All the Changes Made to Musical and Every Reference

The Universal Pictures logo has been replaced with a vintage version of the globe, reminiscent of the 1939 iteration—the year “The Wizard of Oz” premiered. 

As the camera pans over Oz before “No One Mourns the Wicked,” audiences see Dorothy, the Tin Man, the Cowardly Lion and the Scarecrow easing on down the Yellow Brick Road. Will “Part 2” tie back the classic “Wizard of Oz” story more overtly than the musical?  

In an overhead shot of Munchkinland, over 9 million tulips bloom across the fields of Oz, planted in a rainbow pattern as a tribute to the iconic song “Somewhere Over the Rainbow.” 

As the children of Munchkinland frolic through the flower-filled fields, they celebrate the demise of the Wicked Witch of the West. A group of them ring bells and clang pots in celebration, playing the familiar, triumphant tune: “Ding Dong, the Witch is Dead.” 

When Elphaba is born, she’s thrust into the arms of her kind-hearted nanny, Dulcibear, who isn’t in the stage musical at all. Dulcibear, played by Tony nominated Sharon D. Clarke, becomes one of the few folks who treats Elphaba with respect as she grows up, underscoring the film’s theme that animals are a crucial (and misunderstood) part of society. 

The stage version doesn’t dive into Elphaba’s childhood, but the film fills in the backstory. We see her powers emerge at birth, levitating objects (including a mystical bottle of green elixir) even as a newborn. The film also shows the bullying she faced over her green skin, which sparked magical outbursts — like shooting rocks at the kids who tormented her.

The Wizard of Oz is famous for traveling by hot air balloon, a detail that’s even documented in Elphaba’s children’s book about his origins. Balloons pop up all over the film — carved into Shiz’s facade beside the Wizard’s face, used to deliver invitations to meet the Wizard, emblazoned on souvenir stickers, adorning buildings in the Emerald City and even as a possible escape vehicle in the finale. 

L. Frank Baum, who penned “The Wonderful Wizard of Oz” book series, inspired Elphaba’s name in the “Wicked” novel by Gregory Maguire. Say “L.F. Baum” slowly. Sounds like “El-pha-ba!” Her last name, Thropp, is only mentioned once on stage, but gets brought up far more in the movie: the Wizard even addresses his non-transferrable invitation to “Elphaba Thropp.”

The film’s title card, which appears at the end of “No One Mourns the Wicked,” is designed in the style of “The Wizard of Oz’s” classic, curly script. 

The penultimate song of Act 2, “For Good,” sees Glinda and Elphaba reflecting on their friendship. The orchestration is subtly woven throughout the movie during moments of truth or genuine connection, including when Glinda longingly recounts her and Elphaba’s origin stories during “No One Mourns the Wicked.” The tune reappears during “Dancing Through Life” when Galinda and Elphaba connect on the dance floor – their first moment of true friendship. It even shows up during “Popular,” on the train heading to the Emerald City and during “Defying Gravity.”

Elphaba’s sister, Nessarose (who later becomes the Wicked Witch of the East), receives a pair of bejeweled silver shoes — the same ones Dorothy will eventually wear. Costume designer Paul Tazewell added a tornado shape to the heel, as a clever nod to the original twister that brought Dorothy from Kansas to Oz. 

Elphaba’s younger sister sports striped socks under her heels, a reference to her fate as the Wicked Witch of the East.

Galinda’s parents are only referenced in the stage musical, but never actually appear. In the film, the Upper Uplands see Galinda off as she arrives for her first day at Shiz. Galinda’s mother is even played by Alice Fearn, who formerly played Elphaba in the West End production of “Wicked.”

Galinda’s Shiz pals Pfannee and ShenShen are in the original musical, but have a much smaller role. The film sees Bowen Yang (playing a gender-swapped Pfannee) and Bronwyn James following Galinda around like lost puppies, providing comedic color commentary (usually at Elphaba’s expense). 

The stage show sees Elphaba arrive at Shiz as a student. In the film, however, she’s only there alongside her father to watch over her sister Nessarose as she starts at Shiz. After a magical mishap, though, Madame Morrible insists that Elphaba enrolls as a student herself. 

