Imagine crafting a hideaway that's not just a stage prop, but a symbol of defiance and destiny for one of Broadway's most complex characters – that's the magic Nathan Crowley infused into 'Wicked For Good' as its production designer.
In this thrilling sequel, the tale of Elphaba, portrayed by Cynthia Erivo, and Glinda, brought to life by Ariana Grande, picks up right where the original 'Wicked' left off. We follow the witches as they grapple with the ripple effects of their past decisions. For Elphaba, the stakes couldn't be higher: branded the 'Wicked Witch,' her fate seems sealed, pushing her into seclusion deep within the Ozian woods. But here's where it gets intriguing – Crowley's vision takes this simple hiding spot and elevates it into a breathtakingly immersive world.
Onstage in the initial production, this refuge was depicted as a humble grotto, a basic shelter tucked away. Yet Crowley, drawing from the script's essence, envisioned something far more dynamic. He filled the forests with trees that could rotate and form ever-shifting, fluid silhouettes – think of it like living sculptures that bend and twist with the breeze. One standout concept he introduced, even though it wasn't explicitly in the script, was placing Elphaba in a lofty canopy atop what he called the 'mother tree.' This ancient, nurturing giant would become her sanctuary, where she'd fashion a nest as her home. And this is the part most people miss – it wasn't just set decoration; it mirrored her journey westward, transforming her into the legendary Wicked Witch of the West.
To bring this forest realm to life, Crowley collaborated closely with his skilled greens team, sourcing wood directly from nearby woodlands to keep everything authentic and earthy. They amassed a substantial pile of timber, then constructed a raised platform at just the right elevation. With help from the scaffolding and steel crews, they wove the pieces together organically, twisting and interlacing them into stunning, natural forms. The entire build stretched over six intensive weeks, resulting in a set that felt alive and integrated. Even the windows were seamlessly incorporated, flowing into the woven structure like extensions of the trees themselves.
But wait, there's more to this creative process. Crowley also thought ahead about how cinematographer Alice Brooks would illuminate the scene, ensuring the nest glowed with an otherworldly quality. The mold-making experts created enormous, silicone-based leaf molds, which artisans hand-painted with intricate vein patterns. These translucent leaves were then affixed to the roof, allowing light to filter through in mesmerizing ways – perfect for capturing the nest's mysterious ambiance.
Adding to the nest's allure, Crowley designed a bed right there within the branches, formed by intertwining twigs into a cozy, elevated perch. When asked about it, he chuckles, admitting they weren't entirely sure what it would become during construction – it evolved into a true work of art, more like a sculptural exhibit than a mere piece of furniture. This organic, unpredictable creation underscores the project's innovative spirit, blending practicality with pure imagination.
Now, here's a point that might spark some debate: Is this nest a nod to Elphaba's misunderstood nature, symbolizing her as a protective force rather than a villain? Or does it controversially reinforce her 'wicked' label by isolating her in a wild, untamed space? What do you think – does this set design change how you view Elphaba's character in 'Wicked For Good'? Do you agree that it's a masterful blend of storytelling and spectacle, or should productions stick closer to the script? Share your opinions in the comments below – I'd love to hear if this resonates with you or if you've got a different take!
