Marcus Choi, Helen J Shen, Dez Duron and Darren Criss of the Broadway musical “Maybe Happy Ending,” photographed on the Belasco Theater in New York.
(Justin Jun Lee / For The Occasions)
A line in “Maybe Happy Ending” describes the lives of fireflies, the once-ubiquitous bugs that magically produce their very own gentle.
“They only live for two months. But what a beautiful two months.”
The identical was almost stated of the stage present itself. Of all the brand new musicals debuting on Broadway this season, “Maybe Happy Ending” is the only real entry not primarily based on true occasions, archival music or another present materials, which made it a field workplace underdog when it opened final November.
Its unabashed originality has since turn out to be its greatest boon. Set in Seoul circa 2064, the one-act journey facilities on two retired Helperbots who put aside their solitude and head to Jeju Island; Oliver, optimistic by design, hopes to reunite together with his former proprietor, and Claire, cynical from expertise, needs to witness the fireflies’ glow earlier than her personal obsoletion. Alongside the way in which, these robots fall in love, their narrative needle dropped by jazz requirements of a bygone period.
This intimate spectacle — already a success title in Asia for years, earlier than the isolation of the pandemic and the existential menace of AI — is a singular exploration of human connection and the great thing about being alive, despite the fact that the one dwelling factor of their residences is a potted plant named HwaBoon. The Occasions spoke individually with members of the musical’s solid and artistic workforce about growing the standout present in Asia, witnessing its exceptional rise to Broadway acclaim and pulling off an ending that fascinates audiences to the tune of repeat viewing.
Hue Park (lyricist, ebook author): In 2014, I used to be in a espresso store, and a tune performed within the background: “Everyday Robots” by Damon Albarn. The lyrics begin with, “We are everyday robots on our phones / in the process of getting home.” I instantly considered an intimate love story, however the protagonists are robots.
Will Aronson (composer, lyricist, ebook author): His pitch was, “Two robots in the future in Korea, but one plays trombone alone late at night in the garage beneath their apartment.” There was already a powerful emotional coloration due to this side of loneliness and isolation.
Park: I had simply gotten out of a long-term relationship and misplaced an in depth pal to most cancers, and behind my head for a very long time was hikikomori, the Japanese phenomenon [of severe social withdrawal] that can also be in Korea. It made me marvel: Loving somebody could be a heartbreaking factor, so why can we do it? Do I actually wish to pursue one other deep reference to somebody new, or do I wish to be on my own, which is extra comforting in some ways?
Darren Criss performs an optimistic Helperbot named Oliver in “Maybe Happy Ending.”
(Justin Jun Lee / For The Occasions)
Aronson: We thought in regards to the causes for that remoted state and fashioned our two Helperbots: Oliver has discovered a routine, and there’s an actual draw to remain in that room and by no means go away it, even when it means not experiencing something. Claire is on the opposite facet: I’ve seen it and I don’t need it, I’m not going to interact with any of it.
Michael Arden (director): The music was so recent. I felt like I used to be listening to some love baby of Sufjan Stevens, Richard Rodgers and Mr. Rogers, as a result of one thing about it made me extremely nostalgic. Then I bought to the script — robots sooner or later? What the hell is that this? Any new musical is a tough promote to traders, however particularly one with an elevator pitch that’s barely odd. However by the point I completed studying it, I used to be in tears. It’s about robots, but it surely’s actually about life.
Park: There was a particular model and sound that I wished us to strive: On this futuristic Korea, we’ve got this extraordinarily acoustic, chamber sound, with jazz as an enormous aspect. I discovered that distinction thrilling; to make all the things digital could be so apparent.
Dez Duron (actor, Gil Brentley): These beautiful jazz requirements really feel like hits from the ’40s and ’50s — songs that Oliver would nonetheless be listening to on a document participant, over 100 years later. If these songs existed when Frank Sinatra and Dean Martin and all these crooners have been alive, they’d’ve beat down Will and Hue’s door to allow them to sing them first.
Marcus Choi and Darren Criss in “Maybe Happy Ending.”
(Matthew Murphy and Evan Zimmerman)
Clint Ramos (costume designer): Theater followers [in Asia] have been speaking about this musical for years. It’s attention-grabbing — to a non-Asian viewers, it’s an incredible love story, however to Asian people, it hits all these various things. For instance, between the robots, there’s no lust, there’s no intercourse. There’s numerous holding again feelings, and a contact or a glance is so charged with vitality — that’s like a basic relationship, but it surely’s additionally very Asian in numerous methods.
