Latest news with #MaybeHappyEnding
Chicago Tribune
14 hours ago
- Entertainment
- Chicago Tribune
Review: ‘Kimberly Akimbo' arrives in Chicago, a moving musical about a teenager facing mortality
At the Tony Awards this year, a delightfully quirky little musical called 'Maybe Happy Ending' beat out big competitors and walked off with the big prize. Although it's about family dynamics rather than robotic romance, 'Kimberly Akimbo,' a similarly small and unusual show that won best musical in 2023, paved its way. Nearly three years after its Broadway bow, the touring version of director Jessica Stone's original production of that Jeanine Tesori tuner has finally reached downtown Chicago. Carolee Carmello, who has graced this city's stage several times with outstanding success in Stephen Sondheim musicals and elsewhere, is on the road in the title role originally played by Victoria Clark. And the rest of the nine-person cast includes at least two long-standing romantic couples, which might explain why much of the cast seems to be so close up there. 'Kimberly Akimbo,' the musical, is based on a play of the same name by David Lindsay-Abaire, which I first reviewed at A Red Orchid Theatre back in 2005, with Roslyn Alexander playing the lead. As Broadway fans will know, the show is about a teenager with progeria, a rare medical condition that causes the human body to age at over four times its normal rate. When she is 16, as she is in this show, Kimberly's appearance suggests a woman in her 60s. And, as logic would suggest, life also blossoms and expires for Kimberly at a far accelerated rate. Most of us, of course, don't know our likelihood of dying early so the play, and thus the musical, with book and lyrics by its original author, allows us to see life through the eyes of someone who knows more than most of its unavoidable brevity and the importance of living in the present, rather than the past or the future. In the musical, Kimberly's schoolmates (played by Grace Capeless, Skye Alyssa Friedman, Darron Hayes and Pierce Wheeler) become a little Greek chorus of show-choir nerds, trying to reconcile their adolescent angst with the problems faced by the young woman aging before their eyes. Kimberly has yet more to deal with, too. Her family is composed of narcissists: a mostly clueless mom, Pattie (Laura Woyasz), an alcoholic dad, Buddy (Jim Hogan) and a whack-a-doodle aunt, Debra (Emily Koch), who interjects a criminal caper plot into the days around Kimberly's Sweet 16 birthday. I greatly enjoyed 'Kimberly Akimbo' on Broadway and this first national tour is in excellent shape. It's never especially helpful to most people to compare performances, but if you were to twist my arm, I'd say that whereas Clark focused intently on achieving the inner life and spirit of a teenager in her portrayal, Carmello leans more into the character's sense of her own mortality. Both takes strike me as legitimate, although they are quite different. Carmello's Kimberly is a little sadder and more careworn, although she certainly also makes the final carpe diem number work quite beautifully and, as her perhaps boyfriend, Seth, Miguel Gil is a true, thoroughly guileless delight. I'm a big Tesori fan. Lyric Opera audiences heard her extraordinarily potent music quite recently in the opera 'Blue,' with the stirring Tazewell Thompson libretto. Although she clearly remembers what it is like to be young and have fun, Tesori's 'Kimberly Akimbo' score makes no easy choices; it focus intently on the show's complex emotional landscape as Kimberly strives to teach those far older than herself, and wishes for that one great adventure we'd all like to have before we go. Review: 'Kimberly Akimbo' (3.5 stars) When: Through June 22 Where: CIBC Theatre, 18 W. Monroe St. Running time: 2 hours, 30 minutes Tickets: $35-$125 at
Time Out
20 hours ago
- Entertainment
- Time Out
Diego Kolankowsky: "I achieved dreams I never knew I had."
