‘MAYBE HAPPY ENDING’: Helen J Shen & Darren Criss. Photo: Matthew Murphy & Evan Zimmerman.

MAYBE HAPPY ENDING
By Will Aronson & Hue Park
Directed by Michael Arden
Belasco Theatre
111 West 44^th St.
https://www.maybehappyending.com/

By Scott Harrah

Artificial intelligence or “AI” is becoming commonplace in the 21^st century, and it won’t be too long until robots will be everywhere. However, although robots are not human, do they have actual emotions? Can they fall in love? That’s the premise of Will Aronson and Hue Park’s charming, high-tech musical Maybe Happy Ending, set in the near future in Seoul, Korea.

Darren Criss stars as Oliver, a “HelperBot 3” robot. He is “retired” from his work as a robot. Oliver has a dull, routine life and goes each day to get his mail, hoping his owner James will call him back to work.

Soon, it is 12 years later. Oliver meets Claire (Helen J Shen), a “HelperBot 5” who is a younger, later model. She knocks on his door to ask if she can borrow his “charger.” Like a cell phone, these robots must have their batteries recharged or else they will “power down.”

In a fast-moving one hour and 45 minutes, we see Oliver and Claire fall in love and also learn about their own mortality because, like humans, robots don’t live forever. The musical is often touching, especially when Oliver learns the truth about James (Marcus Choi) and has a confrontation with James’ son, Junseo (also played by Mr. Choi).

Brilliant design team

Overall, Maybe Happy Ending is a simplistic musical, with standard songs and music and a gorgeous, futuristic but utilitarian set created by a brilliant team: video design by George Reeve; scenic and additional design by Dane Laffrey; neon lighting by Ben Stanton; and sound by Peter Hylenski. In addition to the songs and set, small items from a firefly in a jar, a record player to a potted plant help propel the story forward.  The firefly represents the short-lived beauty of relationships, while the potted plant named HwaBoon is a metaphor for Oliver’s craving for attention. The record player helps Oliver relive his past, when he often played jazz records for his owner.

First-rate ensemble

Director Michael Arden gets superlative performances from the first-rate ensemble cast. Mr. Criss (American Buffalo, How to Succeed… and TV’s “Glee”) is consistently outstanding. Whether he’s brushing his teeth (and eyebrows) or taking care of his plant, Mr. Criss is a master at physical comedy and is in fine voice. Helen J Shen is a natural as Claire, the quick-witted younger robot, and she has tremendous chemistry with Mr. Criss. Marcus Choi skillfully portrays multiple roles from James and Junseo to numerous other characters. Dez Duron is dynamic as a sharp-dressed mid-century singer. One would never expect a musical about robots to deliver such a heartwarming message about humanity and technology, but that is just one of many nice surprises in Maybe Happy Ending.

Published November 15, 2024
Reviewed at November 14, 2024 press performance

‘MAYBE HAPPY ENDING’: Darren Criss & Helen J Shen. Photo: Matthew Murphy & Evan Zimmerman.

‘MAYBE HAPPY ENDING’: Darren Criss. Photo: Matthew Murphy & Evan Zimmerman.

‘MAYBE HAPPY ENDING’: Helen J Shen. Photo: Matthew Murphy & Evan Zimmerman.

‘MAYBE HAPPY ENDING’: Helen J Shen & Darren Criss. Photo: Matthew Murphy & Evan Zimmerman.

‘MAYBE HAPPY ENDING’: Helen J Shen & Darren Criss. Photo: Matthew Murphy & Evan Zimmerman.

‘MAYBE HAPPY ENDING’: Dez Duron. Photo: Matthew Murphy & Evan Zimmerman.

‘MAYBE HAPPY ENDING’: Marcus Choi & Darren Criss. Photo: Matthew Murphy & Evan Zimmerman.

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‘PARADE’: Micaela Diamond & Ben Platt. Photo: Joan Marcus.

PARADE
Book by Alfred Uhry
Music & lyrics by Jason Robert Brown
Conceived by Harold Prince
Directed by Michael Arden
Through August 6, 2023
Bernard B. Jacobs Theatre
242 West 45^th Street
(212-239-6200), https://paradebroadway.com/

By David NouNou

A lot has happened since Parade originally opened in 1998 at the Vivian Beaumont Theatre. In its original form, it was compelling theatre; now it is very difficult to sit through. Not that the subject matter has changed—it’s the times that have changed. If anything, Parade is more relevant today than it was back then. Watching antisemitism in full display now, bigotry, the state of Georgia currently in turmoil and making headlines about an injustice perpetrated by a former president—plus, the divisiveness that is splitting the country on so many different issues—there is a lot to process here.

