Macro to Micro Magic: Behind the Film Sets of Wicked with Nathan Crowley
The long-awaited film adaptation of Wicked brings to life a magical world where both macro and micro design elements work in harmony to immerse the audience in the origin story of Elphaba (The Wicked Witch, played by Cynthia Erivo) and Galinda/Glinda (Ariana Grande). Directed by Jon M. Chu and designed by Nathan Crowley, the film’s world-building draws on history, fantasy, and nostalgia, crafting a space that feels both familiar and completely new. In this article and exclusive interview with Film and Furniture’s Paula Benson, Crowley takes us on a journey through his design process, revealing the intricate details of the Wicked film sets that make the movie visually spectacular.
With 10 Oscar nominations in The 97th Academy Awards, including Production Design, Best Picture, Actress in a Leading Role, and more, you won’t want to miss our feature below, or watch the video interview for more insights. You can also listen on our brand new Film and Furniture podcast via Spotify, Apple Podcasts and all your usual platforms.
Crafting a World Both Familiar and New: From Macro to Micro
Creating a world as iconic as Oz is no small feat. Nathan Crowley’s challenge was to honour the legacy of the 1939 The Wizard of Oz, Gregory Maguire’s Wicked novel (1995), and the 2003 musical stage adaptation, while crafting something that felt both contemporary and groundbreaking. A tricky mix, but Crowley, alongside his talented team, nailed it by blending practical design with a touch of magic.
From the expansive backlots at Sky Studios Elstree to the picturesque sets built in the Buckinghamshire countryside, Crowley made sure every corner of Oz was crafted with care—whether it was Shiz University, the bustling Munchkinland, or anywhere in between. Crowley and his team mapped out each scene using models, illustrations, and references, blending practical effects with artistry to create a world that feels both tangible and fantastical. Wicked delivers a big-world immersive experience where both the architecture and meticulous decorative details transport the audience into Oz.
In keeping with Chu’s perception of the American Dream, the return to the world of Oz features real yellow bricks for the yellow brick road and a dazzling Emerald City inspired by The White City —the neoclassical buildings designed for the 1893 World’s Columbian Exposition in Chicago.
“It’s all about pushing the audience into this world. Everything needs to feel real, from the design of the sets to the way the actors interact with them. It’s the details that make the world come alive,” Crowley explains. “It’s not just about the big shots; it’s about the details—the tiles, the windows, the arches. Every little piece of the set has a purpose and a reason for being there.”
Oh, and there’s also a 106-foot-long, fully functional locomotive and fields of real tulips stretching as far as the eye can see.
Munchkinland: A World in Bloom
Munchkinland is like the design equivalent of a vibrant postcard from your most eccentric aunt. Crowley’s love for colour and texture is evident here, where tulips play a starring role. Nine million real tulips were sourced from a Norfolk farm to fill the land with bright hues—because, why not? “We wanted Munchkinland to be the most colourful, happy place, filled with whimsy,” Crowley explains. “The tulips serve a dual purpose—they’re used to dye the Munchkins’ clothes. Practical and pretty.”
The set is covered in thatched roofs, oversized chimneys, and tulip carvings. It’s a visual feast. “We had to build the entire village around a theme,” Crowley adds. “What do the Munchkins do? They farm colour. And we wanted every little detail to reflect that.”
And Glinda’s throne bubble? A magical touch with padded cream upholstery and intricate carvings that make it feel like a piece of furniture royalty.
Shiz University: Architecture Meets Magic
Shiz University is where Elphaba and Glinda first meet, and it’s got architecture that could make a Hogwarts student a little jealous. Drawing inspiration from American grandeur, Moorish arches, and Venetian courtyards, Crowley created a space that felt both timeless and magical. Students arrive by boat (because why not make your first day at school feel like an adventure?), and the courtyard entrance features onion domes, arches, and water passages.
“The idea was to create a university that feels both ancient and whimsical,” Crowley says. “The architecture speaks to the harmony between nature and magic. We drew inspiration from all over the world—from Roman courtyards to Italian palaces to Moorish design. Every detail had to enhance the feeling of magic.”
The university’s architecture conveys Americana through grand arches, with turn-of-the-century influences visible in both the girls’ dreamy pastel dorm room and the library. Every inch of the set is meticulously detailed, with tiles, carvings, and vibrant colours.
Crowley took inspiration from the Royal Pavilion in Brighton, where he attended art college, for the dorm room’s unique petal-shaped windows and painted ceiling adorned with botanical motifs and ivy.
