut, the term “Popular” in the song still carries an implicit reference to Ronald Reagan, though this might be lost on newer audiences. This allusion was initially prominent when the show first premiered, where it referred to the concept of “Great Communicators,” a term Galinda mentions as more influential than intelligence. However, the political undertones are subtly embedded within the lighthearted melody and often overshadowed by Ariana Grande’s captivating performance in pink, making her both beautiful and impressive.

Instead of saying “But the opening and closing numbers of Part 1 of “Wicked”? This is music that’s so inherently political, these bookends practically count as protest songs,” you could rephrase it like this: “However, the opening and closing tracks of Part 1 in ‘Wicked’ hold a strong political message, almost serving as anthems for protest. ‘Defying Gravity,’ for instance, is a powerful ode to activism, as Glinda and Elphaba passionately argue about standing up against complacency or taking risks. This song remains just as moving and inspiring today, resonating with anyone who’s had to make the difficult choice in life to take a stand or support someone else who did.

Yet the song that always gets me the most is the one that’s almost innocuously hidden in plain sight right at the outset: “No One Mourns the Wicked.” On first listen, it feels like a standard, fairly innocuous musical scene-setter, even if, watching the film, that Wicker Woman being set up for burning does look ominious. On second or third listen, and beyond, it can feel devastating. Schwartz and his collaborators are framing the story with an Oz that is populated by an angry, self-righteous, deluded and even bloodthirsty mob… led by a woman who is going along with the great lie, in hopes of eventually rebuilding a land that fell into genocide and fascism under corrupt leadership. Light-hearted holiday fare to let us forget all about America’s problems, right?

In the song “No One Mourns the Wicked,” we reach the score’s most chilling point. A vast choir appears to be demanding justice, while Grande soars with poignant high notes, seemingly endorsing the troubling events unfolding on screen. If this doesn’t send a shiver down your spine, then perhaps you’re not fully engaged. But it can be hard to pay full attention at the start of a movie, when people are still finding their seats and settling in with popcorn, as the film only gradually starts to unveil its secrets.

Listening to “Wicked: The Soundtrack” beyond the movie is highly recommended as it offers a deeper understanding of the intricate foreshadowing and societal commentary embedded within, transforming it from a mere fantasy musical-comedy into a profound sociopolitical tragedy. This versatility in themes is what sets “Wicked” apart, making it one of the most remarkable song scores of our time (if not equal to “Hamilton”), and a timeless classic among all greats.

If you prefer to repeatedly play the catchy “Popular” tune rather than delve into deeper, socially symbolic themes, that’s perfectly fine. We’ve all been in that spot before. Thanks to the fantastic performances by Erivo and Grande, we’ll continue to enjoy this strong female friendship narrative for quite some time. See you at the karaoke session!

2024-11-24 03:17

‘Wicked: The Soundtrack’ Album Review: Stephen Schwartz’s World-Beating Song Score Gets Its Due, and So Do the Divas Who Deliver It

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