Diego Kolankowsky, the Argentine producer who always knew that dreams renew themselves, made history again in the world's theater capital. At the recent Tony Awards ceremony — the Oscars of theater — he took home the two most important awards: Best Musical for Maybe Happy Ending and Best Revival of a Musical for Sunset Blvd. An epic milestone for this multifaceted creative, born in the Buenos Aires suburbs, who conquered Broadway with his passion and instinct for stories that leave a mark. But the most exciting part is that Maybe Happy Ending — a show born seven years ago amidst uncertainty and doubt — was crowned the queen of the night. 'It's a Cinderella who today became a queen,' said Kolankowsky, still overwhelmed with emotion. In total, his name was associated with nine statuettes: Maybe Happy Ending also won Best Director, Best Leading Actor, Best Book, Best Scenic Design, and Best Original Score. Sunset Blvd. took home awards for Best Leading Actress and Best Lighting Design, in addition to the grand prize for Best Revival. These awards are not only a recognition of his talent and vision but also of the strength of his convictions and faith in stories worth telling. In this interview, Kolankowsky opens up to his world to share how passion took him from Buenos Aires to the marquees of Broadway, his lessons learned, and the challenges he faced turning dreams into reality. From Buenos Aires to the world's most important theater stage... What was that journey like? Was there a key moment when you said, 'I'm going for Broadway'? Yes, there was a moment. I had created a TV show about the luxury industry, about watches and travel, called Hours Minutes and Seconds. I love watches. I come from a very, very poor family, and when I started making money, I became a watch fanatic. I created this show basically to indulge my passion for this accessory. A TV show — a rarity. And it was a worldwide success. It aired in 12 or 14 countries, with translations into English, Spanish, and French. That brought me to New York a lot. Also, since I was little I wanted to work in fiction, but I did very well in audiovisual/journalistic production. I was News Manager at América TV, created La Cornisa, and also worked on Jorge Lanata's shows and many other programs and media in Argentina. But I wanted to dedicate myself to fiction, and spending so much time here in New York, I reconnected with musical theater. I fell in love with a show called Rock of Ages. I saw it 20 times from the same seat. I brought my family and friends, celebrated birthdays there. I met the lead actor at a party here in New York, Constantine Maroulis, and his friends. We started a journey to make things happen. I would say Rock of Ages was the trigger that made me say, 'This is what I want to do.' 'The musical Rock of Ages was the trigger to say: 'This is what I want to do'' You won the two biggest Tony Awards and went on stage to receive Best Musical. What goes through your mind now when you look at all you've achieved? Does it feel real? Yes, it's incredible what has been accomplished. This is my third Tony Award. I understand this time it has a different impact because it was two awards together, the most important of the season: Best Revival of a Musical for Sunset Blvd and Best Musical for Maybe Happy Ending, an original creation. And that has worldwide significance. My name will be associated with this show every time it's performed anywhere in the world. And it's something that identifies me, that I love, that I chose, and that is amazing. And I realize that's true. It hits me, of course, because what keeps me present is the overwhelming emotion. It's an incredible feeling, and I go back and forth from tears to laughter, wearing the two theater masks all the time. But what I can also tell you is that I come from a very humble family in La Matanza, and I fulfilled dreams I had never dreamed. That is a big lesson for me because I know I'll keep surprising myself, as I'll surely fulfill a dream I haven't even had yet. And that's the great thing about dreams renewing themselves, right? Otherwise, my life would have ended years ago, considering I was a News Manager at 24 — another dream I never had. And I had my own content company at 30 and TV shows I'm still producing. My dream was to see how I would survive. So it's total happiness, and I want to share this lesson that it's good to know that dreams renew. 'I come from a very humble family in La Matanza and fulfilled dreams I had never dreamed' Maybe Happy Ending took seven years to arrive, endured lack of funds, and ended up the queen of the night. What did you learn throughout that process? What made you fall so in love with that story that you never let go? Yes, it was a very tough struggle, with many complications, but always upward. It's a story that starts at the bottom and ends at the top, but my partner Hunter Arnold and I would say, 'It wasn't a rollercoaster; it was a climb to the summit.' But it was without oxygen, very difficult. I don't know if I learned something particular because it's really a reaffirmation. I believed in this, Michael Arden believed in it, Jeffrey Richards and Hue Park too. We were the ones who believed. Now many people see us up there. I tell you because it happened to me with friends, investors, and co-producers who told me no, they didn't invest, and now they say, 'You were right, we didn't see it. I can't believe how you saw it.' To me, it's more a lesson for us that when you try to create something at first, you can't have the full picture of the end, and that it's a gamble worth taking. So, for me, it's a reaffirmation to follow my