MAYBE HAPPY ENDING Previews — Page 3

Any thoughts on first two rows in terms of sight lines? They’re pretty heavily discounted normal seats, but I’d rather center than side if the sides are so obstructed, and orchestra than balcony if the front apron is obstructed.

But if the stage is obscenely high or another thing… gahhh why is it so hard to get cheap tickets that can actually see the damn thing?

OhHiJohnny said: "Any thoughts on first two rows in terms of sight lines? They’re pretty heavily discounted normal seats, but I’d rather center than side if the sides are so obstructed, and orchestra than balcony if the front apron is obstructed.

But if the stage is obscenely high or another thing… gahhh why is it so hard to get cheap tickets that can actually see the damn thing?"

Having sat in the front row but on the side (technically row B), I'd say go for it due to the price point but shoot for the second row and centered. Being close is less of an issue than being further to the side, IMO - being as centered as possible will address the bulk of the sightline issues people have experienced from the sides, meaning your main concern will be having to look up. The stage isn't particularly high, though not having the orchestra in the pit as a buffer necessarily means it's more of an angle. I don't remember many moments where the actors would obstruct each other, and while some action happens on the apron, most of it is set back enough that it's not like you'd be staring straight up the whole time or anything like that. There is one scene where you'll really have to crane your neck since it takes place in a room raised pretty high off the stage on the left side, but frankly, it's high enough that people in the more expensive seats behind you will have to crane their necks just as much. That's just one scene though and I wouldn't consider that a dealbreaker.

Since the balcony seats are what's comparable in price, the tradeoff is sitting in the balc with some apron obstruction, others in front of you maybe leaning forward because of that, and feeling further removed, but your neck will thank you, vs. craning your neck more, but being close to the action if you're front and center. Personally I'd choose the latter but it depends on your tolerance for looking up.

I went into this very blind, and just now skimmed this thread after seeing the show. I hate to be the voice of dissent here, but I did not care for this at all.

I found this to be long, dull, and boring. I did not find the premise to be interesting, and I found both Darren and Helen grating and charmless. This is a problem for an almost two hour intermissionless show where they are the only ones onstage for 95% of the time.

The set is a complete ripoff of the most recent Company revival, but nowhere near as clever and intricate. I didn't think there were any "WOW" moments with the design. There are some cool projections, but nothing to write home about.

I think I saw someone else mention the false endings... There were so many songs/moments where I thought the show would (finally) end, and then it kept going. And going.

As far as sight lines go, the center of the front mezzanine is the way to go if you're going to see this.

Updated On: 11/2/24 at 04:49 PM

Updated On: 11/3/24 at 01:11 AM

Updated On: 11/3/24 at 01:02 AM

I didn't say he did . And Arden didn't design the sets.
Just added that production had occurred prior.
Look who actually made the "rip off" comment, and go after them, Jan. Could care less frankly. No one is curing cancer with a musical.

Updated On: 11/3/24 at 02:21 AM

QueenTwinnied said: "Not sure how it can be a "complete ripoff" of the Company set considering MHE had an early 2020 run in Atlanta with a very similar set. Some of you can be quite dense."

Thanks for pointing that out - In hindsight, I will admit that I could have worded that section of my post differently considering this. Not sure your "dense" was comment was necessary, though.

What a delightful, wonderful surprise this show was! I genuinely loved everything about it.

I went in knowing only the broadest strokes of what it was about, but was hooked (and charmed) from the start. I certainly didn’t expect to be so moved during this show, but I found myself crying multiple times. Having read reactions that said it was cute and sweet (both of which are true), I was surprised by how much depth I found in it.

The direction and staging in conjunction with the set was excellent – it created such a specific atmosphere and I loved being in their world.

Everyone was great, but Darren Criss was really, really excellent. He’s giving a charming, heartwarming, moving performance (and his robotic movements feel so – and, yes, this sounds strange – naturally robotic).

Such a unique, wonderful, unexpected show! I really hope it finds its audience. I’m looking forward to seeing it again.

Thank you for sharing! I am in row G this weekend and was hoping that was a good row. Can’t wait to see it.

I also choked up!

I'm loving the 5 songs on the website (https://www.maybehappyending.com/). "World Within My Room" reminds of "The Beauty Is" from Light in the Piazza.

Wish they would put the songs on Spotify, so I didn't have to listen to them on the website.

Updated On: 11/8/24 at 12:47 AM

Feels like something that may get a little critical boost from the Trump win as a charming, light, thought-provoking show, though it remains to be seen how much that will actually help the box office. It is a long time until the Tonys.

TUCK EVERLASTING and DAYS OF WINE & ROSES were both NYT Critics Picks and closed quickly with little fanfare.

As previously discussed, they'll need to increase the gross by about 2.5x what they're currently doing to merely break even. It's tough to climb out of a ditch this big.

A New Broadway Musical Asks: Can Robots Fall in Love?

https://www.nytimes.com/2024/11/08/theater/maybe-happy-ending-broadway-criss.html?unlocked_article_code=1.Y04.jTgz.1TttPUdLYDPe