Universal Pictures’ adaptation of the beloved Broadway musical, Wicked, has made a striking debut at the global box office, raking in an impressive projected total of $165 million through Sunday. This monumental opening not only cements Wicked as a cinematic accomplishment but also highlights the growing intersection of theater and film. The figures reveal a substantial demand for musical adaptations, showing that audiences are eager for more than just conventional storytelling.
Wicked’s initial financial haul is primarily driven by strong domestic sales, boasting a projected $117 million from North America, with $48 million coming from international markets. This marks Wicked as the largest opening weekend for any film based on a Broadway adaptation, surpassing previous titans such as Les Miserables, which earned $103 million. Additionally, Wicked’s debut stands as the sixth biggest global opening of 2024 and ranks fourth among the largest opening weekends ever for a musical film, ahead of Disney’s The Little Mermaid, which brought in $163.6 million.
While the film has successfully secured a robust financial footing in its initial release, it has only opened in 61 overseas markets, representing approximately 65% of its international distribution footprint. Notably absent from this debut are significant markets like France, Germany, Japan, and China, which are expected to contribute to future earnings when they eventually screen the film. Despite this limitation, Wicked is achieving impressive milestones in comparison to similar launches. In like-for-like markets, it is on track to become the top grossing film based on a Broadway adaptation, again ahead of Les Miserables.
In terms of international ticket sales, the $48 million estimate not only marks the sixth largest opening weekend for a musical film but also positions Wicked favorably against other recent musical adaptations, such as Mamma Mia! Here We Go Again, which opened at $43 million. The film’s performance in key territories continues to demonstrate its captivating appeal.
The UK has emerged as a significant market for Wicked, where the film is expected to gross over $15 million. Launching with a remarkable $4.9 million on its first day across 2,250 screens, Wicked managed to capture a 63% share of the UK box office, underscoring its status as the leading title in the region. This opening day performance ranks as the second biggest Friday of the year, only trailing behind the blockbuster success of Deadpool 3. Such phenomenal numbers illustrate not only the anticipation surrounding Wicked but also the strategic positioning of its release.
Universal’s record-breaking figures in the UK are further amplified by the support from IMAX screenings, which reported the highest-grossing opening Friday for a PG-rated film format. Vue Cinema’s founder, Tim Richards, noted that pre-sales for Wicked were on par with other high-profile releases like last year’s Barbie, providing a glimpse into the marketing momentum that has propelled the film’s success.
Wicked’s entrance into international markets comes amid existing competition from box office heavyweights, such as Paramount and Ridley Scott’s Gladiator II. This sequel, which began its overseas rollout last weekend, is expected to exceed $200 million globally as it continues to perform well across various regions. However, the dual success of Wicked and Gladiator II illustrates the diverse range of genres that audiences are currently gravitating towards, offering a rich tapestry of cinematic experiences.
Universal’s Wicked has made an exceptional entry into the film landscape, symbolizing the ever-growing appeal of Broadway adaptations in cinema. With significant domestic earnings and promising international footing, Wicked not only honors its theatrical roots but also lays the groundwork for the future of musical storytelling in film. As additional markets open and audiences continue to respond, both critically and commercially, expectations for Wicked’s sustained success will likely be met, enshrining it as a contemporary classic in the annals of musical cinema.