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24 Winter 2025 • sai-national.org CD Reviews WICKED: THE SOUNDTRACK Wicked Film Cast, Cynthia Erivo, Ariana Grande, Music & Lyrics by Stephen Schwartz Republic Records & Verve Records, November 22, 2024 As many musical film enthusiasts will attest, you'll either have a Chicago, or a... well, Cats. However, I am pleased to report that Wicked's film, and its accompanying soundtrack, bring a listening experience that lovingly recreates, elaborates, and even improves upon its source material. Stephen Schwartz's genius compositional choices make the experience just as engaging as watching the film. In "I'm Not That Girl," the time signature changes when we go to the "land of what might have been," but changes back when "reality sets back in." The "Ozdust Duet"—which truthfully demands an analysis of itself—plays with story, both on-screen and on the page. In respect to the pacing that film as a medium requires, listeners will also notice exciting new segments which allow breathing room for the score. My favorite example is the end of "Defying Gravity," where the percussion simulates rushing wind as Elphaba flies away and the movie cuts to black. Each musician treats Stephen Schwartz's work with love and adoration, and with the talent to do so. In an incredible feat, Ariana Grande soars while still enunciating clearly as Galinda in "No One Mourns the Wicked," and her opt up at the end will blow you away. She channels her inner Kristen Chenoweth in her faithful rendition of "Popular." Speaking of the original Galinda (and SAI Honorary Member), "One Short Day" features cameos by Chenoweth, Elphaba originator Idina Menzel, and Stephen Schwartz himself! Jeff Goldblum is a slimy, diabolical Walt Disney in "A Sentimental Man." Even Michelle Yeoh and Peter Dinklage, who are not usually known for music, bring authenticity and dedication to their musical performances of Madame Morrible and Dr. Dillamond, respectively. But every production of Wicked needs its Witch. Cynthia Erivo, a powerhouse of Broadway fame, does not portray but becomes Elphaba. Her low notes are rich and resounding, no strain or struggle to be found. She carries the genuine innocence of "The Wizard and I" with ease. However, her performance of "Defying Gravity," in my humble opinion, blows out of the water any Elphaba I've ever heard. I felt the power of her final battle cry in my bones, and to date, is the only time I've ever cried at Wicked's soundtrack on its own. I won't lie; this was probably the hardest review I've ever written, just because there's so much I want to talk about but just don't have room to do so. Wicked is one of the most popular—and I'd argue, most influential— productions of the twenty-first century so far. I promise you, this album is a must for not only fans of the original musical, but for enjoyers of all music. It will definitely occupy your time in the best of ways until Wicked: For Good flies into theaters this November. The album is available on CD and vinyl, and can also be streamed on Amazon Music, Apple Music, and Spotify. JOURNEY HOME Mary Jay Independent Released Oct 12th, 2024 W hen I was in high school, I read Henry David Thoreau's Walden. The American writer's chronicle of living along the shores of Walden Pond, far from even a single neighbor, captures the soft yet powerful beauty of nature. If I were to pick it up again, I would pair it with a glass of wine and Journey Home. The debut EP from Nashville-based folk pop artist Mary Jay is peaceful yet unafraid to confront darkness. The work calls to mind the lyricism of Taylor Swift and Melanie Martinez, the instrumentals and performance of Paris Paloma, and lyrical and compositional nature imagery galore. Her finger-picking is clean and crisp, its appearance in the first track, "Untitled Itinerary," not only capturing a child-like innocence but showcasing her talent as a guitarist. You can feel the rhythm of "Butterfly" in your body; you'll be snapping and nodding along before you know it. Lyrically, "Mastermind" shares more in common with Swift than just a song title, and is arguably the "darkest" track. But like "Clockwork," it is raw and honest. These are the two songs you're most likely to cry to, so add a box of tissues to your night in. The final track, "Nashville Lights," rounds out the EP with a hymn that would fit well within Contemporary Christian Music, and guitar that creates the image of both twinkling stars and city lights. Journey Home is just that: a journey back to nature, to our roots as humans. Allow Mary Jay's voice — every note a piece of her soul ripped out from its depths that she is eager to share with others — to be your guide. The EP is available for streaming on Spotify, Amazon Music, and Apple Music. If you're lucky enough to catch her at one of her live shows, you can also buy it on physical CD. You can follow Mary Jay on Instagram at @maryjay_music.

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