𝐂𝐚𝐧 ‘𝐖𝐢𝐜𝐤𝐞𝐝’ 𝐁𝐞 𝐒𝐩𝐨𝐢𝐥𝐞𝐝? 𝐌𝐮𝐬𝐢𝐜𝐚𝐥 𝐌𝐨𝐯𝐢𝐞’𝐬 𝐖𝐫𝐢𝐭𝐞𝐫𝐬 𝐀𝐫𝐞 𝐍𝐨𝐭 𝐂𝐨𝐧𝐯𝐢𝐧𝐜𝐞𝐝: “𝐈𝐭’𝐬 𝐁𝐞𝐞𝐧 𝐑𝐮𝐧𝐧𝐢𝐧𝐠 𝐟𝐨𝐫 𝟐𝟏 𝐘𝐞𝐚𝐫𝐬”

Winnie Holzman and Dana Fox, the writers of the box office hit ‘Wicked,’ also weigh in on the reactions to the film, the pressures of adapting a beloved musical and those Glinda romance theories.

It is challenging to navigate TikTok without encountering a video related to Universal’s recent success, Wicked. Although each video presents a unique perspective, the comment sections frequently echo a common sentiment: “Don’t spoil the rest of Wicked!”

The film adaptation of Wicked only includes the first act of the stage production, with the second part scheduled for release next November. This raises the question of whether the story can indeed be spoiled. The film’s writers, Winnie Holzman, who also authored the book for the stage musical, and Dana Fox, appear to have some reservations about this notion. Holzman humorously remarked during a Zoom interview with The Hollywood Reporter, “It [the stage musical] didn’t open yesterday; it’s been running for 21 years. Not just in America, but all over the world. It has toured extensively and has been performed in numerous languages.”

Holzman states that the film’s director, Jon M. Chu, along with the entire production team, aimed to remain faithful to the essence of Wicked’s theatrical version. Fox mentions that she has a guideline for her children and others who may inquire about potential spoilers regarding the storyline. “There is a play that exists. Some answers can be found within it, and if you choose to discover those for yourself, you may do so,” she explains. “And nothing beyond that.”

Holzman and Fox, who recently received a Critics Choice nomination for their screenplay, express understanding towards those concerned about spoilers and appreciate the enthusiastic reactions from the audience. “I genuinely empathize with them. I truly do,” Holzman remarks. She further emphasizes, “I must acknowledge the feelings of those responding, as that is precisely what we aimed for. Passion is a wonderful thing. It reflects how deeply they care.”

Wicked, featuring Cynthia Erivo as Elphaba and Ariana Grande as Galinda/Glinda, unveils the untold narrative of the witches from Oz. This film, along with the anticipated Wicked: Part Two, is scheduled for release in November 2025 and is inspired by the 2003 musical of the same title, which was initially derived from Gregory Maguire’s acclaimed novel. Stephen Schwartz, an Academy Award-winning composer and lyricist, has returned to adapt the musical for the cinematic format.

Holzman and Fox express their gratitude for the overwhelming support since the film’s debut in theaters. Holzman remarks, “The love is so palpable from my point of view. We’re receiving heartfelt and genuine responses from audiences, and this is the reason we pursue this work.”

Holzman has been involved in Wicked for nearly its entire journey, yet Fox indicates that this particular experience is novel for her. “Winnie and Stephen have been immersed in this for such a long time with the play, but I am new to this,” she articulates. “Experiencing the affection from the audience and witnessing how profoundly it resonates with them… Throughout the years we collaborated, we often thought, ‘This must be the most remarkable thing anyone has ever witnessed because people are so passionate about this musical, so we must nurture it.’”

“Responsibility is a crucial term,” Holzman remarks, noting that, while she does not wish to complain, she certainly felt the weight of expectation when transforming the musical for the screen. “As a team, we all sensed that we needed to invest our utmost effort, and then it was up to the audience to respond. That aspect is beyond our control.”

Holzman describes the script of Wicked as being aptly characterized as “handmade.” She emphasizes, “We meticulously assembled it with great thoughtfulness and care.” Fox further elaborates, stating, “Every single word of the script was painstakingly considered. We spent weeks discussing individual lines.”

Fox reflects on her initial belief that the project would be somewhat easier, given that it was based on “one of the most remarkable plays of all time” and The Wizard of Oz. However, she found the task to be more challenging due to the “pressure to honor the original material” and to meet the expectations of its devoted fans.

She recalls, “During our audience previews, every time the performers altered a note, even slightly, the audience erupted in cheers,” prompting laughter from Holzman.

The transformations occurring during the adaptation process have consistently generated significant discourse. Holzman remarks, “We were never going, ‘How can we make Wicked into something else?’” However, she acknowledges that it has indeed evolved into a distinct interpretation.

Holzman emphasizes that the essence of Wicked is preserved throughout the film’s initial installment. While the film adheres closely to the original play, both Holzman and Fox highlight that the choice to divide the movie into two segments has facilitated the expansion of numerous scenes. Holzman asserts, “There almost isn’t an aspect of the plot, there really truly isn’t, that from beginning to end didn’t get explored, reimagined, deepened, given more time.” She points out that this approach allowed the creative team to delve into Elphaba’s childhood, a facet she and Schwartz, the composer and lyricist of the musical, had always aspired to explore.

To provide clarity on the matter, consider the duration of the songs and the possibility of incorporating the second act songs into the film. According to Fox, “There is insufficient time to include even a single line of dialogue. This would necessitate the removal of songs, and each song holds significance for some fans.”

Holzman further emphasizes that both she and Schwartz were eager to introduce new songs as well. “The motivation behind our desire for new songs in the second part—this is the only detail I will disclose about the sequel—stems from our affection for certain song concepts we developed. As Dana mentioned, we were unable to fit the entire score into a single film,” she explains. Holzman also points out that any modifications made to the first part were intended to “heighten the intensity or raise the stakes,” rather than being arbitrary.

The authors also expressed their views on the fan theories suggesting a romantic dimension to the relationship between Glinda and Elphaba. Maguire, the author of the book that inspired the musical, recently informed Them that he intentionally infused a romantic subtext into the dynamic between the two principal witches. Grande also hinted at this possibility in a recent interview, stating, “Glinda might be a little in the closet. You never know. Give it a little more time.”

Conversely, Holzman appeared not to have approached the creation of the original musical or the film with this interpretation in mind. “For me, that is not it. But that is not to say that I don’t feel gratitude if the queer community is feeling queerness in the movie,” she remarked. “There are very real reasons why that would be, and I think that’s beautiful.”

She remarks, “In a humorous sense, it’s really not my concern. I prefer that individuals form their own reactions,” and emphasizes that the production primarily explores the type of friendship that profoundly transforms a person, pun intended, for the better. “Both characters are destined to be together, and they required one another to fulfill that destiny. To me, isn’t that sufficiently rewarding?” she later states.

Wicked has continued to excel at the box office. The Universal film set a record for the highest opening weekend for a musical adaptation, amassing an estimated $114 million in domestic earnings, surpassing Grease just one week post-release to become the highest-grossing Broadway musical adaptation in history.