The story is set in Georgia, the time is 1913-1915, and it is about the rape and murder of a 13-year-old girl, Mary Phagen (Erin Rose Doyle), and the subsequent arrest, trumped-up trial, unjust sentencing and lynching of a Jewish factory superintendent, Leo Frank (Ben Platt).

Leo Frank moved from Brooklyn to Atlanta to be with his Southern Georgian Jewish wife, Lucille (Micaela Diamond), whose uncle offered Leo a superintendent’s job and hopefully a better life to be able to raise a family. He is totally uncomfortable in this environment because he is Jewish and feels out of place. It is Memorial Day 1913: Mary Phagen (Miss Doyle), has come to the pencil factory on a Saturday for her weekly pay of $1.20. The next day she is found dead in the basement of the factory. The suspects at the time are the black janitor, Newt Lee (Eddie Cooper) and Leo Frank.  Prosecutor Hugh Dorsey (Paul Alexander Nolan) is coerced by Tom Watson (Manoel Felciano), a writer for The Jeffersonian, an extremist right-wing newspaper, and conspire to release Newt Lee reasoning “hanging another Negro ain’t enough this time. We gotta do better.”

Leo is sentenced to jail to eventually hang. His wife Lucille goes to Governor Slaton (Sean Allan Krill) to show the inconsistences of the trial, which Slaton reluctantly looks over, and ultimately finds enough evidence of conspired lying decides to transfer Leo to another jail, only to be hauled away at night by “rebels seeking revenge” and hanging him.

The book by Alfred Uhry is fascinating and intriguing, while the score by Jason Robert Brown is too lugubrious and unmemorable. For such an intense subject matter, the play could have used more book and less score to make the point of injustice more effective. You yearn for the scenes that have Leo and Lucille speaking frankly to each other or Lucille making her point to Governor Slaton. Originally directed by Harold Prince, director Michael Arden has taken a darker approach to the proceedings. It’s apropos for the times.

What mesmerized me most and made the evening more tolerable was Ben Platt. With the role of Leo Frank, he has finally shed his teenage persona of Evan Hansen, and taken the mantle of Broadway’s next leading man. He is so convincing as Leo that I could not see a sign of Evan. He is solid, as an actor and a singer and genuinely believes in his role.

Two other performances that leapt out were Micaela Diamond as Lucille Frank, her unrelenting pursuit to exonerate her husband and the love behind her motives are palpable. The other performance is from Sean Allan Krill as Georgia Governor Slaton, with his commanding voice and charming Southern gentility; he delivers genuine compassion in trying to resolve this heinous case. The rest of the cast is the usual stereotypes one would find in the South.

Parade is making a meaningful and lasting impression on this year’s theatrical season. It’s mirroring the times in which we live.

Edited by Scott Harrah
Published March 22, 2023
Reviewed at March 21, 2023 press performance.

‘PARADE’: The cast. Photo: Joan Marcus.

‘PARADE’: (left to right) William Michals, Jackson Teeley, Paul Alexander Nolan, Eddie Cooper & Max Chernin. Photo: Joan Marcus.

‘PARADE’: Alex Joseph Grayson. Photo: Joan Marcus.

‘PARADE’: Jay Armstrong Johnson & Jake Pedersen. Photo: Joan Marcus.

‘PARADE’: Erin Rose Doyle & Jake Pedersen. Photo: Joan Marcus.

‘PARADE’: Paul Alexander Nolan & Alex Joseph Grayson. Photo: Joan Marcus.

‘PARADE’: Benn Platt. Photo: Joan Marcus.

‘PARADE’: Micaela Diamond. Photo: Joan Marcus.

‘PARADE’: Manoel Felciano. Photo: Joan Marcus.

‘PARADE’: Stacie Bono & Sean Allan Krill. Photo: Joan Marcus.

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‘ONCE ON THIS ISLAND’: (left to right) Alex Newell, Lea Salonga & Merle Dandridge. Photo: Joan Marcus

ONCE ON THIS ISLAND
Book and lyrics by Lynn Ahrens
Music by Stephen Flaherty
Based on the novel My Love, My Love by Rosa Guy
Directed by Michael Arden
Choreographed by Camille A. Brown
Circle In The Square
235 West 50th Street
212-239-6200, www.OnceOnThisIsland.com

By Scott Harrah

Tales of star-crossed lovers might be nothing new, but director Michael Arden offers a unique twist in this charming, innovative revival of Once On This Island, the 1990 Lynn Ahrens and Steven Flaherty musical, based on a Rosa Guy novel. Set on an island in the French Antilles, this Caribbean fantasy is beautifully re-conceived by Mr. Arden, with clever sets by Dane Laffrey, lavish period costumes by Clint Ramos and imaginative lighting design by Jules Fisher and Peggy Eisenhauer. With the help of his scenic and lighting team, Mr. Arden offers a vivid “theater in the round” experience that works well in the confines of Circle in the Square, totally enveloping the audience and making us feel as if we are there on a windswept tropical island, complete with sand, a live goat, water, etc.