dreams, instincts, and desires. After sweeping the Tonys… What's next? Is there anything on the horizon that excites you as much as this? And are there chances that any of your shows will come to Argentina? I decided some time ago that life wouldn't surprise me — I would surprise life. And the crazy thing is that life surprised me again. Beetlejuice returns to Broadway for the third time on October 8 for 13 weeks, a show I produce. Maybe Happy Ending continues its run, and Sunset Boulevard closes on July 20. Also, a film is in postproduction, a project my friend Axel Kuschevatzky invited me to join, taking on parts of production he likes less. It's called & Hijos, directed by Pablo Trapero, starring Bill Nighy, Imelda Staunton, George McKay, written by Sarah Polley, the Oscar winner for Women Talking. It will premiere soon at a festival I can't yet disclose, but it's one of the three biggest in the world for European cinema. 'I decided some time ago that life wouldn't surprise me — I would surprise life' Quick Buenos Aires-style Ping Pong: Favorite things Favorite play (or musical) you've seen in the city? I've done very little theater in Argentina. I like to create shows, not promote them. Since Maybe Happy Ending is our show, I don't feel that way, but I feel that I could present one of our shows in my country. It's possible it might be done in Argentina; I have the rights, of course. Reliable restaurant? I have two that feel like home, where the waiters embrace you: Gardiner and Corte Charcuterie. Perfect plan for a free night? I live in a beautiful warehouse with guitars, drums, instruments. Gathering with my friends to play music. It's something we do regularly. People sometimes organize casual soccer games; we organize jam sessions. A neighborhood that always inspires you? I'm from the outskirts of Buenos Aires, so my hometown Ramos Mejía still inspires me. Now I live in the city, and my neighborhood inspires me a lot: Belgrano Chico and also Palermo. They're two neighborhoods I love walking around and love the culture they emanate. 'My hometown Ramos Mejía still inspires me' A place in BA where you'd like to produce something? I'm a fan of iconic places. Luckily, I've had the privilege of doing things. But I love the Planetarium, the Obelisk, and the Colón Theater. Luckily, I've done things in all three. Oh, you know what I'm missing and would like? To do something at the Floralis Genérica.
Yahoo
2 days ago
- Entertainment
- Yahoo
Cynthia Erivo Puts Adam Lambert on the Spot & Holds Oprah's Finger in 2025 Tonys Opening Number
Sometimes all you need is a song — but a little support from Oprah Winfrey and Adam Lambert doesn't hurt, either. Cynthia Erivo opened the 2025 Tony Awards on Sunday night (June 8) with a show-stopping number featuring epic cameos from both the talk show legend and American Idol alum. Just before taking the stage in a glittering red gown, the Wicked star — who made her hosting debut at this year's ceremony — ran into Winfrey, who gave her some sage advice. 'The only thing you need to do is just be yourself,' the mogul said before offering up her pointer finger to Erivo, who then hilariously grasped it as a tribute to her viral 2024 'holding space' meme with Ariana Grande. More from Billboard 'Maybe Happy Ending,' 'Sunset Blvd.' Win Key 2025 Tony Awards: Full Winners List Kylie Minogue Joins Prestigious '21 Club' at London's O2 Arena Kevin Parker Previews New Tame Impala Music During Barcelona DJ Set Erivo then embarked on a vocally stunning musical performance of an original song to start the show, during which she shouted out many of the night's honorees and repeated the phrase, 'Sometimes all you need is a song.' Toward the end of the number, she stepped out into the audience at New York City's Radio Music Hall and prompted some of the ceremony's all-star guests to sing the same line. Kristin Chenoweth and Aaron Tveit both gave pitch-perfect on-the-spot deliveries as Erivo held out her microphone to them, but the most memorable was definitely Lambert, who blew the crowd away with spontaneous, dexterous riffs. The Pinocchio actress ended the number back on stage with a full gospel choir backing her up, earning a standing ovation from the crowd. Then it was off to the races, with Erivo helming the program as Darren Criss, Nicole Scherzinger, Cole Escola, Sarah Snook and more all took home statuettes for their performances in various Broadway shows. Maybe Happy Ending won best musical, while the Scherzinger-led Sunset Blvd. won best revival of a musical and Purpose won best play. Erivo's hosting debut comes just one week after she appeared on the cover of Billboard, and two days after she dropped her long-awaited studio album, I Forgive You. In August, she'll play the titular role in a three-night production of Jesus Christ Superstar at the Hollywood Bowl, appearing alongside Lambert, who will portray Judas. Watch Erivo's opening number at the 2025 Tony Awards below. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
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GMA Network
2 days ago
- Entertainment
- GMA Network
Darren Criss waves PH flag on Instagram as he highlights news about being the 'first Asian actor to win leading actor in musical'
