If you’ve ever sat in the Gershwin Theatre or watched the movie adaptation, you know that moment. The lights dim. That jagged, synth-heavy opening riff of "No One Mourns the Wicked" starts to vibrate in your chest. It’s a specific kind of magic. Most people think they know the list of songs from wicked because they’ve belted "Defying Gravity" in the shower, but the actual score by Stephen Schwartz is a tangled, brilliant web of leitmotifs and callbacks that tell a much darker story than the radio edits suggest.
It’s honestly kind of wild how these songs have stayed relevant for over twenty years.
Schwartz didn't just write catchy tunes. He wrote a musical language. When you listen to the list of songs from wicked, you’re hearing a battle between two different musical styles: the bright, poppy, major-chord energy of Glinda and the moody, dissonant, and angular melodies of Elphaba. It’s a masterclass in characterization through sound.
The First Act: Setting the Stage for Rebellion
The show kicks off with "No One Mourns the Wicked." It’s a huge, sweeping ensemble number, but it’s fundamentally a lie. The Ozians are celebrating a death, and the music feels triumphant, yet there’s an underlying tension. It sets the tone for the entire show—nothing is quite what it seems.
Then we get "Dear Old Shiz." It’s a short, choral-style anthem. It feels like a standard school song, but it establishes the setting where Elphaba and Glinda (then Galinda) first clash.
Then comes "The Wizard and I." This is Elphaba's "I Want" song. If you’re a theater nerd, you know the "I Want" song is the engine of any musical. Think "Part of Your World" or "My Shot." In "The Wizard and I," Idina Menzel—and the dozens of Elphabas who followed—showcase a soaring optimism that is genuinely heartbreaking when you know how the story ends. The song is full of bright, hopeful leaps in the melody.
"What is This Feeling?" is the ultimate "loathing" song. It’s fast. It’s punchy. It’s a duet that relies on perfect timing. It perfectly captures that specific college-roommate-from-hell energy.
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- "Something Bad" introduces the darker political subplot involving Dr. Dillamond. It’s a quieter, more somber moment that reminds the audience that Oz is becoming a police state.
- "Dancing Through Life" is Fiyero’s big entrance. It’s supposed to be a carefree anthem about being shallow, but it’s actually the catalyst for the entire plot. The long, winding dance sequence at the Ozymandias (or the Library) bridges the gap between the characters.
- "Popular" is Glinda’s masterpiece. Kristin Chenoweth’s original performance set a bar so high it’s almost impossible to clear. It’s bubbly, narcissistic, and weirdly kind-hearted all at once.
Then there is "I'm Not That Girl." It’s the emotional pivot. It’s a quiet ballad where Elphaba realizes she might never be the "heroine" in the traditional sense. It’s a stark contrast to the bombast of the rest of the list of songs from wicked.
"One Short Day" is pure spectacle. It’s a love letter to the Emerald City. It’s fast-paced and dizzying. It’s the musical equivalent of a sugar high. But then we hit "A Sentimental Man," where the Wizard tries to justify his actions. It’s a soft-shoe style song that hides a manipulative core.
And then. The closer.
"Defying Gravity."
There’s a reason this song is a cultural phenomenon. It isn't just about flying; it’s about a total break from the status quo. The song is built on a "Unlimited" theme, which is actually the first few notes of "Over the Rainbow" rearranged. Schwartz did that on purpose. It’s a musical nod to the source material while completely subverting it. The climax of Act One is loud, messy, and soaring.
Act Two: The Price of Fame and Power
Act Two of the list of songs from wicked is much more somber. The "Thank Goodness" opening feels like a mirror to the start of Act One. Glinda is celebrating, but she’s miserable. The music is jaunty, but the lyrics are tinged with regret. You can hear her straining to keep up the facade of the "Good Witch."
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"The Wicked Witch of the East" is a song that many people forget because it wasn't on the original Broadway cast recording for years in its entirety. It’s the scene where Nessarose finally gets her moment, and it’s chaotic and tragic. It uses a lot of the same musical themes as "Dancing Through Life," but twisted into something sharper and more painful.
