It was an odd experience, at the least, to be in the crowd at our annual Catholic family camp’s variety show and hear a group of pious young girls enthusiastically intoning, “No right, no wrong, no rules for me. I’m free!” Not exactly exemplary Catholic moral theology.
Parents will know what I’m talking about. It was a rare preteen girl who could not sing “Let It Go,” the smash hit from Disney’s “Frozen,” word for word and note for note in the summer of 2014. Late 2024’s own box office smash, “Wicked,” has a lot in common with that earlier animated movie. Indeed, Idina Menzel, who sang “Let It Go” as Elsa in “Frozen,” was the original Elphaba in the Broadway musical version of “Wicked.” As such, she also lent her voice to that production’s most powerful and iconic song, “Defying Gravity.“
It is quite a thing to be the voice of two generational anthems. But the songs’ commonalities go far beyond their original singer. Both “Defying Gravity” and “Let It Go” have the same basic subject matter and the same role in the story arc of their respective productions.
The thrill of rebellion
For starters, both songs are fierce expressions of independence over and against an uncomprehending and corrupt system. As such, any group that feels misunderstood or misused can find their own feelings expressed in the voices of Elsa and Elphaba. Both songs make the prospect of throwing off false expectations and promises exhilarating.
While in grad school in Toronto over a decade ago, my wife, Flannery, and I took in the musical “Wicked.” The close of Act 1, with Elphaba belting out “Defying Gravity,” suspended on guy wires over the packed auditorium, was the single most impressive piece of musical theater I have ever experienced. When the lights went up for intermission, no one moved for what seemed a very long time. We were all stunned.
But notice how important it is that “Defying Gravity” happens halfway through the show. It is not the resolution of the story’s tension, but its amplification. The power of “Defying Gravity” and of “Let It Go” does not come merely from the dramatic lyrics or the bracing music, or even from the magnificent vocal performances; it comes from the fact that both songs are fraught with the breakdown of community and relationship.
Unresolved tragedy
It is true that sometimes we must walk away from corruption and dysfunction, and that the courage to do so can be inspiring. But, however necessary, the breakdown of relationships is still tragic. It is always, at some level, a failure. And it is not the end of any good story.
“Let It Go” and “Defying Gravity” set the stage for the second half of their respective stories. They ask us not only whether our hero can find justice, but also whether they can be reintegrated into the community if they do. Or, we must ponder, is the breakdown irreversible?
Even “Hakuna Matata” from “The Lion King” has a similar function. Simba has run away from his home, his family and his responsibilities. And not without reason. His new friends try to sell him on a life without those things. And it seems fun and exciting, even liberating, for a while. But Simba learns that “no worries” will not satisfy in the end. And we moviegoers agree with him. If the closing credits started to roll after “Hakuna Matata,” we would not think “The Lion King” a very good movie.
Freedom without purpose
Elsa claims to be free without rules. Simba tries for a freedom without worries. In “Defying Gravity,” Elphaba declares, “And if I’m flying solo, at least I’m flying free.”
The contemporary imagination too often pits freedom against things like law, morality, responsibility and community. These songs give voice to that understanding of freedom. But, as a whole, the stories in which they appear tell another story. Freedom is not worth much if it means isolation or purposelessness.
And so, we long to see Elsa reconciled with her sister and to see Simba return to Pride Rock to reclaim his throne. Just knowing that they had asserted their independence would give only fleeting satisfaction.
What comes next in ‘Wicked’?
“Wicked” is not an animated Disney movie. The resolution is not as clean as we expect in children’s fare. Indeed, part of the point of “Wicked” is to get us to question certain neat and tidy categories. One way the film version achieves this is by breaking the story into two movies, one for each act of the stage musical. So, in Part 1, the credits do actually roll after “Defying Gravity.”
The result is that, when we have succeeded in picking our jaws up off the floor, we feel left hanging. The evocation of rebellion is thrilling, but we know it can’t be the end of the story. We want to know how Elphaba will fight the bad guys, sure. But we want even more to know that she hasn’t really become one herself. We want to know if, and how, she can still be a friend.