When Darren Criss won his first two Tony Awards on Monday (Philippine time) — Best Actor in a Musical and as co-producer of Best Musical "Maybe Happy Ending" — he made history as the first known Asian actor to win the leading role in a musical category, as mentioned in an earlier GMA News Online report. Playbill Magazine also zeroed in on the history Darren made, saying in an article that "This is Criss' first Tony Award, and he becomes the first Asian American actor to win in the category." On Instagram early Wednesday (Philippine time), Darren posted a screengrab of the Playbill story and in the caption, waved the Philippine flag emoji. None other than theater super star and fellow Filipino Lea Salonga recognized his Pinoy pride on display. In the comment section, Lea wrote, "I knew I recognized that voice! It's mine! Thanks!" Lea first waved the Philippine flag in the global theater scene 34 years ago, in 1991, when she won the Tony Award for Best Actress in a Musical for "Miss Saigon." Thirty-four years later, she finally gets her Filipino counterpart at the Tony Awards. But that's not all. Nicole Scherzinger also won the award Lea first reaped — Best Actress in a Musical — for her work in "Sunset Blvd." and a 3rd Filipino, Marco Paguia, bagged a Tony Award for Best Orchestrations for the musical 'Buena Vista Social Club.' Mabuhay, indeed! — LA, GMA Integrated News
Yahoo
3 days ago
- Entertainment
- Yahoo
Actress Helen Shen On the 'Luminescent' Darren Criss, Telling Asian Stories on Broadway, and the Universality of Maybe Happy Ending
The musical Maybe Happy Ending, starring Darren Criss and Helen Shen, has had an unlikely and unique journey to success on Broadway. The show, which is about two 'Helper' robots running out the clock on their batteries and eventually falling in love, started in South Korea in 2016 before making its Broadway debut last year. Now, one year later, the show racked up 10 Tony nominations and won six at the 2025 Tonys on Sunday night. 24-year-old Shen stars opposite Criss, who won a Tony Sunday for Best Leading Actor in a Musical. The pair Criss and Shen also performed one of the songs from the musical for live television and the crowd at Radio City Music Hall. Shen jumped on a Zoom with Teen Vogue the day after the Tonys to talk about the show's huge night, the 'luminescence' of her co-star, and how this is hopefully just the beginning for Maybe Happy Ending. Helen Shen: Ahh! I'm feeling crazy. I'm so excited the world knows the show has had the impact that it has had. Every time, even in previews, when we were struggling to fill seats, the people who came were impacted by our show, and it was just about getting word of mouth and getting people in that theater to experience it. It was so impossible to explain our show and what it was doing every night to somebody who had no context. Especially the number that we did for the Tonys and to get to sit in a room full of people who were making such beautiful things, I got to see a couple of the shows this season and was so blown away by everything that it just felt really humbling to be on the same plane as them. It's a testament that our industry and our theater makers want to keep taking risks and showing producers that people want something new. That can be so scary to take a chance on in the beginning. But I think our show is and can be an example for the future. HS: It was insane. I mean, also my seats were literally right behind Audra McDonald. I got to watch her for a lot of it, and she brought her daughter, she was with her husband and her mom, I think. And to get to see this titan that I look up to so much, being a person experiencing the Tonys like an inner theater kid, was really healing for me, too. I got to see a couple of the performances and then was swept backstage to get back into my costume and hair and things. I felt very grateful that we had 250 performances under our belt because that part was, I won't say easy, but at least I know I knew what that was. All of it was baked in my bones by then. So it really was very overwhelming to perform for that many people knowing that it was broadcast. But even Radio City, just the venue is so much bigger than the Belasco. So I'm used to casting the spell on a thousand people every night, and then to blast that open in Radio City was a gift. I think Michael Arden did such a great job staging it and everyone with the lighting and the projections and stuff, it was how do you translate an untranslatable thing in two minutes? HS: This was always my dream. And then suddenly when you make your hobby and your dream [into] your profession, suddenly your talent or the way that people see you in the industry becomes a reflection on your own identity. I continue to take and have taken a lot of rejection to heart or just more of a realistic idea of how difficult this industry can be [than] going to school for musical theater was. It was so difficult to suddenly not be the big fish in a small pond and be released into the ocean. I had to figure out why I wanted to do it and whether or not there was more than just having other people's perceptions of it and approval. I needed to do it for myself and have more of that inner fire as opposed to waiting for somebody else to tell me where to go, who to be. Especially with Maybe Happy Ending, it has felt oftentimes like I'm not doing enough or not doing enough gymnastics or acrobatics [in the show]...If you're not sweating and killing yourself eight shows a week, that kind of thing. And that's what I've learned so much from doing Claire and with Maybe Happy Ending that it's so much larger than any one contribution. What I love about my voice, which I didn't even know I loved about it, was there is a softness to it, and that has been a superpower of [the show]. That's been an internal fight for me to even believe that about myself. And I've had so many amazing champions in Darren and Michael and [co-writers] Will [Aronson] and Hue [Park], I mean everyone on the team. And then to get to do it at the Tony Awards! I introduced