The duo discuss their critically acclaimed Broadway show, Asian-American representation in theater, and what “the show must go on” means to them.
Darren Criss and Helen J Shen are currently starring in Maybe Happy Ending, a new musical at the Belasco Theatre where they play two retired Helper-bots who formerly assisted humans with their day-to-day tasks. Set in the future and directed by Michael Arden (Parade, Once On This Island), the show takes the audience on a journey through love, loss, and belonging. It’s received rave reviews on Broadway after first debuting in South Korea, then moving to Japan, China, and Atlanta, Georgia.
This marks Criss’s return to Broadway after stints in American Buffalo, Hedwig and the Angry Inch, and How to Succeed in Business Without Really Trying. He also starred as Blaine Anderson in Glee and won an Emmy Award for his performance as Andrew Cunanan in The Assassination of Gianni Versace: American Crime Story. Shen is making her Broadway debut after recently graduating from the University of Michigan.
Below, the pair discuss their show-must-go-on moments, what Maybe Happy Ending means for Asian-American representation in theater, and Criss’s popular musical festival, Elsie Fest.
Darren Criss: I was about to go into tech rehearsal for American Buffalo at the top of 2020, an American contemporary classic play with Sam Rockwell and Laurence Fishburne. I was like, “Wow, dude, the show is cooking. I’m opening this on Broadway. All these incredible things are happening.” Then, it was no more. I feel like I went through the pandemic with these two men [Rockwell and Fishburne], because we were all so excited to be part of this show. We would FaceTime regularly, read through the play, and talk about life. The show went on in our minds. We weren’t sure if we were ever going to get to do it.
That was something we kept chugging through, and we finally got to come back in ’22 with some of these things which now seems so in the rearview mirror: COVID restrictions and testing and audiences wearing masks. We were very diligent about all that stuff, and luckily we’re on the other side of that.
But at that time, that show was the longest I’d ever been on Broadway. The poster for that show at Circle in The Square [Theater] remained there for two and a half something years, even though the show hadn’t ever opened.
Helen J Shen: “The show must go on” to me, was my pivot. While I was in school, I had a lot of moments of self-doubt. I was suddenly a small fish in a big pond, and that will hit one’s ego. I just really didn’t know what I brought to the table as an artist that was maybe unique or different.
The pandemic brought me into writing for the first time. I thought about what kind of art I wanted to make. I couldn’t do in-person dance classes. I didn’t feel comfortable doing that. So, I decided to take as many Zoom classes as I could. I learned how to write, and I learned how to structure musical theater throughout that. You take the circumstances that you’re given and just shift them. You shift your perspective on them. You learn that there was no right way to do it, you have that wake up call that everything could be taken away at any second and not be so bogged down by that fact, but actually use it to set you free.
I feel like that happened a little bit at the beginning of this process too. We had a delay for a month. We always talk like this will continue to be the “little musical that could,” because it’s not based on any previous work. It’s like describing a new color. How do you describe something to somebody who doesn’t have any context of what has come before? Even the fact that they haven’t kicked me out [of the production] yet is “the show must go on.” I take every day as such a beautiful gift.
Talkback
On their initial reactions to Maybe Happy Ending:
Criss: I think the best stories we’ve heard are the ones we weren’t prepared to hear. It’d be like if Batman wasn’t as culturally ubiquitous as it is, and I tried to pitch you Batman. You’d be like, “That sounds so dumb. Rich guy fights a clown? This sounds absolutely ridiculous, and there’s no way this is going to be one of the most popular IPs the world has ever seen.”
That is what’s so exciting: When you feel people in the audience truly not knowing what’s going to happen, whether production-wise or as a spectacle. You don’t know if some things are going to look a certain way, you don’t know things are going to sound a certain way, and you don’t know if the story is going to feel a certain way.
Musicals live and die by their music. I love Shakespeare, but I’m not listening to Shakespeare in the car on the way to work in the subway. Musicals have that. They have this sort of extracurricular component that you can have forever after the fact. When I listened to the music, I was like, “Oh, wait. Hang on. This is really special. Why is this so smart? Why is this so beautiful and elegant and sophisticated and familiar and nostalgic?”
