The commitment to accessibility wasn’t just about enhancing the story—it was a step toward a more inclusive approach to production design.
On the set of Wicked, accessibility became a core design element as the filmmakers created a wheelchair-accessible world for Nessarose, a character who uses an Ozian wheelchair. The commitment to accessibility wasn’t just about enhancing the story—it was a step toward a more inclusive approach to production design.
“The commitment for Wicked it was there even in pre-production. So this is a little over two years ago when the executive producer reached out and wanted me to take a look at casting breakdown to make sure the breakdown was appropriately worded as we were casting Nessarose.”
— Janine Jones-Clark, EVP, Filmmaker & Content Strategist for Universal Film Entertainment Group
A New Standard in On-Set Accessibility
When Marissa Bode, who uses a wheelchair, was cast as Nessarose, director Jon M. Chu and producer Marc Platt sought to make the entire set accessible and create a lasting standard for on-set disability access. To achieve this, they enlisted Chantelle Nassari, a wheelchair user and the film’s disability coordinator. Nassari’s expertise influenced every aspect of the production, from accessibility design on set to Bode’s custom-built artist trailer.
The trailer, a first of its kind in the U.K., was designed in collaboration with Translux, a facilities company that created an advanced, accessible space featuring a chair lift, voice-activated doors and lights, a height-adjustable kitchen, remote-controlled wardrobe rails, and a steel-reinforced bathroom. This allowed Bode to use the trailer independently, setting a new benchmark for accessibility in film production.
“This is the first accessible trailer that I know of,” Bode says. “I hope this is an example of what could be and sets a precedent for other people who use wheelchairs. It can be done, and it can easily be done. If somebody in a wheelchair is on set, and it’s a big production, there’s room to make accommodations.”
Beyond the trailer, the production team developed a wheelchair-accessible elements that could be moved between sets, custom ramps for set navigation, and even a wheelchair-accessible recording studio to accommodate Bode. Each of these designs helped ensure that accessibility was not just functional but fully integrated into every part of the production process.
A Visually Accessible Oz
Director Chu wanted the concept of accessibility to be evident in the world of Oz itself, requesting that every set Nessarose appears in should show how she would navigate it. “You need to present accessibility in Oz itself,” Chu explained, describing the process as “one of the most enlightening and beautiful” experiences of his career.
The production moved forward with their mission of creating a visually accessible world by collaborating with disability social change groups, including Disability Belongs (FKA RespectAbility).
“Then we took a step further where we wanted to really get a perspective from one of our partners within the disability community,” said Jones-Clark. “They read the script and they gave very thoughtful notes and feedback,” Jones-Clark said.
Designing Nessarose’s Wheelchair
For Nessarose’s character, prop master Jamie Wilkinson took great care in designing an Ozian wheelchair that was both functional and true to the fantasy setting. While early designs focused on unique materials and aesthetic elements like wooden finishes to give the chair an Ozian feel, they had to be reimagined when Bode joined the cast. The wheelchair needed to be highly maneuverable for dance scenes, especially for the Ozdust Ballroom scene. Wilkinson collaborated closely with Bode and choreographers Christopher Scott and Emilio Dosal to create a wheelchair that supported both her physical needs, and the dynamic movements required for the dance sequences.
Empowering Movement and Expression Through Dance
Bode’s dance preparation for Wicked was a first for her in terms of the sheer volume of choreography. Choreographers Scott and Dosal worked closely with Bode to adapt the routines, always asking what movements worked best for her. Bode also collaborated with Hannah Raynor, an experienced wheelchair dancer, who provided inspiration and practical advice on performing with her wheelchair. Together, they developed movement patterns that allowed Bode to participate fully in the dance scenes and bring a new level of authenticity to her character.
(Source: NBCUniversal)