Park: [Bringing it to America in 2020,] we have been cussed — we’re not altering the situation, we’re not doing stunt casting, the actors ought to actually match the characters. Fortunately, the present was already working for a number of years in Korea and Japan and China, and everybody was respectful of what was already carried out, so we have been in a position to follow the authenticity of the fabric.
Aronson: At one level, we had Denée Benton enjoying Claire, Corey Cott as Oliver and Jon Jon Briones as each [Oliver’s former owner] James and the jazz singer. Then, our considering was: They’re robots, so they might technically be any background, but when the viewers solely has just a few moments to outline the setting, it helps that the protagonists are solid Asian.
Helen J Shen (actor, Claire): Speaking to folks on the stage door, there are such a lot of Asian faces — individuals who have adopted the manufacturing since Korea, folks making an attempt to do musical theater, people who find themselves excited to see both themselves mirrored onstage or simply one thing that doesn’t match what we’ve turn out to be accustomed to seeing. Me embodying this character and standing on this constructing [on Broadway] is a revolution in and of itself; I really feel the load of that on a regular basis, and it’s straightforward for that to really feel somewhat paralyzing.
However the different day, Baayork Lee held my fingers and advised me, “You’re representing us — it’s a lot of pressure, but you’re doing it.” These surreal “pinch me” moments make me reevaluate rising up and never seeing faces that appear like me, or seeing the few that do play characters who weren’t well-rounded. I maintain that particular person after I carry out this.
Helen J Shen performs a cynical Helperbot named Claire in “Maybe Happy Ending.”
(Justin Jun Lee / For The Occasions)
Darren Criss (actor, Oliver): Let’s name a spade a spade right here — I’m the white-passing Asian of our group, however it’s my identification. The AAPI group within the arts is a smaller, if not marginalized, group, so to be up there, I really feel that pleasure and encouragement from the group at massive. It’s vital, and I hope this present can proceed to have that legacy and be an inspiring name to motion in different inventive spheres.
Marcus Choi (actor, James/Junseo): The American model has a deeper narrative between James and his estranged son, Junseo. I recognize it as a result of, rising up as a second-generation Korean American, I had some cultural difficulties when it got here to my father — one thing I believe numerous Asian American households can relate to. Enjoying each roles has been therapeutic; it’s been a chance to voice my frustrations as a son whereas additionally sympathizing with the daddy character.
Justin Scribner (manufacturing stage supervisor): I’m excited for Asian artists to see themselves in a chunk that’s not about Asian trauma, of which there’s a lot within the musical theater canon, like “Miss Saigon” and “The King and I.” That takes its toll. To have roles for Asian artists that simply occur to be in Korea, constructed by Asian creatives in Asia — all of it appears like a potential starting of one thing.
Helen J Shen and Darren Criss in “Maybe Happy Ending.”
(Matthew Murphy and Evan Zimmerman)
Arden: The problem all through this entire course of was by no means letting the complexity of the design overwhelm the simplicity of the story. We body all the things in these bins that open and shut, which is impressed by how we learn manga — you see a picture, and then you definately transfer to the following one, and the scenes are dropped at you want a conveyor belt — in addition to how we soak up media on our telephones. Our entire first motion is offered in a vertical rectangle, such as you’re watching an Instagram Reel. It feels acquainted but in addition considerably unhuman.
Dane Laffrey (scenic designer): The Helperbots’ items are impressed by the Nakagin Capsule Tower, which was constructed within the ’70s as a part of a transient structure scheme: There’d be many of those towers in each main metropolis, and your residence may go along with you from metropolis to metropolis. It was utopian and idealistic, and the pods have been designed with modular furnishings constructed into the partitions. However no different tower was ever constructed, so these futuristic cubes stayed there, began to decay and have become out of date.
Michael and I have been briefly in Tokyo earlier than the constructing was torn down [in 2022], and it was extraordinary to see from the skin how a lot of it was being held along with plastic and tape, with extension cords popping out of the home windows. It was unhappy and wonderful and inevitable, all in a means that felt linked to our story.
Ramos: In Asia, the aesthetic that Westerners understand as “cute” additionally interprets to nonthreatening. So Oliver’s costume is maxed out in that side — he’s put collectively in a sort of uniform, with clear traces and sharp angles, but it surely additionally resembles that of a doll. There’s no {hardware}, no belt; it’s a glance that’d make an individual really feel protected.
Claire’s costume needed to be modest; we didn’t need a Okay-pop or schoolgirl vibe. And since she’s a extra superior mannequin, her look evokes an individuality, a way that she and her proprietor may kiki about vogue and take a look at on these black suede boots. Compared to Oliver’s, Claire’s outfit has extra curves, textures and room for her extra advanced actions.
