As we approach the long-anticipated release of Jon M. Chu’s film adaptation of the Broadway classic, Wicked, conversations have once again sparked about the eligibility of singers to take on acting roles. With Ariana Grande playing Glinda, one of the two main roles, her already avid fanbase has been exposed to the new artistic sphere that is musical theatre. Yet she is not a stranger to this world, having made her Broadway debut at just 14, in 2008 musical 13 alongside Victorious cast mate Elizabeth Gillies; performed as Penny in NBC’s Hairspray Live!; and acted in productions of Annie, The Wizard of Oz, and Beauty and the Beast as a child. She is extremely acquainted to the demands of musical theatre and is undoubtedly qualified for this iconic role in my very (un)humble opinion.
However, while the recurring presence of pop singers in Hollywood repeatedly spurs online discourse, this has happened for as long as Hollywood has existed with varying responses – think Elvis in Jailhouse Rock (1957) and Love Me Tender (1956). Some of the most successful and accepted instances either include a widely loved musician having a cameo appearance/taking a secondary role or movies where the singer cast uses their background and expertise in a role. For example, Snoop Dogg’s numerous cinematic appearances include Pitch Perfect 2 (2015) and The Addams Family (2019), in which he plays minor comedic roles that work so well partly because of his off-screen carefree persona. On the other hand, the casting of Beyonce in Dreamgirls (2006) is a perfect example of how singers taking on acting roles can work well when their talent and skillset are at the forefront of their role and help create more authenticity.
That being said, some disastrous casting choices in modern cinema (according to critics) include Harry Styles in Don’t Worry Darling (2022), with the Guardian describing him as “glassily superficial” and the movie itself as “style over substance” and receiving only 38% on Rotten Tomatoes. While there is something to be said about the commercial exposure Styles gained from his stint in acting – Dunkirk (2017), Eternals (2021), My Policeman (2022) – those reviews, alongside the messy swarm of social media discourse on the cast’s supposed drama at the 2022 Venice Film Festival, give the sense that the singer may prefer to boot scoot his way to a fourth studio album instead of learning lines and reading scripts.
Perhaps former theatre kids, like Grande, are the saviour of the modern musical adaptation, and the general public is long overdue to re-examine perceptions of theatre kid culture. Perhaps there is no formula for determining a singer’s on-screen skill. Perhaps it’s pure luck. However, I, for one, feel confident that the adaptation of such a beloved musical is in the safe hands of those who hold it just as close to their hearts as we do.
“Ariana Grande at the Met Gala 2024 (1)” by Vogue Taiwan is licensed under CC BY 3.0.