Exploring Nathan Crowley’s Creative Set Design in ‘Wicked: For Good’ – From Floating Castles to Enchanted Trees
As the returning production designer for Wicked: For Good, Nathan Crowley is poised to expand the beloved world of Oz. His focus shifts from the familiar Shiz University to more dynamic settings, including the ethereal Kiamo Ko and Elphaba’s secluded forest hideout. This second installment promises a richer visual narrative, showcasing deeper explorations of iconic locations.
“The story takes off, and we go on these incredible epic journeys,” Crowley stated. “We come back some years later; the Wizard’s building yellow brick roads and oppressing the landscape. So, where has Elphaba gone?”
One of Crowley’s initial challenges was determining Elphaba’s hiding place. “It started with having this dense canopy that she just flies into,” he explained. “Then we intertwine all the tree trunks and branches to create a nest.”
To achieve this authentic look, Crowley utilized a greens department that wove actual wood and branches into the set. “We realized if we built it out of molds and casts, it just wouldn’t flow,” he noted. “So these three or four nature sculptors wove the whole set together over a period of six to eight weeks. It’s a very organic set, which I think plays well in the film.”
Elphaba’s next refuge is Kiamo Ko, the floating castle belonging to Fiyero’s family. This design contrasts sharply with the organic aesthetic of other locations. “We leave film one with ‘Defying Gravity’, and then we end up at Kiamo Ko, which I wanted to depict as a floating castle,” Crowley said. He sought architectural concepts that would defy gravity for Elphaba, incorporating elements that suggest ancient magic.
“The concept was rooted in the time of the Grimmerie, the magical book of spells,” Crowley explained. “It features upside-down arches and a configuration that makes it appear to float.”
In addition to Kiamo Ko, Crowley crafted Glinda’s apartment in the Emerald City, intentionally softening its design in contrast to the Wizard’s tower. “Glinda’s had to be softer, more romantic to suit her personality,” he said, drawing inspiration from the Art Deco style of Hollywood’s golden age, which resonates with the original Wizard of Oz.
The complexity of Glinda’s apartment layout arose from the song “The Girl in the Bubble,” which required seamless transitions through mirrors and reflections. “An intricate collaboration with director Jon M. Chu and cinematographer Alice Brooks was essential,” Crowley stated. “They wanted to create a journey between her and a reflection, symbolizing her past and the future person she needs to become.”
Ultimately, Crowley developed an almost completely symmetrical set. “There are two stairs, two mirrors, equal doors… symmetry was crucial for a specific reason,” he said, adding that hinged walls and other "tricks" were used to allow smooth camera movement behind the mirrors.
Crowley’s creative vision for Wicked: For Good is set to redefine the landscapes of Oz, providing viewers with an unforgettable cinematic experience.
