Breaking Down Wicked’s Iconic Songs With Composer Stephen Schwartz

As a devoted fan and connoisseur of musical theater, I have to say that the creation of Wicked has been nothing short of magical. Stephen Schwartz, the mastermind behind this enchanting tale, has breathed new life into the classic narrative of The Wizard of Oz by giving us an in-depth look at the lives of Elphaba and Glinda, two witches who are as different as night and day.

For over a century, the malevolent witch from the West, initially introduced in L. Frank Baum’s novel “The Wonderful Wizard of Oz” in 1900, has been a significant part of American culture. She gained notoriety in the 1939 film adaptation, where Margaret Hamilton brought her to life as a wicked old woman determined to thwart a young girl’s longing to return home. Later, Gregory Maguire provided her backstory by presenting her as Elphaba in his 1995 novel “Wicked.” This narrative was later transformed into a successful Broadway musical in 2003 and has since run for many years. Now, Elphaba’s tale is set to hit the big screen, with director Jon M. Chu’s dual-part adaptation, featuring Cynthia Erivo as Elphaba and Ariana Grande as her more cheerful counterpart Glinda. The first part of this adaptation is scheduled for release in cinemas on Nov 22.

Wicked goes beyond being a mere origin tale. Composed by the Academy Award-winning Stephen Schwartz, it delves into themes of love, deceit, and sorrow as Elphaba navigates her intricate bond with the future Glinda the Good. Schwartz, who is also known for his work in Godspell and Pippin, has been associated with Wicked since its theatrical debut. Over time, numerous artists have interpreted these songs on Broadway and worldwide tours. The upcoming film offers fresh chances to delve further into the realm of Oz. This necessitated some songs being extended or rearranged – a task that Schwartz eagerly accepted with his team of collaborators.

TIME had a chat with Schwartz, discussing significant tracks in the musical “Wicked,” including Elphaba’s initial powerful performance and the suspenseful finale, covering their backgrounds and how they are adapted for the screen.

“The Wizard and I”

In “Wicked,” the third song unfolds as Elphaba becomes aware that her life is on the verge of transformation. Notably, Madame Morrible, the headmistress of Shiz University (portrayed by Oscar-winning actress Michelle Yeoh in the film), recognizes Elphaba’s magical abilities and plans to write to the Wizard, paving the way for their meeting. This could be one of the most poignant scenes in the production, as Elphaba stands solitarily on stage, expressing her emotions through song.

Schwartz had concerns about the minimalist approach affecting the film portrayal of the song. In contrast, Chu emphasized the magical aspects of the tale to depict Elphaba’s sudden surge of hope on screen. Schwartz appreciated the director’s innovative solution, as it enhanced the cinematic feel while maintaining the song’s essence. Additionally, he was struck by Erivo’s performance, observing that her voice seemed more youthful in this song compared to the final number, “Defying Gravity.” This change made the character’s development evident and was a thoughtful decision made independently by Erivo. Schwartz admired Erivo’s vocal talent, stating, “Cynthia can sing anything; she’s like a virtuoso with an instrument. It was truly intriguing and impressive how she conveyed the character’s state at that specific moment in the story through her voice.

“What Is This Feeling?”

In the initial stages of scriptwriting, I found myself struggling with a particular number, one that depicted Elphaba and Glinda as unlikely roommates, their animosity palpable from the start. After discussing this challenge with my collaborator Winnie Holzman, who penned the book for the “Wicked” musical (later contributing to the screenplay), I finally managed to crack it on the fifth attempt. Holzman suggested an innovative approach: instead of a song where two characters instantly fall in love, we should create one where they instantaneously develop intense hatred towards each other. However, this bitter enmity was to be so profound that it somehow still felt compelling and even satisfying.

At first, Schwartz composed a ballad-like song, but during performances, he noticed it wasn’t quite fitting. “I understood the concept was sound, but it needed to be incredibly energetic,” he explained. After one performance, he returned home and wrote the song in just one night. This revised version made its way to Broadway – and Schwartz points out that among the movie songs, this one is most similar to its stage performance.

“Dancing Through Life”

One of “Wicked’s” extended songs, titled “Dancing Through Life,” presents a broad scope. The lively prince Fiyero, reminiscent of Bridgerton’s Jonathan Bailey and infamous for his expulsions from various schools, enters the story and organizes a dance at the Ozdust Ballroom. Initially, Schwartz composed an earlier version of this song during the show’s pre-Broadway run in San Francisco, titled “Which Way Is the Party?” However, it didn’t resonate with audiences. As a result, Schwartz felt it was necessary to make Fiyero’s life perspective more clear: “Nothing matters but knowing nothing matters/ It’s just life/ So keep dancing through.” During this song, significant events unfold for the main characters, such as Glinda giving Elphaba the hat that later becomes her iconic emblem.