In both iterations, Elphaba makes a scene as she magically takes control of Nessarose’s wheelchair on orientation day at Shiz. On stage, Madame Morrible announces to everyone that she’s impressed by Elphaba’s powers and will write to the Wizard on her behalf. In the film, Madame Morrible takes credit for Elphaba’s show of power (likely to gain her trust), instead speaking with Elphaba about magic in private. 

Madame Morrible’s magical specialty is controlling the weather (including tornadoes). In honor of her stormy powers, hair and makeup designer Frances Hannon shaped her hairstyles to resemble swirling clouds. 

In a fit of rage, Elphaba wreaks havoc in the Shiz courtyard, knocking down a portrait of the Wizard. As it cracks and falls, an older emblem of the former animal leaders of Oz is revealed. Once powerful and significant, they have since been erased and replaced by the Wizard’s rule.  

The stage musical merely alludes to Elphaba’s powers, but they are in full force in the expanded land of Oz. She uses magic to crack a window in her and Galinda’s dorm room, practices levitation with Madame Morrible, can fly through the air during “The Wizard and I,” sends rocks at children as a child and experiences multiple visions of the future. 

Miss Cottle, a new character introduced in the film, is an administrative staff member at Shiz University played by Broadway alum and “Greatest Showman” standout Keala Settle.

Miss Cottle yells “Not to fret – just a slight gulch!” when surprised by Elphaba’s arrival at Shiz. The exclamation is a subtle nod to the name of the original “Wizard of Oz” Wicked Witch – Almira Gulch. 

Blink and you might miss it: when students are reading their dorm assignments at Shiz, a familiar name appears. Ama Clutch is assigned as Galinda’s suite neighbor — a nod to the original “Wicked” novel, where she serves as Galinda’s school chaperone. She isn’t mentioned in the stage show. 

While Elphaba is running through a field singing “The Wizard and I,” she leaps into the air with a rainbow in the background as a nod to Judy Garland’s famous song “Somewhere Over the Rainbow.” There’s even a flock of bluebirds, a direct nod to the famous lyric: “Somewhere over the rainbow, bluebirds fly.” In addition to seeing the rainbow on screen, fans can also hear it. During the “Unlimited” lyric in “The Wizard and I,” the orchestration of “Somewhere Over the Rainbow” can be heard underneath Cynthia Erivo’s vocals.    

When Galinda and Elphaba write home to complain about their new roommate, they slip in some new lyrics from the original soundtrack in their letters to their parents. Galinda makes the keen observation that her parents can’t respond immediately, given that it’s a letter, for example.

During “What Is This Feeling?” there’s a combat lesson —potentially foreshadowing the later altercation in the musical, when Galinda uses her wand as a spinning baton in a catfight with Elphaba.

Madame Morrible and Elphaba spend more one-on-one time together than in the stage iteration, working to refine Elphaba’s magic skills in preparation to impress the Wizard. Morrible encourages her to learn how to harness her emotions to gain better control of her powers.  

There are several nods to the Wicked Witch of the West that “Wizard of Oz” fans will recognize, including the shadowed fingers as Elphaba attempts to conjure her power in a session with Madame Morrible, a tribute to Margaret Hamilton’s iconic portrayal of the Wicked Witch in the original “Wizard of Oz.” 

Dr. Dillamond is the only animal on staff at Shiz in the stage show (he calls himself “the token goat”), but the film sees him meeting with animal colleagues to discuss their treatment and the disquieting rumors that animals are losing their abilities to speak. 

Elphaba has the power to see the future. She sings, “I’ve just had a vision, almost like a prophecy… a celebration throughout Oz that’s all to do with me.” At first, she thinks it’s a good omen, but it actually foreshadows the Munchkins celebrating her death in “No One Mourns the Wicked.” She also has other visions, like one of Dr. Dillamond trapped in a cage. 

During Fiyero’s entrance, he meets Elphaba in the forest rather than with a group of classmates at Shiz. Fans of the musical may recognize Elphaba’s insult— “Get stuffed”— as subtle foreshadowing to his fate in the second act. 

