Wicked: One Wonderful Night Review 2025 Tv Show Series Cast Crew Online
The television special Wicked: One Wonderful Night (2025) arrives as a two-hour celebration of all things Oz, boldly staging a live-event celebration of the musical juggernaut Wicked — both the Broadway phenomenon and its cinematic adaptation. Airing on NBC on November 6, 2025 and streaming the following day on Peacock, the special functions primarily as a send-up of the beloved musical’s legacy and a promotional boost for the upcoming film sequel Wicked: For Good.
From the outset the production throws everything a fan might crave onto the stage: powerhouse vocal performances, a live orchestra, elaborate costumes, fan-filled energy, and behind-the-scenes glimpses. The star pairing of Cynthia Erivo (as Elphaba) and Ariana Grande (as Glinda) anchors the event, bringing new arrangements of familiar songs such as “The Wizard and I,” “Defying Gravity,” and “Popular.” A 37-piece live orchestra under musical director Stephen Oremus bolsters the spectacle.
In many ways, the special delivers exactly what it promises: a joyous romp through Oz, tailored for both die-hard fans of the stage version and newcomers keen for a taste of the film adaptation’s grandeur. The staging at the legendary Dolby Theatre in Los Angeles offers glamor, scale and pageantry. Erivo’s “Defying Gravity,” in particular, stands out—a moment of pure showmanship, complete with flying harness and riveting vocal tone, that for many encapsulates the event’s high-wire ambition.
Yet for all its strengths, the special is not without its flaws. One of the more frequently noted critiques is that while the segment-style format delivers thrills, it lacks the sustained emotional arc of a full production of Wicked. Some of the interstitial segments — clip packages, fan montages, and backstage glimpses — feel like filler, interrupting the flow of consecutive musical numbers and diluting the momentum that a stricter concert might have maintained.Moreover, a major absence is that of Jonathan Bailey, whose role as Fiyero looms large in the franchise: his physical absence on stage was widely remarked upon as a missed opportunity.
One cannot speak of this special without acknowledging its dual identity: it is simultaneously a love letter to Wicked’s fanbase and a marketing vehicle for the upcoming film. That dual purpose imbues it with both generous fan-service and a certain commercial sheen. Clips from the sequel, new song previews, and appearances by the cast from both film and stage all combine to create an event that is less about narrative immersion and more about spectacle, anticipation and fandom. For viewers primarily seeking storytelling progression, the special may feel light. But for those invested in the brand, it hits many of the high notes. For example, new songs from the sequel such as “No Place Like Home” and “The Girl in the Bubble” were teased.
Visually and sonically, for what it sets out to be, Wicked: One Wonderful Night succeeds. The production design leans into emerald and pink, glitz and glamour; the choreography and staging reference the theatrical roots without slavishly replicating them, offering instead a “movie-musical meets concert special” feel. The live vocals and orchestra deliver real heft, particularly in moments like Erivo’s soaring belting or Grande’s polished pop-musical delivery. Audience participation moments—flowers waving, fans dressed in character, interactive choreography—give it a feel of communal event-television in a way that recalls classics of the genre.
On the downside, the framing of the event means that some thematic depth is lost. Wicked as a stage musical has always carried subtexts of otherness, rebellion, friendship, and identity. While the special touches on those ideas (e.g., Elphaba’s defiance in “Defying Gravity”), it doesn’t dwell on them in any substantial way. Indeed, one sharper moment — when Marissa Bode introduced “Defying Gravity” by noting that it is “an ode to authenticity and about believing in yourself no matter what obstacles the world puts in your way” and referenced “power-hungry dictators” — was edited out of the broadcast. So, the message becomes lighter, more celebratory and less pointed than the original musical often is.
Additionally, although fan service is strong, it may come at the cost of broader appeal. For an audience unfamiliar with Wicked’s lore, the rapid succession of highlights may not allow sufficient grounding in who the characters are or why the stakes matter—this is less a narrative retelling than a highlight reel. In that respect, the special functions best as a companion piece to the films or stage show rather than a standalone introduction. Entertainment Weekly’s assessment similarly flagged the lack of a full-cast ensemble number and other missed structural opportunities.
Another key point: the energy and excitement are strongly dependent on being part of the live audience experience, which cannot fully translate through the screen. Several behind-the-scenes moments—audience costumes, interactions, multiple takes of numbers, backstage camaraderie—were reported but not fully shown. The truest magic seemed reserved for those in the theatre; home viewers get a robust version, but perhaps not the full buzz.
It is also worth noting the timing: airing just weeks prior to the film’s release, the special rides a wave of anticipation and serves as part of the promotional machine. That means choices are driven not only by art but by marketing: teasers, previews, star cameos, and brand immersion dominate. The viewer seeking purely spontaneous musical magic might detect the commercial framework and feel slightly short‐changed in terms of organic moments.
Still, for what it aims to achieve—namely, a vibrant, high-end televised celebration of Wicked—Wicked: One Wonderful Night largely delivers. For fans of the franchise, the payoff is real: standout performances (Erivo and Grande particularly), strong production values, fun fan-centric moments (like a young child invited to perform “Popular” with Grande), and a sense that the Oz mythos retains cultural vitality. The spectacle is polished and pleasurable. For general audiences, it may land as a “pretty good concert special”—entertaining, visually striking, but perhaps lacking deeper emotional or narrative engagement compared to a full production.
In conclusion, if one judges Wicked: One Wonderful Night on its own terms—as a fan-centric, musically driven live-event spectacle—then it succeeds admirably. It captures the excitement of being part of the Oz community, celebrates the cast’s talents, and offers enough new content to make it more than just a repackaging. If instead one hoped for a full re-imagining of Wicked’s story or a pulse of raw theatricality, it may feel a bit on the “highlight reel” side of things. Ultimately, it serves best as a love letter to existing fans and a theatrical teaser for what’s to come, rather than as a transformative television event. Either way, for those who’ve ever tapped their feet to “Defying Gravity” or dreamed of Emerald City, it offers one wonderful night indeed.
