Jonathan Bailey has traveled the world to promote Wicked, but there was one person he was especially eager to share the film with: his 94-year-old grandmother. She nurtured his love for musical theater and encouraged him to pursue ballet as a child, thus shaping his career in the arts.
So, the day after Wicked came out in the U.K., Bailey hosted a private screening at a local cinema for four generations of his family. While sitting in between his nana (who had painted her nails green for the occasion) and his mom and dad, Bailey became overcome with emotion.
“It’s a miraculous thing to know that what it came down to is having parents who let me go to the local village hall, and a grandparent who let me play, dance around and sing, and be free at such a young age,” Bailey tells W. “If you can catch a passion and just ring-fence it at such a young age, you never know what it can amount to.”
Adapted from the iconic Broadway stage musical, the film, which is set before the events of 1939’s The Wizard of Oz, chronicles the friendship between Elphaba (Cynthia Erivo), the future Wicked Witch of the West, and her classmate Galinda (Ariana Grande), later known as Glinda the Good.
Bailey’s scene-stealing portrayal of Fiyero Tigelaar, the charismatic Crown Prince of Winkie Country, only reaffirms his status as a Hollywood triple threat. In fact, “Dancing Through Life,” the earworm that serves as his character’s introduction at Shiz University, just cracked Billboard’s Hot 100 charts this week. (“That’s amazing. Do I get a certificate? What happens now?” Bailey quips.)
Bailey began rehearsing for Wicked in 2022 while shooting Fellow Travelers, the groundbreaking Showtime limited series that earned the 36-year-old his first Emmy nomination, and the third season of Bridgerton, the smash-hit Netflix romantic drama that made him a household name. Speaking on a video call from London in early December, the British star reveals that he is in the middle of reprising his role as Viscount Anthony Bridgerton, who is expecting his first child with wife Kate Sharma (Simone Ashley).
“There’s such an important relationship with the [Bridgerton] bros that has been developed over the series. Season four is going to be Luke [Thompson] and Yerin [Ha] being absolutely extraordinary, and there’s a whole plethora of new characters coming in,” Bailey says. “It’s so nice to come back, and it’s about celebrating the romance stories we’ve had and digging into the ones that are starting.”
Patience will have to be a virtue for Wicked and Bridgerton fans alike; the second half of the former, which Bailey coyly describes as “rich, bruising and hopeful,” will premiere next November, while the latter will debut in 2026.
How did you think about building your own interpretation of Fiyero?
The starting point was “Dancing Through Life.” He creates chaos around him, like he does in that song, because he’s got to match the chaos that’s going on inside. The challenge that I felt was the trope of a cool caddish prince. He’s deeply unnerved by stillness and adhering to rules and structure. That is probably a sign of someone who’s never really experienced love. When you see someone causing that sort of disturbance, it’s usually because they’ve never felt seen. An organizational psychologist, Adam Grant, sent me a message saying, “It’s a masterful portrayal of superficiality masking depth.” Out of all the things I’ve heard, that is the thing I’m going to get printed on a T-shirt.
The Shiz library scene was inspired by the work of Fred Astaire in Royal Wedding. What did you want to convey in those moments?
Fiyero has to come in and change the physical language and the emotional landscape of that school in one number. His fluidity, ease, and elasticity speak to his ability to maneuver and avoid. He’s quite avoidant. He has these bright, shining moments with everyone but never really allows the other person to land it with him. For those who understand the physical language of Fiyero, there are many Easter eggs and nods to what happens to him later in the story.
Bailey as Fiyero in Wicked
Universal Pictures
Fiyero is at the center of a love triangle between Elphaba and Galinda. What do you think he sees in each of them?
The brilliant thing about the film is that these slightly trivial tropes mask extraordinarily deep and shifting understandings of social experiences. The superficiality, the privilege, and the sense of easy chemistry make sense with Glinda. But I feel like he’s yearning for something more, and, as Elphaba sees, he’s unhappy and depressed. Fiyero and Elphaba can click in terms of the way they sing, dance, and move together. Elphaba has a calming presence on Fiyero and allows him to be himself. It’s a real privilege to meet someone who sees you for who you really are.
Are there any songs from the second Wicked movie you are most excited about?
“No Good Deed”—I cannot wait to see that come together. And “Thank Goodness”—it’s just such an incredibly operatic, Wagnerian opening. We know how brilliant the girls are, and I’m so excited to see the tonal shift that will inevitably happen to get to the end of the story.
You’ve been leveraging the success of projects with massive, global appeal (Bridgerton, Wicked, the next Jurassic World) to return to the theater (like your next role in Richard II). How have you been balancing these big tentpole franchises with projects that feel more niche and intimate?
I always lead with joy, and I’ve never accepted a job cynically. It goes back to this instinct—it feels like romance—where you have butterflies in your stomach and clarity of thought. I go back to the stage because I want to get better—and I want to be the best I can be. The best performances I’ve ever given on screen have been directly after coming off stage, where you hone your craft every single night. It’s brilliant, joyful, academic, and exhausting.
I’ve read more scripts in the last four years than probably in 20 years of working. It’s amazing to get sent scripts that you’re like, “This is absolutely brilliant. It’s not quite right for me, but I wonder if I can help that get made.” I’ve got a producer’s hat that’s been popped on a few times in the last year, and I’m sure it’ll be coming out to play soon.
I want to keep working until something like Fellow Travelers isn’t seen as niche. We’re only on this planet for a short time, but if Fellow Travelers can be a mainstream show by the time I’ve finished my innings, I’d be very happy.
The last time Bridgerton viewers saw Anthony and Kate, they were on their way to India to meet with Kate’s family. Now that those characters are married, what are some of the new layers you’ve found in their relationship?
Anthony and Kate are these two planets that have always been in orbit of each other, and they finally come together. But then, what is life beyond [their courtship]? What’s so interesting about Anthony and what I so enjoyed in his season one arc is his relationship with duty and the power that he wielded over Daphne and his family, the isolation that he felt, and the anger that ensues because of [the passing of] his father.
I always said that you want Anthony to smile, and he does with Kate; he’s found his soulmate. In season three, they have that playfulness and, for the first time, they disregard anything that’s going on around them. They were the heart of every bit of drama and complication and, my God, how dramatic it was! Now suddenly, they’re having the time of their life, getting to play games again. They’re having a baby—everything they’ve ever wanted. What’s brilliant is to see how there are elements of yourself that you can’t grow out of. So, maybe, we’ll see hints of Anthony from season one.
