If you’d asked Darren Criss years ago what his dream stage role was, “Hedwig was it,” says the Golden Globe winner. Well, Criss did perform the title role in Hedwig and the Angry Inch on Broadway in 2015. So in the decade since, what is his new dream? Answers Criss: “If I’m being really honest, it’s being able to originate something that hasn’t been done on Broadway yet.” So, you can say his newest Broadway project, the new musical Maybe Happy Ending, is another check off the bucket list.
Maybe Happy Ending, from Will Aronson and Hue Park, takes place in 2060, where humanoid-looking Helperbots assist humans with our daily tasks. Maybe Happy Ending follows two of those Helperbots, played by Criss and Helen J Shen, who have been abandoned after their owners have traded them in for newer models. With no one but each other to occupy their time, the bots form a friendship, and then fall in love. The show was first performed in South Korea in 2016 and has been revived there five times since. It has also been performed in Japan and China.
The English-language, American premiere of the show first ran in 2020 at the Alliance Theatre in Atlanta, Georgia, directed by Tony winner Michael Arden. This new Broadway version, also directed by Arden, is an opportunity for a wider American audience to experience a musical that is entirely unique, not based on any preexisting story, with an original score. Maybe Happy Ending begins performances at the Belasco Theatre October 16 with a November 12 opening.
When speaking to Criss about this show in July, he hadn’t yet started rehearsals. But he spoke about the musical with a palpable excitement—after all, it is the first original musical he’s done since his days with the musical theatre company he co-founded, Team Starkid. In recent years, the Emmy winner (who rose to mainstream fame after starring in Glee and The Assassination of Gianni Versace: American Crime Story) has done mostly revivals on the stage, such as Little Shop of Horrors and American Buffalo.
But to Criss, the particular pleasure of doing something like Maybe Happy Ending is the opportunity to utterly surprise the audience. “Being part of something this original is always a bit of an exponential curve,” admits Criss. “It’s always a tough climb at the beginning, because people might not have an instant familiarity with it. But I think that it pays its dividends real soon, once they see what they’re in for.”
For Shen, though Maybe Happy Ending follows robots, it touches on deeply human questions—both Helperbots are nearing the end of their lifespan and so they must decide if they want to take that emotional leap to make a connection, even if it means they might lose each other. “It feels like there’s a ticking clock at the end of it,” she says. “And so, they’re a little bit forced to live life to the fullest while they have this opportunity to do so.”
Helen J Shen and Darren Criss
Heather Gershonowitz
It’s not just the show that’s new. This is Shen’s Broadway debut. While Criss has over 15 years worth of experience under his belt, Shen is a relative newcomer. She was born and raised in New Jersey; her parents immigrated from Shanghai to America. They both play the violin, passing down their musical aptitude to their daughter, who grew up playing piano. She graduated from the University of Michigan (Criss’ alma mater) in 2022. Though she is still green, Shen’s credits are impressive: This year alone, she starred in the Off-Broadway musicals The Lonely Few and Teeth—both of which were favorably received. “I suppose, in a way, it feels like arriving,” Shen says with hesitancy, as if she doesn’t want to spoil this lucky year. “I think it’s a cautious arrival. It’s so wonderful and such a blessing and gift to be working with this particular team.”
Criss met Shen during her final callback for the show, which was a chemistry read with Criss where they sang a song together (though years earlier, Shen had attended a master class Criss held at the University of Michigan). More recently, the two have quickly bonded over being trained musicians who eventually became actors (Criss plays guitar, violin, and a bevy of other instruments).
When it’s pointed out that he’s now effectively a Broadway veteran, Criss exclaims (to the giggling Shen), “I cannot fucking believe it. That sounds so twisted, like so Twilight Zone. To me, I’ve always been the youngest, like, I was always the kid.” But then, he brings it back to his co-star, which he does multiple times during the interview saying, “She’ll kick so much fucking ass. That’s one of my favorite parts about being in this, I get to forever now be part of the inevitable rise of a young star.”
It’s not just talk. Criss recently had Shen perform multiple songs at his music festival Elsie Fest. When asked what they’re excited for in Maybe Happy Ending, Shen’s answer was getting to sing the score. “The uniqueness of the sonic world—the music is so ethereal, and it’s so gorgeous,” she enthuses. “The music feels so beautifully understated, but also, it’s orchestral and sweeping. And not to mention, the people who are already attached to the project are people that I look up to in my own career so much.”
READ: Broadway’s Maybe Happy Ending Releases 5-Track Preview Album, Completes Cast
There is the assumption that because the show has a chamber musical sound, and it has four cast members, that it’s a small show. Think again, teases Criss: “It’s four people, and the story is a ‘smaller’ story, but it has really, really big ideas.” So much so that in July, Maybe Happy Ending announced it would be delaying the start of previews by a month, citing supply chain issues that prevented crucial components of the set from getting to the theatre in time.
Though, Criss admits, “it sounds like we’re covering up some nefarious reason.”
Laughs Shen: “We had to clear our beef.”
“Yeah, our beef,” smiles Criss. “Supply chain delay sounds like, kind of made up, but it’s literally that.” Though he can’t say much more about what this intricate set design entails, other than it will utilize “cutting edge technology” to match its robot protagonists. As he excitedly puts it: “We’re talking [Phantom of the Opera] level of production. This is a spectacle…I can categorically say that this will be something that you have never seen the likes of before on a Broadway stage.”