A Sentimental Man Lyrics – Wicked

Song Overview

Song Credits

• Featured: Joel Grey (as the Wizard of Oz)
• Producer: Stephen Schwartz
• Composer/ Lyricist: Stephen Schwartz
• Release Date: December 16, 2003
• Genre: Showtunes, Broadway, Character-ballad
• Length: 1 min 15 sec
• Label: Decca Broadway / Universal Music
• Mood: Warm-smiled yet sly, paternal yet political
• Instruments (principal): Woodwind choir, muted brass, harp, string pads, piano, soft brush kit, auxiliary percussion
• Track #: 10 on Wicked (Original Broadway Cast Recording)
• Language: English — with official German (“Ein seelenvoller Mann”), Spanish (“Un gran sentimental”) and Portuguese (“Sentimental”) adaptations
• Poetic meter: Loose anapestic trimeter laced with internal consonance
• Copyrights: © 2003 Wonderland Music Company, Inc. (ASCAP)

Song Meaning and Annotations

A Sentimental Man sits in the eye of Wicked’s hurricane — a quiet, sixty-second confession between Emerald City showstoppers. Harmony hums in syrupy thirds, the drum brushes whisper, and the Wizard croons about fatherhood. On the surface, it is a lullaby; beneath, it is a sales pitch. Stephen Schwartz writes the Wizard as a carnival barker who swaps megaphone for lullaby, selling trust through tenderness. The melody drifts in a lilting 6?/?8, rocking us like a cradle even as the subtext pulls the rug out.

Rhythmically the number breaks from the high-kick energy of “One Short Day”; the tempo drops, brass mutes snap on, and woodwinds flutter as if the orchestra itself leans in conspiratorially. The emotional arc? Flattery ? promise ? self-congratulation. Notice how the Wizard’s line “I’d like to raise you high” hitches upward on the word “raise,” a musical wink to Elphaba’s future flight. In his emerald-tinted office the pledge sounds benevolent, yet the diction (“chance to fly,” “parental”) seeds the later reveal of their blood tie — a Chekhov’s rattle disguised as a warm hug.

The 2024 film adaptation doubles down on that duplicity: Jeff Goldblum performs atop a miniature Oz, literally towering above Elphaba, while lens flares glint off green lacquer to suggest snake oil in sunlight. Staging transforms the Wizard’s model city into a three-dimensional PowerPoint, proving you can sell anything with scale models and the right lighting.

“That’s why I do the best I can / To treat each citizen of Oz as son or daughter.”

The paternal metaphor flatters the populace even as it infantilises them. In the context of authoritarian charisma the line lands closer to a board-room mission statement than a lullaby.

Verse

The Wizard’s opening self-portrait (“I am a sentimental man”) adopts old-vaudeville phrasing. The repeated long vowels invite a crooner’s slide, masking slippery intent beneath a velvet legato.

Refrain

Each repetition of “I am” resets the power balance — first an admission, then an assertion. When he offers Elphaba “your ascent,” the internal rhyme (“ascent / parental / sentimental”) turns language into a shell game: listeners chase sound while meaning scurries off.

Coda

The Wizard ends on a suspended chord unresolved until the orchestra segues to “Defying Gravity”. Dramatically, it’s the calm before Elphaba’s literal storm cloud.

Similar Songs

1. “Razzle Dazzle” — Chicago (1975)
   Both tunes showcase silver-tongued con-men selling hope with sparkle. Where Billy Flynn hides lies behind tinsel and tap, A Sentimental Man masks ambition with fatherly warmth. Cabaret-styled brass links the two, yet Schwartz pares orchestration down, suggesting intimacy rather than circus.
2. “Reviewing the Situation” — Oliver! (1960)
   Fagin’s soliloquy and the Wizard’s croon each reveal crackling self-interest beneath avuncular façades. Both lean on talk-sing phrasing over light klezmer-tinged chords, letting character beat melody. The narrative function is similar: a window into a charming scoundrel’s mind before plot gears grind forward.
3. “No More” — Into the Woods (1987)
   The Baker faces paternal failure in hushed 6?/?8 reflection, mirroring the Wizard’s pseudo-paternal plea. Sondheim’s harmonic wander is thornier, yet both songs pause the action for self-diagnosis, letting the orchestra breathe while characters wrestle with legacy.

Questions and Answers

Was “A Sentimental Man” ever released as a stand-alone single?

No — the 2003 cast album was promoted as a complete recording, not as radio singles. Streaming listings now tag the track individually, but it never charted on its own.

How did the 2024 movie change the number?

Jeff Goldblum’s version adds a new underscore vamp, extends the runtime to two minutes, and overlays model-city visual effects that underline the Wizard’s puppeteer vibe.

Why is the rhyme “ascent / parental” significant?

It telegraphs the Wizard’s hidden paternity while flaunting Schwartz’s fondness for internal consonance, a device fans discuss often.

Which official non-English titles exist?

German “Ein seelenvoller Mann,” Spanish “Un gran sentimental,” and Brazilian Portuguese “Sentimental” appear on their respective cast albums.

Has anyone else covered the song professionally?

Jeff Goldblum recorded a jazz-inflected take for Wicked: The Soundtrack (2024).

Awards and Chart Positions

The parent album won the 2005 Grammy for Best Musical Show Album and rose to #33 on the Billboard 200 in 2024, ultimately achieving triple-platinum RIAA status.

Fan and Media Reactions

“Goldblum somehow made the Wizard’s dad jokes feel dangerous.” Polygon review

“The rhyme play is intentional — it’s Schwartz flexing.” u/emptyjerrycan on Reddit

“It’s the ‘Old Man Who Wants To Feel Important’ song — every musical has one.” u/Smart_Measurement_70

“Sentimental, sure, but on Broadway it’s fifty percent set-up for ‘Defying Gravity’.” u/Fabulous-Duck-4177

“Jeff’s cameo turned a skip-track into a sly character beat.” u/Time_Orchid5921