‘Maybe Happy Ending’ faced a challenging and uncertain beginning.
Its stunning success at the recent Tony Awards — securing six trophies including Best New Musical — marked a dramatic turnaround for a modest production with an unusual title and an unconventional premise initially viewed skeptically by Broadway insiders during its preview period last fall.
In the early hours following the ceremony, the cast, creative team, and producers celebrated at Bryant Park Grill, finally embracing the reality that their unlikely show had broken through industry doubts.
Darren Criss, who earned his first Tony for portraying Oliver, an obsolete helper robot who forms a transformative connection with another robot, reflected on the journey. Criss, an Emmy winner and former star of “Glee,” is also part of the show’s production team.
“We never knew if this show would even open,” Criss said. “We didn’t have the luxury of dreaming about success. This really was the little show that could.”
The production encountered serious setbacks last summer when lead producers Jeffrey Richards and Hunter Arnold postponed opening by a month, citing supply chain disruptions related to digital video tiles from China — a delay some suspected masked financial difficulties.
Executive producer Allan Williams recalled the skepticism surrounding the show at that time: “They wrote us off.”
The team faced layoffs, refunded tickets for canceled performances, and contended with negative buzz fueled by a TikTok influencer who suggested the show might never open.
Helen J Shen, who co-stars as Claire, a more advanced robot, admitted, “We never really felt secure. People were texting me with sympathy.”
Several potential investors withdrew support, wary of backing a production perceived as doomed.
Arnold noted, “We lost many investors because of that TikTok. No one wants to invest without confidence the show will actually open.”
When previews finally began on October 16, ticket sales were dismal, totaling just $450,000 — a strikingly low figure for a new Broadway musical.
The show struggled financially throughout previews, with weekly grosses under $300,000 against running costs of $765,000. The Belasco Theater, with 973 seats, often sat 20 percent empty. To boost attendance and generate buzz, producers discounted all tickets between $30 and $69, reducing the average ticket price to an alarming $45 by the fourth week.
Marketing ‘Maybe Happy Ending’ was a unique challenge. The intimate cast of four includes two actors portraying robots, exploring themes of isolation, memory, and love through a blend of indie pop, American jazz, and Broadway styles. The production features intricate automation and projections that gradually reveal the story.
Arnold explained, “Every time we described it — two robots in near-future Seoul — people said, ‘That doesn’t sound like a musical.’”
The show’s website avoids the word “robot” altogether. Director Michael Arden described it as “a gentle, reflective piece, which is not easy to sell.” Shen summed it up simply: “Just trust me.”
“It’s like describing a new color,” she added. “We didn’t quite know how to explain this to audiences.”
Those who experienced the show were deeply moved and began sharing their enthusiasm. Arden said, “People liked feeling like they were sharing a secret.”
The official opening on November 12 was met with overwhelmingly positive reviews, with critics praising its beauty and charm.
Despite critical acclaim, uncertainty lingered. Broadway remains a high-risk environment where shows often close quickly, as seen with recent short-lived musicals.
Co-writer Will Aronson recalled, “After opening night, we said emotional goodbyes, expecting a brief run.”
Encouraged by favorable word-of-mouth and reviews, the producers raised an additional $1.75 million for promotion, sparking a gradual turnaround. Arnold noted, “We were losing money but could see online buzz and sales improving.”
The week following opening, gross revenue reached $591,000. By the holiday season, it achieved its first million-dollar week and has since mostly covered running costs. Ticket sales surged after the Tony nominations were announced in early May, leading to near sell-out performances.
It remains uncertain whether the show will ultimately be profitable, as escalating production expenses have made profitability elusive for most new musicals recently. However, winning the Tony Awards typically attracts audiences eager to see the best musical.
‘Maybe Happy Ending’ has a distinctive background. Co-writers Aronson, from the U.S., and Park, from South Korea, are a bilingual songwriting duo with experience in both countries.
Park conceived the idea while sitting in a Brooklyn café in 2014, inspired by the song “Everyday Robots,” reflecting on technology’s impact on isolation and connection.
The musical premiered commercially in Seoul in 2016 and was later presented in English in New York, where producer Jeffrey Richards, impressed by its originality, acquired the rights.
Following successful runs in Korea, Japan, and China, the English version—then titled “What I Learned From People”—won the Richard Rodgers Award in 2017, supporting new musical development.
Richards helped assemble the creative team and secure funding, with Michael Arden joining as director in 2018, describing the work as “devastating, beautiful, and ultimately life-affirming.”
The American premiere took place in early 2020 at Atlanta’s Alliance Theater, earning high praise and plans for a Broadway transfer that were delayed by the pandemic.
When theaters reopened, the production lost momentum amid fierce competition for investors and venues. Richards acknowledged, “We had to start over.”
Positively, Darren Criss’s involvement, following his work in a Richards-produced play, helped attract both theater owners and backers.
Finding a theater that suited the show’s small cast yet elaborate set—including an elevator beneath the stage—proved difficult until last fall when the Belasco Theater became available.
The Belasco also carries a legacy of theatrical comebacks; Richards likened ‘Maybe Happy Ending’ to the 1960 play that revived its fortunes there, dubbing their production “the 21st-century miracle on 44th Street.”
In the early hours after the Tonys, the show’s creative team celebrated how the industry embraced its core qualities, winning awards for score, book, scenic design, and direction.
Scenic designer Dane Laffrey reflected, “This is exactly the kind of theater that people in the business want—heartfelt, original, innovative. It’s risky, but the rewards are immense if you stay the course.”
0 Comments
No comments yet. Be the first to comment!