The rhythmic score by Ahrens and Flaherty transports us to a mythical time and place with a story paralleling Shakespeare’s Romeo and Juliet. Instead of the Montagues and Capulets, we have a beautiful Afro-Caribbean native girl, Ti Moune (the outstanding Hailey Kilgore), rescued from a near-fatal accident during a storm. She is adopted by two islanders, Mama Euralie (Kenita R. Miller) and Tonton Julian (Phillip Boykin), both of whom raise the orphan child as their own. Later, Ti Moune falls for the lighter-skinned, aristocratic native Daniel (Isaac Powell), an upper-class guy from the other side of the island who lives in a gated community.

Once On This Island relies heavily on the mystical superstition, voodoo and folklore of the French-speaking Caribbean, offering an endless parade of Calypso-infused songs like “We Dance,” “And the Gods Heard Her Prayer,” ‘The Sad Tale of the Beauxhommes,” and more. The songs propel the story forward like any well-made musical should, filled with the faith and rituals of the islanders. Granted, there’s a lot of confusing talk about gods and sorcery, but all one needs to believe in is the magic of the music while marveling at Camille A. Brown’s winning choreography.

Although the narrative conflict is fairly standard (dark-skinned Ti Moune can never truly be accepted by lighter-skinned Daniel’s family), the message still packs an emotional punch, considering the current political climate in America. However, under Michael Arden’s trenchant direction, the musical is more about the celebration of life and the gorgeous Afro-Caribbean songbook than anything else, so the story never seems heavy-handed.

This revival works so well thanks to the near-seismic energy of the cast, all brimming with talent. The multi-ethnic cast members gel together marvelously, but a few stand out. Ms. Kilgore gives a vivacious, sincere and truly heartbreaking performance as Ti Moune, the “peasant” girl, but Mr. Powell as Daniel is somewhat forgettable in comparison. Mr. Powell’s Daniel doesn’t always convince us that he’s someone Ti Moune would risk her life for, but without this notion there would be no story. Love perpetuates life, it seems.

Some of the show’s greatest performances are given by supporting cast members, like Tony winner Lea Salonga, bewitching us with her mellifluous voice as goddess Erzulie in such songs as “The Human Heart.” Kenita R. Miller, as Mama Eurlie, is often haunting as she sings of the love she has for Ti Moune, while Alex Newell, as gender-bending Asaka, has the whole house grooving as she belts out the rousing “Mama Will Provide.”

Once On This Island is a colorful, immersive experience for everyone, giving audiences a helluva joyful ride, making it one of the season’s freshest surprises.

Edited by Scott Harrah
Published December 5, 2017
Reviewed at December 4, 2017 press performance.

‘ONCE ON THIS ISLAND’: Hailey Kilgore. Photo: Joan Marcus

‘ONCE ON THIS ISLAND’: Lea Salonga. Photo: Joan Marcus

‘ONCE ON THIS ISLAND’: Hailey Kilgore. Photo: Joan Marcus

‘ONCE ON THIS ISLAND’: Kenita R. Miller. Photo: Joan Marcus

‘ONCE ON THIS ISLAND’: Quentin Earl Darrington. Photo: Joan Marcus

‘ONCE ON THIS ISLAND’: Phillip Boykin. Photo: Joan Marcus

‘ONCE ON THIS ISLAND’: Isaac Powell & Merle Dandridge. Photo: Joan Marcus

‘ONCE ON THIS ISLAND’: (left to right) Emerson Davis, Lea Salonga, Alex Newell, Quentin Earl Darrington & Merle Dandridge. Photo: Joan Marcus

‘ONCE ON THIS ISLAND’: Isaac Powell & Quentin Earl Darrington. Photo: Joan Marcus

‘ONCE ON THIS ISLAND’: The cast. Photo: Joan Marcus

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‘SPRING AWAKENING”: Katie Boeck (left) providing vocals for Sandra Mae Frank in the American Sign Language revival of the Tony-winning musical. Photo: Joan Marcus

SPRING AWAKENING
Based on the play by Frank Wedekind
Book & lyrics by Steven Sater
Music by Duncan Sheik
Choreography by Spencer Lift
Directed by Michael Arden
Through January 24, 2016
Brooks Atkinson Theatre
256 West 47th Street
(888-250-2929), http://www.springawakeningthemusical.com/

