Aug 15, 2025
The actor, who makes his New York stage debut this month, reflects on how it compares tackling a major Netflix series.
pretty much the podcasts, but in written format
I love the picture they used
seen from United States
seen from Panama
seen from Malaysia
seen from Iraq
seen from Canada
seen from Singapore
seen from France
seen from United States
seen from Singapore
seen from Netherlands
seen from Malaysia
seen from United States
seen from United Kingdom
seen from Argentina
seen from New Zealand
seen from United Kingdom
seen from China
seen from South Korea
seen from Canada
seen from Hong Kong SAR China
The actor, who makes his New York stage debut this month, reflects on how it compares tackling a major Netflix series.
pretty much the podcasts, but in written format
I love the picture they used
The producers cited a scenic design supply chain issue as the cause of the delay.
Maybe Happy Ending Postpones Broadway Opening Several Weeks
The producers of Maybe Happy Ending, the new musical comedy about robots in South Korea, have announced that preview performances at the Belasco Theatre will be postponed to October 16, with an official opening night November 12. The opening night had previously been announced as October 17, with previews starting September 18.
“Maybe Happy Ending uses specially made video projections, which are a critically important part of its scenic design and unfortunately, there has been a delay in production for these custom theatrical goods from the factory which specializes in these models,” said Allan Williams, Executive Producer. “That supply chain issue has caused the show’s postponement by a few weeks so that we can ensure the show maintains its unique and technologically advanced rendering to tell this story and the world of HelperBots ‘Oliver’ and ‘Claire’.”
The producers have also revealed the complete on stage cast of the show. As previously reported, Maybe Happy Ending stars Emmy and Golden Globe Award-winner Darren Criss (American Buffalo, Little Shop of Horrors) and Helen J Shen (The Lonely Few, Teeth). Dez Duron (NBC’s “The Voice”) and Marcus Choi (Wicked, Flower Drum Song) will join them, completing the four-person cast.
Maybe Happy Ending features music by Will Aronson, lyrics by Hue Park, and book by both Aronson and Park. Direction is by Tony Award-winner Michael Arden (Parade, Charles Dickens’ A Christmas Carol, Once on this Island).
The understudies rounding out the final cast will be announced at a later date.
Redmayne is no longer in the West End cast, but you can hear his performance in the Grammy-eligible live cast recording.
Interview: Eddie Redmayne on the Joys, Fears, and Learning Experiences of Cabaret
Redmayne is no longer in the West End cast, but you can hear his performance in the Grammy-eligible live cast recording.
David Gordon
London
October 16, 2023
Eddie Redmayne is in Croatia while we’re Zooming together. The project he’s working on — which he doesn’t mention but is easily Google-able — is a far cry from what we’re about to discuss: John Kander, Fred Ebb, and Joe Masteroff’s Cabaret. Redmayne was one of the glittery artists who helped reopen the West End after the prolonged Covid shutdown in an all-new immersive production of the classic musical, taking on the role of the Emcee opposite Jessie Buckley (Sally Bowles), Liza Sadovy (Fraulein Schneider), Elliot Levey (Herr Schultz), and Omari Douglas (Cliff Bradshaw).
This conversation has been condensed and edited for clarity.
Cabaret is one of my favorite shows, and it’s one of yours too, right? It absolutely is, yeah. It’s a scary one to undertake, Cabaret, because it’s a lot of people’s favorite show.
Looking backwards on your run, looking forward to whatever happens next, what has this whole experience been like for you? One of the most amazing things about the production that [director] Rebecca Frecknall put together and dreamed up with [designer] Tom Scutt is that it’s in the round, which makes the audience a literal part of the piece. It changed every night, and it changed every moment of every night. And given that, for the Emcee, the other character in the scene with him is often the audience, it just was one of the most alive, vibrant theatrical experiences I’ve ever had. You had extraordinary audience members, you had joy, you had anarchy, it changed every day. And that was completely thrilling.
I’ve been back to see every cast that’s taken over since I left. What Rebecca has crafted is a piece that has a form, but also allows for absolute individuality to flourish within that. Every Kit Kat member has their own personality, their own costume, their own vibrancy. I honestly feel, at this point, thrilled to be part of this amazing legacy.