The Power of the Ballad
"Wonderful" is the Wizard's second song. It’s catchy, but it’s basically a defense of "fake news" and propaganda. He sings about how "celebrated" sounds better than "true." It’s a chillingly relevant song in the mid-2020s.
- "I'm Not That Girl (Reprise)" sees Glinda taking on the heartbreak Elphaba felt earlier.
- "As Long As You're Mine" is the show's only real love song. It’s sultry, dark, and desperate. It doesn't sound like a typical Broadway love song; it sounds like two people who know their time is running out.
- "No Good Deed" is arguably the most difficult song in the show to sing. It’s Elphaba’s "villain" turn. The orchestration is frantic. The time signatures shift. It’s a mental breakdown set to music.
"March of the Witch Hunters" is a terrifying ensemble piece. It’s the sound of a mob. It uses heavy percussion and aggressive vocals to show how quickly the public can turn on someone.
Finally, we get to "For Good."
If "Defying Gravity" is the song everyone knows, "For Good" is the song everyone feels. It’s a simple, piano-driven duet. It’s the core of the show’s message: people come into our lives for a reason, and even if the friendship ends, you are changed because of them. It’s a masterstroke of songwriting because it avoids being overly sappy by staying grounded in the reality of their parting.
The "Finale" brings everything full circle. It weaves together the "No One Mourns the Wicked" theme with the "For Good" melody. It’s a bittersweet ending that refuses to give the audience a perfect, happy resolution.
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Why the Musical Structure Actually Matters
If you look at the list of songs from wicked as a whole, you’ll notice that Stephen Schwartz uses "leitmotifs"—recurring musical phrases associated with specific ideas. The "Unlimited" theme (D-E-F#-G) pops up everywhere. You hear it in the very first song, you hear it in "The Wizard and I," and it explodes in "Defying Gravity."
This isn't just clever composing. It’s a way to subconsciously link Elphaba’s journey for the listener. By the time she’s "flying" at the end of Act One, your brain has already been primed for that melody for over an hour. It feels earned.
The show also plays with the concept of "The Irony of the Wicked." The songs sung by the "Good" characters (The Wizard, Glinda at the start, the Ozians) often sound more traditional and "pleasant." The songs sung by Elphaba and her allies are often more dissonant and modern. It’s a subtle way of telling the audience that the people labeled "good" are often just the ones with the best PR.
Comparing the Stage Score to the Movie Versions
With the 2024 and 2025 movie releases, the list of songs from wicked has expanded slightly. While the core songs remain the same, the arrangements have been beefed up for a full cinematic orchestra. John Powell’s additional underscore work helps bridge the gaps between the numbers, making the transition from dialogue to song feel more organic than it sometimes does on stage.
There was a lot of talk about whether "The Wizard and I" would translate to film. On stage, it’s a "stand and deliver" song. On film, it becomes a sprawling journey through the Munchkinland countryside. The music has to be more dynamic to match the visual scale.
Actionable Insights for Fans and Performers
If you’re looking to dive deeper into these songs, don't just listen to the Greatest Hits.
- Listen to the "Unlimited" Theme: Try to spot the four-note "Over the Rainbow" reference whenever Elphaba mentions her potential. It's usually tucked away in the woodwinds or the piano accompaniment.
- Analyze "No Good Deed": If you’re a singer, notice how the song uses a "chest-heavy" mix to convey anger. It’s a great study in using vocal color to tell a story rather than just hitting notes.
- Watch the Leitmotifs: Notice how the melody of "What is This Feeling?" (the loathing theme) is actually a faster, more aggressive version of the themes that represent their friendship later.
- Check out the Piano Vocals: If you play an instrument, look at the sheet music for "For Good." The way the two voices intertwine at the end is a perfect visual representation of the "handprint on my heart" lyric.
The list of songs from wicked isn't just a collection of showtunes. It’s a cohesive narrative told through a specific musical vocabulary. Whether you're a casual fan or a die-hard Ozzian, there's always something new to hear in the layers of Schwartz's score. The next time you listen, pay attention to the silence between the notes in "I'm Not That Girl" or the frantic rhythm of the "March of the Witch Hunters." That’s where the real story lives.