That keyed me in. And then I read the script and I went, “Wait, hang on.” I am glad that I was available to do it, because I think it’s one of the greatest things that could have happened to me at this point in my life.
Shen: It felt like a very kismet meeting of minds and hearts and souls and stuff. Still to this day, I’m like, “Thanks for having me, you guys.”
Criss: This was a train that was bound for glory with or without us.
On what they’ve learned from each other:
Criss: We went to University of Michigan together. That’s certainly a fun relating point, and something that I’m really proud of, the fact that two U of M alums share the marquee of the Belasco Theater. That’s so special.
But, to keep using the academic reference, I am an upperclassman now, which is very strange for me, as I kind of crossfade into that chapter of my life. I’ve always been the young gun. Now, being on the other side of that, I feel like I’ve been given a role of, “Okay, I am a senior now. I tell the freshmen what’s what, and hopefully, I’m saying something correct.” It’s an occasion I have to rise to. In rehearsals, from the very beginning, the loud voices of doubt were certainly prominent. I think Darren, Michael, the people who have more experience in the industry, and just experience in existing in these spaces, have taught me how to not apologize for my space that I take up, which is something that I think I’m still processing and still will continue to be processing throughout.
On what this show means for Asian-American representation on Broadway:
Shen: It means everything to me. If I was sitting in the audience, to see a show like this, to see someone who looks like me embody this character, be nuanced, be flawed, be all the kinds of things, instead of just the flavoring of a body, is everything to me.
Growing up, if you don’t see an example on the path that you’re choosing, it can feel impossible. You feel like, “Oh, there’s one spot.” That is so frustrating, to feel that sense of competition with people who look like me, instead of feeling like I stand in solidarity with them and stand in power next to them.
It’s been amazing to talk to people at the stage door who are like, “I’ve never seen myself represented on stage in this way.” I’ve never felt it where my Asian-ness isn’t the only thing that is my character. To have my Asian-ness be just a fact [of my character] is so much. It means so much to me. To see my parents see that, too. They wanted to protect me so much. They wanted me not to feel pain in this industry, and for them to see that I can inspire others is probably really exciting for them, and exciting for me too.
Criss: Everything that has happened for this show thus far was not on my itinerary. The response has been wonderful, but that’s not why we’re doing it. It’s not why we’re here. We’re in it because we found a beautiful story that we fell in love with, and we’re lucky enough to be asked to join it. It’s better to pursue something you love and potentially fail than succeed at something that you can’t stand. We’re in that rarefied wave, which is the combination of your passion and excitement matching those who are outside of it.
I want to be very clear about this, I think what I love about this show’s heart and soul is not that it is an Asian show. It is inhabited by Asian-American actors, and those Asian-American actors represent something really beautiful. I love the idea that in the future, this is a show that can have anybody from any background in it, because the story is so enduring and such a human story. My million dollar clickbait line is that I believe that the show is about as Korean as Romeo and Juliet is Italian. It’s just where we set our scene.
Now, at the same time, fuck yeah—Asian excellence on Broadway. It’s really exciting. Having any kind of representation in any mainstream commercial form of entertainment is wonderful.
On Elsie Fest, Broadway’s Music Festival, which Criss co-created and produces every year:
Criss: Elsie is such a passion project for me. It’s for this community that I love so very much, and I’m so pleased that it’s taken on a bit of a life of its own. I will keep doing it for as long as I can.
Having people like Helen, and the new guns, like Joy Woods, Lizzy McAlpine, and Rachel Zegler, people who will show up to be a part of this, is so encouraging to me. It gives me such faith in a community that I already have endless faith in and love and appreciation for. It is my small way of thanking this community for what it has given my life and trying to give it back in whatever way that I can.
Shen: Elsie, to me, it’s a love letter to the inner child, to the inner theater kid that we all are continuously. I have been a fan of this, obviously, for years. I can’t believe I got to sing A Very Potter Musical this year.
Criss: Andrew Barth Feldman was at the first Elsie Fest ever in 2015, almost 10 years ago, a little brace-faced teenager at the VIP meet and greet to meet StarKid, my friends from Michigan who made A Very Potter Musical, and there he was almost 10 years later singing the song that he was there to support with us. That is the best.
This interview has been edited and condensed for clarity.