Marcus Choi performs Oliver’s former proprietor James, in addition to James’ son Junseo, in “Maybe Happy Ending.”
(Justin Jun Lee / For The Occasions)
George Reeve (video projection designer): I like how, in Oliver and Claire’s recollections, the people are represented digitally whereas the robots are performed by folks.
Ben Stanton (lighting designer): For these recollections, we fly in a hologauze, a scrim that’s so positive it’s virtually invisible however displays gentle again so efficiently that, when projecting video onto that floor after which lighting the actors behind it, we’ve got a hologram impact. We drain all the colour from the stage so it’s all monochrome, and it all of a sudden appears like a unique actuality.
Scribner: Now we have over 50 automated parts, together with the turntable, lifts, firefly hatches within the deck — they’re individually programmable items, however they’re run by operators who press buttons rhythmically and in the correct order.
Altogether, we’ve got 19 crew members, they usually’re busy each second, working very quick in very small areas. When Oliver’s residence disappears for 13½ seconds and comes again all packed up, that’s seven crew members exactly choreographed to seize sure issues, hand them to one another and get out of there — all at midnight.
Helen J Shen in “Maybe Happy Ending.”
(Matthew Murphy and Evan Zimmerman)
Reeve: This entire time, we’re watching Oliver and Claire journey to see these fireflies, and since that second is definitely fairly fast, it needed to land. It wanted to be summary but theatrical, joyful but in addition makes you cry. There was such a dialogue about how a firefly flashes — What number of seconds? Are ours twinkly sufficient? — however these particulars make all of it click on.
Stanton: There are lots of of fireflies within the background, on the video screens, upstage and scattered all through the home. We get this actual sense of depth and dimension; this scene of robots in nature feels magical as a result of it’s tangible. After which a single firefly flies out over the home, which is beautiful.
Scribner: The string quartet performs from an empty dressing room for a lot of the present. Through the quietest scene, they tiptoe upstairs, placed on in-ear displays and tune their second set of devices till the final second. They’re led onstage and, as soon as all of them nod, an electrician blasts the house with fog, and all of a sudden they’re on a turntable, enjoying expressively from reminiscence.
We had numerous rehearsals to ensure all of the musicians have been snug — it’s not the standard gig! — however they’re excited to be part of it. They perceive how particular the factor is that we’re doing.
Dez Duron performs jazz singer Gil Brentley in “Maybe Happy Ending.”
(Justin Jun Lee / For The Occasions)
Criss: After just a few previews, we observed that audiences had conflicting concepts in regards to the ending and would ask us for solutions. We advised Michael, and he stated defiantly, “No, that’s not the play we’re doing. This is what happens, make sure you tell that story.” Shy of any eye flutters, we’re doing that very same directive each night time.
Shen: Folks come again and completely see various things as a result of this present can maintain one thing totally different every time you see it. Every time anybody asks me, I like turning it again on them and listening to how they’re reflecting their very own existence into that second.
Criss: Although we’re making an attempt to be definitive, folks wish to see issues and want the ending to be in some way, possibly due to style or life experiences. It simply speaks to the funding folks put into these characters and the story.
Aronson: I truly interpret the title extra as: Even when the details are clear, is it a cheerful ending or not?
Scribner: To start with, it was scary; it felt like we have been freely giving tickets. I used to be like, Is that this gonna be the best factor I ever labored on and nobody bought to see it? However to then have all the evaluations be so optimistic, and converse to the storytelling’s depth and layers, modified the sport. I finished getting texts asking at no cost tickets and as an alternative bought texts asking find out how to get any tickets in any respect.
Park: That these audiences grew to become our greatest supporters is the perfect factor on the planet. I discovered it unhappy that, as a result of we didn’t base this on something well-known, we weren’t promoting sufficient tickets upfront. We’re creating a brand new present, a brand new story — that’s our job. And to be sustainable, it shouldn’t be unique?
Aronson: I get it — with tickets this costly, folks need a protected alternative. We have been asking folks to take a threat, particularly earlier than anybody knew what it was about or what the expertise could be. Am I actually going to go see robots in love?
Park: But it surely’s like Oliver opening his door to Claire when she knocks. You don’t should reply, however should you do, it may very well be actually rewarding, even life-changing. I hope we aren’t too cynical to open that door.
Darren Criss, Dez Duron, Helen J Shen and Marcus Choi of the Broadway musical “Maybe Happy Ending.”
(Justin Jun Lee / For The Occasions)