Glinda’s oversized luggage doubles as storage for her fashion forward (mostly pink) wardrobe, while the Moroccan-style ceiling light she swings on, adds to the room’s quirky atmosphere. Wood paneling, a fireplace, transparent glass and brass table and wall lamps, an art nouveau style tulip-shaped bedside lamp, and an oval mirror complete the room’s magical charm.
Get the look: Pretty tulip shaped bedside lamps
Top left to right: Bieye Flower Tiffany Style Stained Glass Table Lamp, £179 from Amazon; Romantic Pink Floral Table Lamp (USB Powered) £142 from Etsy; Handmade Flower Table Lamp Flower Night Lamp, £41.50 from Etsy
Bottom left to right: Vintage art nouveau style pink flower table lamp, £49.50 from Etsy; Art Nouveau Golden Brass and Pink Frosted Glass Table Lamp, 1930s, £171 from Pamono, Josephine Table Lamp, £55 from Marks and Spencer
“The dorm room needed to feel both magical and lived in,” Crowley shares. “We built it using a mix of real-world references and fantastical elements—from the luggage to the light fixtures. It was a room designed for two strong characters with distinct personalities, yet they had to share the space.”
The library’s spinning bookshelves, featured in the Dancing Through Life number, are a nod to the 1951 musical Royal Wedding, where Fred Astaire famously dances on the ceiling. This moving set, built to accommodate dance sequences, is a technical marvel. “It was all about the interaction between design and choreography,” Crowley says. “We had to design the spinning bookshelves to be functional, but also to amplify the energy of the dance. The whole set had to move with the characters.”
The Emerald City: A Majestic Dream
The Emerald City is where the magic turns up to eleven. Crowley’s design takes inspiration from the architecture of Chicago’s 1893 White City and ornamented facades and tile designs by Louis Sullivan and Frank Lloyd Wright. The fusion of neoclassical and modernist elements creates a city that is both grand and dreamlike. While the city is drenched in green, Crowley and his team took great care to balance the hue, mixing shades of green with blues and bronzes to avoid overwhelming the set.
Crowley’s vision of the Emerald City isn’t just about grandeur; it’s about warmth too. With intricate tile work and textures, the city feels both majestic and welcoming.
“The Emerald City is supposed to be dreamlike, but it had to feel real,” Crowley reflects. “I wanted the city to feel alive—every piece of architecture, every tile, had to contribute to the narrative. And the green had to work with other tones, not dominate the space. It was all about contrast.”
And let’s not forget the Emerald City Express—a 106-foot-long, fully functional train that transports Glinda and Elphaba to the Wizard’s palace. Crowley’s commitment to practicality shines here: “The train had to feel like part of the world,” he says. “It needed to feel real, but magical—like it was pulled right from the characters’ dreams.”
The bustling marketplace, filled with street vendors and fashion stores, leads to Wizamania, where everything feels larger-than-life. “The fountain in Wizamania had to unfold like a giant flower, which was crucial for creating a sense of wonder,” Crowley shares. “Jon wanted it to be dynamic, with water starting up in a mesmerising sequence.”
Moving from the marketplace, the journey continues to the vast Great Hall, designed to intimidate, before entering the Throne Room. “The Throne Room is all about grandeur and power,” Crowley explains. “It’s built to overwhelm, with strings of curtains in various shades of green. Behind them, the mechanical Wizard’s head—measuring 16 feet tall—emerges.” The head, based on a three-dimensional scan of actor Jeff Goldblum’s face, was constructed from wood and controlled by hydraulics, a true feat of engineering. “It had to feel like an illusion,” Crowley adds, “as The Wizard is all about creating the spectacle of power.”
Practical Effects Meet Fantasy
One of the defining aspects of Wicked is its seamless integration of practical and visual effects. Crowley has spent his career blending the two, whether it’s in Interstellar or The Dark Knight. “The key to creating an immersive world is authenticity,” Crowley says. “If actors interact with real objects, they perform differently. There’s an energy that comes from working on a set that feels real. That’s what we strive for.”
The film sets of Wicked are a triumph of design—every scene, set, and prop is packed with thought, detail, and love. Nathan Crowley’s work has transformed this magical story into a world that feels believable and, more importantly, unforgettable. It’s a masterclass in world-building—blending history, fantasy, and cutting-edge design into something that will remain in the minds of audiences long after the credits roll.
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