At the song’s conclusion, Fiyero’s number, Elphaba and Glinda perform a dance together, an event that significantly alters their relationship. They begin to perceive each other as something more than adversaries, breaking down the barriers they had built between them. As Schwartz explains, “It’s incredibly impactful when you can convey a significant story moment without words, just through music and movement.” This is precisely what Jon Chu managed, capturing these subtle moments effectively due to close-ups and elements not typically found on stage.

For the movie, Schwartz considered an idea for a new song about Elphaba, Glinda, Fiyero, Boq (Ethan Slater), and Nessarose (Marissa Bode) being friends. “Like a Grease song, a ‘We Go Together’ type of thing,” he says. Ultimately, the song didn’t feel necessary because that storytelling was accomplished in other ways, much of if through dancing.

“Popular”

Following their bonding moment at the dance, Glinda expresses her desire to assist Elphaba in gaining popularity by singing songs filled with suggestions on styling her hair and flirting techniques. Composing this tune effortlessly, Schwartz aimed for a catchy melody reminiscent of the high school cheerleaders he admired (“the unattainable girls”), yet slightly quirky compared to typical pop tunes. He explains, “I purposely made it odd rhythmically, with accents in unexpected places. There’s even a yodel in the title when she sings ‘Pop-youuu-lar.’

For the film’s soundtrack, Greg Wells and Stephen Oremus, responsible for music production and supervision respectively, aimed to modernize the song’s rhythm. However, Ariana Grande was firm about preserving its original essence. It was crucial that any alterations made to the tune seemed inspired by Glinda’s character motivations, rather than Grande’s unique vocal style. As Schwartz explains, “She subtly incorporates creative elements, but I believe they are strongly character-driven.” This was something she was particularly passionate about.

The film includes an extended version of the song, where Ariana Grande was initially reluctant to participate. However, Schwartz persuaded her by suggesting that this was a fitting move for Glinda’s character, particularly on screen. Eventually, he recalls, she agreed wholeheartedly.

“One Short Day”

In the creation of the musical, “One Short Day” was the third tune penned by Schwartz, succeeding initial drafts of “No One Mourns the Wicked” and “The Wizard and I.” These earlier pieces were rather somber, but Schwartz composed “One Short Day” to inject a touch of humor and joy. The outcome is an upbeat number (significantly altered for the movie adaptation) that sees Elphaba and Glinda journeying to Oz.

Before Elphaba crosses paths with the Wizard (Jeff Goldblum), she and Glinda pack their days full of thrilling adventures during their journey. As Schwartz puts it, “We thought that when girls visit Oz, it’s like a travel guide. If you only have one day in the Emerald City, what should you experience?” Consequently, they embark on an exhilarating tour, captivated by the diverse attractions. The musical “One Short Day” even hints at the Wizard and his alleged abilities in a mini-play within the play.

In the film, this section provides a deeper exploration of the origins of Oz, covering aspects like the ancient tome of magic, the Grimmerie, and how it functions. Schwartz explains that the additional lyrics in the song underscore the Wizard’s manipulation and dissemination of propaganda and misinformation about himself to the people of Oz.

“Defying Gravity”

As I find myself on the run from the Wizard’s soldiers in the captivating musical “Wicked”, a profound sense of betrayal gnaws at me as the man I once trusted stabs me in the back, inciting all of Oz against me. In this moment of despair, I vow to retaliate, but the noose tightens around my neck, and Glinda implores me to make amends, seeking a return to tranquility. However, rather than submit, I summon an extraordinary power hitherto unknown – levitation. As the audience watches, I am raised aloft, soaring as I sing, symbolizing my resilience in the face of adversity.

As a movie enthusiast, I wanted you to experience that surge of power rising from the ground, taking hold of her, and ultimately, her claiming her power. When Erivo sang “Defying Gravity” in the film, I was captivated by her restraint – until the climax. The final note, a melody that’s lived on long past Wicked, transforms into Elphaba’s battle cry. It’s intriguing for me to listen to the various interpretations, Schwartz says. However, there’s only one rule: it must feel genuine, not like a performance on American Idol. Instead, it should emerge naturally, from deep within – and I believe Cynthia certainly achieved that.

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2024-11-15 19:08