Fiyero – who typically makes his entrance passed out in a carriage on stage – swaps his footman (and Parent Trap-inspired goodbye handshake) for a noble steed. In fact, the horse used in the production was the same animal actor that Jonathan Bailey worked with in “Bridgerton.”

Production designer Nathan Crowley created the elaborate library (or “book place,” as Galinda would call it) with rotating circular shelves. The ladders were designed to move separately from the wheels, allowing the letters “O” and “Z” to form at different points during the choreography. 

When Fieryo is looking for somewhere to corrupt his peers, he looks to the Ozdust ballroom. The lyrics and dialogue in which he suggests the location differs in the movie, both in location (moved to a different verse) and content (Galinda explains that the Ozdust is more of a scandal-odious night club than a student hang). There’s also extended orchestrations and additional choreography. 

As Fieryo taps his toes through the dance number, take a look at the books he walks on—they’re real Shiz course texts and Ozian spell books, each one carefully designed in detail by the production team. 

During “Dancing Through Life,” Fieryo observes Galinda off to the side in a foreshadowing pose—body slouched, arms extended—a subtle hint at his future in the musical.

There are two subtle nods to Boq’s metal future during “Dancing Through Life”: Galinda places his red handkerchief over his heart, and Boq remarks that he “cries a lot,” foreshadowing the behavior of a certain heartless character in “The Wizard of Oz.”

The expanded world of Oz (and not limited by stage set changes) lets Jonathan Bailey’s Fiyero lead a group of students to the hidden Ozdust ballroom via boat and waterways —something that’s never seen in the stage production. 

The increased animal presence in the film extends to the Ozdust ballroom, a speakeasy-style venue where animals lead the house band. 

A pair of bejeweled red heels makes an appearance when Galinda gives outfit suggestions to Elphaba during “Popular,” as a wink to Dorothy’s iconic ruby slippers from “The Wizard of Oz.” They’re even clicked three times!

Ariana Grande adds a fresh spin at the end of “Popular,” opting up and changing the key not once, but twice with two additional “La La, La La” sections before the grand finale.

Dr. Dillamond reveals in an early scene that he’s particularly fond of poppies. “Wizard of Oz” fans will remember the crucial role the flowers play in the film, lulling Dorothy and the gang to sleep as they venture through a poppy field. After Dr. Dillamond is removed from his post at Shiz, a human professor brings a caged lion cub into his classroom, expressing his intent to prevent the animal from ever speaking. Elphaba magically distracts her peers, allowing her to escape with Fiyero and the cub. On stage, the students are forced into a fitful dance, while the film adaptation shows Elphaba floating Dillamond’s poppies around the room, causing her classmates to fall asleep (except Fiyero, who, like the Scarecrow in “The Wizard of Oz,” stays awake).

During their escape, Elphaba and Fiyero hop on bikes, with the newly-rescued lion cub tucked in a basket. This is a nod to Margaret Hamilton’s portrayal of the Wicked Witch in “The Wizard of Oz,” where she rides her bike with Toto in a basket as Almira Gulch in Kansas. As they pedal away, the Wicked Witch’s famous theme song plays in the background.

Madame Morrible shields Elphaba from the rain with an umbrella before using her magic to clear the skies. But before doing so, she tells Elphaba, “We mustn’t let you get wet”—a nod to the Wicked Witch of the West’s famous weakness when Dorothy throws a bucket of water on her. 

The Wizard of Oz has his own unique form of invitation: by balloon. Elphaba receives a personalized summons from the Wizard in the shape of a mini hot air balloon, along with a non-transferable paper invite. 

Born Oscar Diggs, the Wizard of Oz is from Omaha, Nebraska, according to L. Frank Baum’s original novels. The film includes several nods to Omaha, like a label on the mini balloon invitation, a chant of “Oh-ma-ha, Oh-ma-ha” from the Wizomania hologram, and even luggage in the attic labeled with the city’s name during the finale “Defying Gravity.”

Elphaba and Nessarose’s father is absent in the musical after dropping them off at school. However, in the film, the Governor of Munchkinland returns to see his eldest daughter off to the Emerald City and also meets his youngest daughter’s new boyfriend, Boq. 

