Darren Criss and Helen J Shen Will Lead MAYBE HAPPY ENDING on Broadway — Page 4

it sounds like this production isn't happening anymore

Call_me_jorge said: "Another Room/My Son’s a Queer scenario or did Darren Criss drop out?"

I'd find it hard to believe Criss dropped out when the show was just recently announced for his Elsie Fest. Probably financial woes if this news is true, so yes, it would be another Room / MSAQ scenario.

Apparently the unpaid vendors 

I've been hearing whispers from two different connections of a production not making it to opening over failing to secure the needed funds combined with a very poor advance. I just didn't know which one until, seemingly, now. Which is devastating because this and Death Becomes Her were/are my most anticipated fall shows.

Updated On: 8/15/24 at 11:04 PM

Michael Arden posted on his Instagram story a shot of the marquee with the text “Gods of the theatre, smile on us”

smidge said: "Michael Arden posted on his Instagram story a shot of the marquee with the text “Gods of the theatre, smile on us”"

the show is absolutely in trouble

theatergoer3 said: "If not where the current sourcing is from, there is a TikTok by the Oracle.

Edit: Criss is on SiriusXM tmrw for this and Elsie Fest"

Do we know what time?

Almost a $18 million cap for a four hander all Asian musical… now to go down in history as a real flop. After Frank’s West End show closing early, I really didn’t want to see this fail. Why was it so expensive? Is it Darren’s salary? I’m just so gutted that it feels like Asian musicals can’t succeed. If you can’t raise the full amount for a Darren Criss led show, then Broadway is really morphing. Maybe they could’ve used a star instead of Helen for Claire? Just coping, don’t mind me. 

Sigh.

Last I heard (granted, a week or two ago) they were still looking to secure studio space. Show is supposed to be in previews nine weeks from now. 

And the show isn’t even all that great, either. I saw a videotaped staged workshop with the Atlanta leads a few years ago, and didn’t think it was anything more than “cute.” I can already imagine most of us humming the scenery (and there are some pretty cool effects, from what I’ve been told). 

If it had been fully funded, it would’ve easily closed before Christmas. 

When I, of all people, hear these rumors, it's likely true.    When they delayed the start of previews, I had my suspicions.  (Right?  That was this show, yes?)

RippedMan said: "The design looked really cool. I don't think Broadway is changing so much as it's just inflation and whatnot. It's always been a gamble. Maybe they should have gone the nonprofit route and done this at Playwrights."

Off-Broadway house definitely would be more appropriate. Shows like this need a small house/ticket scarcity factor to sell out. 

Richards has never lead-produced a successful new musical (American Psycho, Bridges of Madison County, Bonnie & Clyde, and Bloody Bloody A J were all big flops). It looks like his past 8 lead-producing efforts were all financial flops, and I doubt Our Town is gonna light the box office ablaze. He was also behind Pal Joey at Encores, Wholesale at Classic Stage, and now Table 17 at MCC; I doubt those shows will transfer, meaning those investors have no chance of seeing a return. All that plus the current climate for new musicals can lead to a weary investor pool.

Maybe it’s a Joe Biden/Donald Trump situation where an 80ish year-old white producer isn’t the right fit for 2024 Broadway or for this material? There could be an interesting case study about people like Richards, Daryl Roth (upcoming Left on Tenth), Ira Pittelman (recent flop Tommy), Bill Haber (upcoming Boop), Bob Wankel (Shubert Org), and Andre Bishop (LCT), who perhaps have lost touch with Broadway buyers. But then there's people in the 77-85 zone like Barry Weissler, Jack O'Brien, and Lynn Meadow who have largely adapted with the times.