myself to Audra and I was like, 'oh, Ms. Audra, I'm Helen. I'm a huge fan,' and she was like, 'Helen, you don't need to introduce yourself to me. I know who you are.' Those are the kinds of moments that I just, yeah. I'm pinching myself. I can't believe it. HS: It was really emotional for me. To get to do this with him… he is such a big star. He is so luminescent and he commands this attention because he's so great and he has proven time and time again that he can be a chameleon. Whatever he touches, he goes for wholeheartedly. From the very beginning, he's been so loud about cheering me on and pushing me towards the front. I'm really grateful that in his moment of getting to share his flowers, that he shared that with me. We don't leave the stage for most of [the show], and it is such a team effort on all parties, our stage management team, the rest of our cast and everyone. But the way that we have to hold each other in this piece and be present with each other, I'm very grateful that in that moment he shared that with me. And to share that with his wife, too, I think he said some really beautiful things about Mia, and he's worked so hard this year and continued to do so. I mean, hosting the first part [of the Tony Awards, with Renee Elise Goldberry]— HS: He's addicted to it. He loves it so much, and it fuels him. And so I've learned so much from him and this process. We all still have to do eight shows a week. A lot of us still did a matinee that day after the dress rehearsal, [before the awards]. HS: Yeah, it was a 24 hour day. You either nap or you just stare at a wall in silence, turn off and stare and just dissociate. HS: Firstly, Lea Salonga [introduced us] before our performance. She has been such a huge champion of our show. She's come to see it a couple of times and has just always been such a loud advocate for us. But she was my beacon growing up, and I attest a lot of my thoughts that this was ever a possibility [for me], to her career. We've had Asian families at the stage door say, 'I bring my kids to Broadway shows all the time and I never thought in my lifetime that I would see a show like this where these characters are portrayed by Asian actors, and the story feels very inherently Asian.' It feels like baked in the bones, and yet it's not about that, it's actually about the universality of humanity. And I feel really excited that it's reached kind of mainstream in this way. It's just not to say that let's tell Asian stories for Asian people. These stories matter because everyone can be seen in them. It trickles down to, then, what people think is possible. I feel very emotional thinking about if 11-year-old Helen saw Maybe Happy Ending, listened to the cast recording, knew the journey of where it came from in Korea, that it's not just about trying to be a Western idea and trying to fit yourself into this mold…All you can do is keep being yourself, and that will click at some point. I feel it so profoundly. Also in the microcosm way at the theater, we get to really celebrate what's fun about it and order dim sum and go out to the barbecue. There's little things like that when you're not the minority in a cast, you can kind of experience in a way that you didn't really experience before. And we have AAPI representation across the board — the stage managers and our designers, and everyone at the Belasco, even though it's a four person cast, it is filled to the brim with the most amazing women, the most amazing queer people. It's just the best building to go to work in. And I'm going back to work tomorrow. It feels like there's an ending of some sorts that feels like a conclusion or a culmination, a chapter ending [with the Tonys wins]. But actually, we go to work. HS: I just hope that as many people [possible] can see this show and get to experience this story. We're living now [in a time] where technology is a bullet train barreling towards us, and there's no stopping it. There's only: how can we have it while maintaining our humanity? In terms of the way that media has portrayed technology, this [show] is a very compassionate way of portraying it. It has a warmth to it. I hope that we get to do it all over the world. I don't know. I hope that more people get to see it. I think other audiences would love it, too. HS: It's becoming a more casual use, which I find that to be a bit scary. There's so many cautionary tales that we've seen about not letting our human hubris think that trying to make this thing that's artificial intelligence, that we can somehow be superior to that and always control that. There's a Pandora's box that we're opening. I think that the evil part of it is the people who are designing this technology, trying to better their own lives and make more money from it. I think if we can use that technology to continue connecting people and make a way to help the world with this technology and think of more solutions to these problems that have wracked our human brains for centuries. We can use AI to think of better solutions to the evils of capitalism, but the evils of capitalism are making the technology. I think we have to know that it's inevitable and then do with that what we will, with kindness and connectivity. HS: I believe in this piece because I believe in the music and the book and my creative team and the story that we're telling. I believe in so much, so much more than I have any other project that I've ever done. And it felt rare. But it was like trying to explain a new color to people. Even the log line of: 'two robots falling in love,' like, womp womp. Okay, that's crazy. I can't really picture it. I can't really empathize with