By Scott Harrah

When Spring Awakening debuted on Broadway nine years ago in 2006, it was a well-crafted, ambitious musical adaptation from Frank Wedekind’s play about misunderstood teens in 1891 Germany and the clashes with their uptight, Victorian-era parents, with an outstanding score by Steven Sater and Duncan Sheik. The show won eight Tony Awards, including one for Best Musical. Fast forward to nearly a decade later. This is no ordinary revival as the show has been completely reinvented by director Michael Arden and Deaf West Theatre, featuring actors using American Sign Language, including Oscar winner Marlee Matlin. It is not really a gimmick, but is a totally new interpretation. However, it would be remiss to not point out that some of the original drama and intensity, performed by both deaf and hearing actors, is lost in translation here.

The plot is emotionally packed indeed, centering on sexually repressed teens in late 19th century Germany and dealing with such then-taboo topics as sex education, teen sex and pregnancy, wet dreams, masturbation, abortion, child abuse, etc.

It can be quite moving to watch American Sign Language in the theater, but also a hindrance when seeing it used in a musical. Changing tempos in a song or trying to enact a dramatic moment—and this piece has plenty of such moments—it breaks up the tension. Although it usually works here, it can be frustrating for mass Broadway audiences trying to understand the structure of the musical while reading projected signs and not knowing American Sign Language symbols. The narrative, even in the 2006 production, was hard to follow at times, and that’s certainly the case here because watching and listening to one actor signing while another speaks or sings takes some getting used to for non-deaf audiences.

We see Wendla (charming and sweetly played by Sandra Mae Frank) interpreting the lyrics in American Sign Language to “Mama Who Bore Me,” while Katie Boeck sings and plays the guitar. Look at the Playbill and you’ll notice that for nearly every deaf actor, there is another listed as “Voice of” who also plays guitar or piano. However, one of the show’s standouts is Austin P. McKenzie as Melchior (Wendla’s boyfriend), and he signs, sings and speaks with conviction.

A few scenes are done solely in American Sign Language, with subtitles projected onto a giant screen. This multimedia effect is innovative, but again dilutes some of the story’s dramatic tension for non-deaf audiences.

The show features two big name actors. Marlee Matlin looks gorgeous and brings a lot of raw intensity to the multiple roles of Frau Gabor, Frau Bessell and Frau Schmidt, but most of her talents seem underutilized here. Camryn Mannheim, who also takes on multiple roles and sometimes acts as Ms. Matlin’s voice, is powerful, but her German accent as Wendla’s mother, among other characters, comes off exaggerated at times and, thus, difficult to understand. A noteworthy performance is given by Krysta Rodriguez as the young outcast Ilse.

Michael Arden’s direction and vision are wonderfully executed. However, in the 2006 production, each character was uniquely distinct and identifiable. In this revival, with so many actors (and others doing their voices), the characters are more undistinguishable and the show’s overall impact is less effective.

‘SPRING AWAKENING’: Marlee Matlin. Photo: Joan Marcus

‘SPRING AWAKENING’ (left to right) Katie Boeck (back), Sandra Mae Frank & Camryn Mannheim. Photo: Joan Marcus

‘SPRING AWAKENING’: Austin P. McKenzie (center) & cast. Photo: Joan Marcus

‘SPRING AWAKENING’: Austin P. McKenzie (center) & cast. Photo: Joan Marcus

‘SPRING AWAKENING’: (seated, left to right) Joshua Castille, Austin P. McKenzie & Daniel N. Durant; (top row, left to right) Alex Wyse, Miles Barbee & Andy Mientus. Photo: Joan Marcus

‘SPRING AWAKENING’: Austin P. McKenzie & Patrick Page. Photo: Joan Marcus

‘SPRING AWAKENING’: Daniel N. Durant, Austin P. McKenzie & Alex Boniello. Photo: Joan Marcus

‘SPRING AWAKENING’: (counter-clockwise from bottom left): Treshelle Edmond, Ali Stroker, Amelia Hensley, Lauren Luiz, Kathryn Gallagher, Krysta Rodriguez & Alexandra Winter. Photo: Joan Marcus

‘SPRING AWAKENING” Daniel N. Durant & Krysta Rodriguez. Photo: Joan Marcus

‘SPRING AWAKENING’: Treshelle Edmond. Photo: Joan Marcus

‘SPRING AWAKENING’: Russell Harvard & Daniel N. Durant. Photo: Joan Marcus

Edited by Scott Harrah
Published October 5, 2015
Reviewed at press performance on October 3, 2015

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