As Elphaba and Glinda are momentarily separated at the train station and on the platform, the orchestration of “No One Mourns the Wicked” hums underneath. The two are – momentarily – separated and alone.

Composer Stephen Schwartz added new music for the film, including an extended introduction to “One Short Day,” featuring musical trills as Elphaba and Glinda approach the Emerald City via train. 

Waterways and balloons aren’t the only ways to travel around Oz. The Emerald City train, designed to embody “fantastical technology,” was practically built at 106 feet long, 58 tons, and over 16 feet tall.

Broadway’s original Glinda and Elphaba make a cameo during “One Short Day” as performers who tell the story behind the Wizard. Both actors were initially hesitant to appear for fear of distracting from Grande and Erivo’s moment, but producer Marc Platt convinced them that the film wouldn’t be the same without honoring their legacy. Menzel busts out her signature “Defying Gravity” riff during the song and Chenoweth recreates iconic Glinda wand manerisms.

The Wizomania Choir is joined by the Emerald City Players, led by Chenoweth and Menzel, in new lyrics for “One Short Day.” Composer Stephen Schwartz wrote an additional verse for the Emerald City anthem, extending the stage’s mini “Wizomania” play with a more detailed backstory for the Wizard. This new version explains how people believed he was a savior, destined to fulfill a prophecy as a “magical wise one.” When in reality, he was just a guy who chanted “Omaha.” 

Composer Stephen Schwartz cameos as the Oz soldier who allows Elphaba and Glinda into the Wizard’s palace at the end of “One Short Day.” 

The musical’s book writer Winnie Holzman also appears in the Emerald City during “One Short Day,” touting the Wizard’s ability to read the Grimmerie. 

When composing “Wicked,” Schwartz included musical easter eggs to the “Wizard of Oz” score – including the tune of “Follow the Yellow Brick Road” within the score of “One Short Day.”   

In “The Wizard of Oz,” the Wizard famously tells everyone to “pay no attention to the man behind the curtain.” This version nods to that line with a new scene, where the Wizard dances behind a curtain while showing Elphaba and Glinda his vision for Oz’s future. 

Trying to bond with the witches, the Wizard shows them a diorama of the city and even asks for their input on what color to make his brand-new brick road. 

The Wizard’s pre-Oz persona makes a few appearances in the palace attic, including a sign promoting the magician “Oscar Diggs” and a trunk from his old magic act. 

In a departure from the stage show, Elphaba and Glinda attempt to escape the palace through the ceiling by the Wizard’s hot air balloon. When that fails, Elphaba resorts to enchanting a flying broom. 

Fans of the musical will recognize the iconic moment in “Defying Gravity” when Elphaba lifts into the air on her broom, her black cape sprawling across the stage. The film honors this moment by lifting Cynthia Erivo in a similar pose, filling the frame with her black fabric as she soars high above the guards of Oz. 

As Elphaba rises above the Wizard’s guards during “Defying Gravity,” their lyrics differ depending on the medium. In the stage show, they shout “Get her!” while in the film adaptation, they chant “Kill her!”

An extra vocal section is added at the climax of “Defying Gravity,” with Erivo belting “Unlimited!” as the audience sees how folks throughout Oz react to Madame Morrible’s declaration that Elphaba is a Wicked Witch.

In act two of the musical, it’s revealed that Elphaba and Nessarose’s father dies of shame. However, in the final scene of part one, we see him collapse upon hearing the public declaration of his eldest daughter’s wickedness. 

Along with Elphaba’s father, we also see the responses from her peers at Shiz when Elphaba is declared public enemy no. 1. Fiyero flees the scene, while Boq looks up in fear and shock as chaos erupts at school. 

“Wicked: Part One” wraps right after “Defying Gravity,” just like the stage musical’s first act. “To Be Continued” appears in the same font as the “Wizard of Oz” title, but this time in color, signaling a full immersion into the world of Oz.  

The “Wicked” movie is significantly longer than the stage musical. The entire Broadway show is 2 hours and 45 minutes long (including a 15-minute intermission), while the first “Wicked” film alone clocks in at 2 hours and 40 minutes – with an entire second act to cover in the sequel. But we’re not complaining — more “Wicked” is always a good thing.