Live recordings are especially rare on Broadway, and much less so for the West End. So this album almost feels like you’re there. I listened to it while exercising the other day. Which song has a good rhythm to it?
I mean, all the Kit Kat Club numbers do. “Money Makes the World Go ‘Round.” Yeah. It’s really important that it was a live recording because the Emcee, in some ways, falls flat if he doesn’t have something to interact with, given that the audience is the other character. The idea of canned laughter is sort of absurd. I love that there are moments in it that people are laughing and the person listening, unless you’ve seen the show, has no idea what’s going on.
What kind of toll did this show take on you as an actor and singer, eight times a week? Physically, it was an extreme toll. I’m not going to lie. I’ve not done anything like this. First thing in the morning, you’re in the shower checking that all the vocal pieces are there, and you fear that they’re not. My struggle was always finishing the anarchy of “Two Ladies,” because the Emcee would scream and be all over the place, and then I would have to find the poise to come into this choral version of “Tomorrow Belongs to Me,” where I sing the top vocal part over three of my own recorded voices.
I really struggled with that for the first couple of weeks. It was our brilliant choreographer, Julia Cheng, who is a stunning dancer and a brilliant spirit, who helped me when I appealed to her. One night, she took me from when I came off stage after “Two Ladies” and walked my track with me to where I had to come on for “Tomorrow Belongs to Me,” giving me breathing exercises and almost a meditation, because it was my anxiety that I was struggling with. That was very helpful.
Ok, to be cheeky about this last question… [Laughs]
What can’t you tell me about your future with Cabaret in a city called New York… [Laughs again]
I know, I know. You know, I’m thrilled that Broadway is going to get this production. I’m really thrilled for Rebecca. She’s one of the great directors of our time. She’s stunning. And Tom and Julia and the designers…I’m so excited to Broadway to hear their voices in some ways. And Jordan, our associate director. These are brilliant voices and I feel lucky to have spotted some of their work early in London, and for Broadway to get to be introduced to their work, I’m just really excited.
Interview: Lin-Manuel Miranda and Quiara Alegría Hudes on How Time Has Deepened In the Heights
[This interview contains spoilers for cut songs!]
How did looking at this material through the eyes of the older and wiser versions of yourselves impact the changes that you made in the process? Lin: I just think that Quiara and I are better at this than we were when we were in our 20s. Quiara's screenplay is so smart. It updates the script without losing the essence of the 2008 version and it brings other issues to the floor that are really on the front pages of the Latinx community in the United States right now.
Quiara: I wanted to go even deeper into the character of Nina, for instance, and prop her up more. In the time since the stage play, the way financial aid works at colleges has changed. There's less of an emphasis on student loans and more emphasis on scholarships. That said, students still struggle financially, and there is still student-loss because of financial hardship. But that shift gave me an opportunity to look a little more closely at the cultural frictions that she experiences when she gets to Stanford. In some ways, she was raised very sheltered. She was raised around her community and people who understand the songs she sings, and she gets to Stanford and is sitting in that room and she's like, "Is this space made for me?" She is put into a position where she can build a new Stanford, as many first generations do. The opportunity to dig deeper into that cultural story was very exciting.
Lin: To revisit these characters again was really, really fun, and it's still from this perspective of joy. We wanted to write about our own community with a sense of joy, and that shines through. I'm really proud of these 20s us-es, but also really proud that we had another crack at it.
Heathers The Musical
they better wise up
cause I’ll r i s e u p
BRING ON ANY CHALLENGE
Tom Hiddleston, Zawe Ashton and Charlie Cox - Betrayal Broadway / Interview for TheaterMania.
It's never too late for hard-hitting journalism.
Just after the New Year, TheaterMania reached out to several of the 2020 Democratic presidential candidates for comment on an issue relevant to their qualifications as our nation's future executive. We submitted the following queries to their press representatives:
1. What is the candidate's favorite play, and why? 2. What is the candidate's favorite musical, and why?
Only one campaign issued a complete response, and that was the campaign of Mayor Pete Buttigieg (husband of former junior high drama teacher Chasten Buttigieg). His answers are as follows:
Favorite play: "Twelfth Night. Shakespeare is unmatched." Favorite musical: "In the Heights. They did In the Heights in South Bend and it was incredible."