Posted: 8/5/25 at 4:09am
Regardless of anyone’s opinion of the casting choice (and future casting choices), and my own sympathy with the criticism of it, the best approach for the producers is probably just to gut through it. That’s what the Funny Girl producers did after there was much online outrage over the selection of Katerina McCrimmon as Fanny Brice for the Funny Girl tour. They kept their heads down and plowed ahead. The unhappiness with Andrew Barth Feldman has never been that anyone thinks he lacks talent.
If Mandy Patinkin hadn’t dropped out of Great Comet, that tempest would have flamed out too, albeit with some extra unpleasantness, but that was almost certainly a Band-aid anyway (as much as I personally love that musical).
The Maybe Happy Ending writers have made their statement, and regardless of whether people like their answer, it’s a little hard to tell the show’s creators - including a Korean man - that their intentions are irrelevant.
Maybe Happy Ending didn’t become a hit because theatergoers were clamoring to see Asian-American actors on a Broadway stage. Word of mouth was great, the show won Best Musical. It’s a very well-crafted and emotionally resonant show.
The question surrounding the musical’s future has always been whether its success is sustainable without Darren Criss who, while not a major star, is a name and was good enough as Oliver to win a Tony Award himself. That question got an extra twist with the casting flap.
How much of a hit does the show take after Criss’ departure? The producers seem to think they need reasonably big names for Oliver and (eventually) Claire. What big names want those roles as replacements? Will the casting flap affect future decisions, both by the producers and any ‘name’ actors who are approached (especially if they aren’t Asian-American)?
It feels to me that the producers have created a trap for themselves.
.jpg?format=auto&width=365)