it. And so even though we were playing sometimes to emptier houses or just trying to get the word out, it felt like we were shouting into the void sometimes. But whoever came really resonated with it. The sentiment of the show personally helped me stay present throughout all of it because Claire, her whole motto is that, it's the way that it has to be, and tomorrow is not promised. So instead of using that to make me feel dread or there's an expiration date, and that being an impending doom feeling, it can feel like release — that I can just experience now to the fullest. I remember when there was a lot of doubt floating around the internet, all this internet gossip, all of these things that were really scary. I said to one of my castmates, if I can get one thing out of this, I just want to do this for one audience one time. I really hope we get there. There was also a world in which that didn't even happen, that we didn't even get to previews. So every step was a new dream come true. The fact that we got to opening, and then when we got to opening, we got so many amazing reviews. We got those reviews and our producers still said, don't relax, because we still don't know — it's still never a guarantee. The industry is just so hard. It's so hard. All of these amazing shows closed after fall openings, and that is not a testament to how hard they were working or how much they believed in their pieces. That was so out of their control as well. I think that really sobered us up and made us feel grateful for every single audience that we ever had. HS: Yes! We call them the 'fireflies.' They have been instrumental in getting this word out, especially in the beginning. Someone told me that a couple of the fireflies pooled together and helped pay for tickets for people who couldn't afford to do so. It's a testament to how much they believed in this show. At every turn, they've been so supportive. And they support our standbys so much too. Whenever a standby goes on, they're pooling to the theaters to go see them and it's really amazing. They're so kind. They're a kind group of people. I think our show invites a kind of person who… there's a cerebral-ness to the show, there's a softness to the show, maybe it's the jazz elements and Marcus, and there's a warmth to it that I feel a lot of familiarity and kinship with these people who resonate with this show. I resonate with it. If I wasn't a part of it, I would be a firefly. HS: It's for you. It's for you. I haven't seen John Proctor yet, but I've read a couple of script dialogue moments, and what I appreciate about Kimberly Belflower's writing is that it doesn't talk down to the youth. Actually, it reveres and respects and has dignity to the young voice. And I think that's what a lot might've been missing from representation of young people in the past — it's been people writing from a point of, look how naive this kid is. Look at this kind of perspective. They have so much to learn. They have so far to go. Which is true. There's a lot to learn and there is a lot of wisdom in youth, and our generation has a lot of language to explain things that maybe other generations struggled with. Instead of [being] like, I'm defensive about the fact that these kids have this language, it can be like, we can share information of the age of information. We grew up with the internet. We grew up with having everything at our fingertips to a lot of our generation's detriment. There's a lot of isolation that happens. A lot of our generation had the pandemic during a time when you're supposed to experience the difficulties of middle school and that socializing is really important. I had it when I was in college, so I can't imagine what it would have been like experiencing it in elementary school or middle school or these very fundamental years of socializing. But especially with live theater, there's no substitution for getting into a space together and experiencing one thing and being affected and being open to it. So I'm really excited that John Proctor and Romeo + Juliet and all of these pieces are resonating with young people. We have a lot of Gen Z people resonating with Maybe Happy Ending. There is an accessibility issue. Tickets keep getting more and more expensive, and that's just tough, because it's for the people and shouldn't be gatekept from people just because of prices. But there's rush and there's ways that people are trying to make it more affordable and lower that accessibility. I would say just get in a rush line, see something and think about it and form your own opinion about it. It's irreplaceable. HS: Well, first of all, in their creative collaboration, [co-writers] Will and Hue are very Claire and Oliver-coded. They do switch off between which one's which. Will is more Oliver and Hue is more Claire. He is so sardonic and witty, and they're both super self-deprecating individuals. So I would say [his type], I don't know, somebody who could be really kind and loving to Hue, I would invite to hit him up in the DMs. HS: If you had asked me that before Maybe Happy Ending, it would've been trying to describe something like Maybe Happy Ending. So, I guess my journey now is what happens after your dream comes true. HS: I would love to dip my toes into some TV, on-camera, or film work. Theater is my flesh and blood and bone: The way you're able to zero in on a moment and get into the psyche of a character because the camera's right here. I'm really hungry to do that and write something one day. I have a background in classical music, and I think there's a story percolating within me about the classical piano world. Originally Appeared on Teen Vogue
