Review: Maybe Happy Ending

Review of the Friday, November 8, 2024 preview performance at the Belasco Theatre in New York City. Starring Darren Criss, Helen J. Shen, Marcus Choi, Dez Duron and HwaBoon. Music by Will Aronson. Lyrics by Hue Park. Book by Will Aronson and Hue Park. Scenic design by Dane Laffrey. Costume design by Clint Ramos. Lighting design by Ben Stanton. Sound design by Peter Hylenski. Video design by George Reeve. Direction by Michael Arden. 100 minutes with no intermission.

Maybe Happy Ending is the show I didn't know I needed, but by the time it was over, the exhilaration that comes from joy, discovery and some cathartic tears, I exited the Belasco with a goofy grin and my feet a few feet off the ground. It amazes in its simplicity and revels in its electrifying technical and emotional achievements. How it can be both small and personal, while also being a grand spectacle is truly impressive. Who knew a rom-com musical about two robots (and a house plant) could do all that? And yet, here we are.  

Michael Arden's sharp, artistic eye, heretofore only seen in his re-envisioning of musical revivals, is a marvel here. He has captained a ship where so much could have gone wrong but goes completely right by surrounding himself with masters of modern design and a sublime company of actors. With a world to establish, and a lot of story (more on that later), he draws us in immediately, providing us all of the tools to focus our attentions exactly where they need to be, and doling out the amazing effects in increments. We are transported, comforted and then thrilled. The pacing he has established seems to be both easy and rapid fire all at once. In short, Arden has now made his name as a director across the musical theater spectrum.

Helen J. Shen and Darren Criss

This futuristic Korean world where people and humanoid HelperBots coexist comes to vibrant life with the combined efforts of the crackerjack design team. As one has come to expect from this pair of superstars, Clint Ramos does fine character-driven costume designs, and Peter Hylenski's sound design is perfection - clear as a bell, and all-surrounding, both helping us become immersed. Where the rest of the design elements start and end is nearly impossible to discern, so inextricably intertwined are they. Dane Laffery's intricate, constantly morphing scenic designs are full of surprises, and reminded me a lot of folding and unfolding a piece of origami. Similarly, Ben Stanton's lighting gives focus, emotional weight, and exciting color, all while supplementing (or getting out of the way of) the gorgeous video design of George Reeve, who seems to have advanced that art form by about a mile. 

What is particularly interesting here is that there are breathtaking moments of technical marvels balanced by more traditional theater magic. At the performance I attended, the audible gasp during certain "computer sequences" could be heard above the swell of the orchestra and dialogue. It really is a technical marvel. But the moment that got the biggest reaction was a reveal late in the show that involved a static set and a very simple use of a turntable. There was a loud gasp, a collective sigh, then thunderous applause.

This piece has been around for quite a while, interrupted by the pandemic. Popular internationally and discovered here in the States regionally, Will Aronson and Hue Park's musical has finally arrived on Broadway. The music is delightful, with basically two motifs at work: classic jazz styling and a sort of traditional musical/techno fusion. (Aronson's strings-heavy orchestrations are gorgeous.) And they are perfectly paired with the dual reality of the story: human vs robot existence. Slowly, but surely, as the characters evolve, the lines blur between the two, musically and lyrically. Just as blurry are the lines between spoken dialogue and individual songs. Their book and their lyrics, like everything else about this production, evolve and intertwine. What comes across as simplistic, even repetitive (robotic black and white?), grows more and more complex (like all human emotion). It sneaks up on you in all the best ways. That said, towards the end, it feels a little bit like it is dragging. I can't quite put my finger on it, but for just a few minutes I felt a nagging impatience. Happily, all of that disappeared with the final emotional moments.

Dez Duron (left); Marcus Choi and Darren Criss (right)

Not since Milky White stole our hearts in Into the Woods has a non-speaking/non-singing role been so captivating, but such is the case with Broadway's newest plant-based star, HwaBoon (be sure to check out his Playbill bio). I swear I could see him emoting with Oliver, his HelperBot friend! Utterly charming. On the human side, Dez Duron is Gil Brentley, a jazz crooner extraordinaire, who is Oliver's link to the past - his voice will melt you. Then there's Marcus Choi, who takes on a variety of roles, including James, Oliver's owner, and is great at all of them. 

The two stars of the show are the HelperBots who join forces to keep each other charged and growing. Claire (Helen J. Shen) is an obsolete HB5, and finds herself on the bad end of progress - her battery won't hold a charge and her charger is on the fritz. Oliver (Darren Criss), an obsolete HB3, is blissfully unaware that he, too, is running down, but even if he were, he's not worried. He just knows he's fine - HB3s are the last great iteration of the HelperBots. Beyond their obvious talents - both Shen and Criss are superb singers and perfect for their roles - it is the miracle of their palpable chemistry that propels the show. It is miraculous for the fact that they are emotionless robots, and wondrous for their ability to mine a variety of endearing facets to their roles. Shen imbues her more advanced model with more "realistic" movements and expressions, while Criss is a marvel of fastidious robotic movement - think C3PO meets Felix Unger. Their last moments offer a glimmer of hope that love may just outlast everything.

This is a heartwarming escape, perfect for these perilous times. Of course, from now on, I'll never be able to upgrade my phone or laptop again without thinking of where they'll end up. Will they miss me? Will they even think of me? I hope so. That would be a maybe happy ending.

📸: M. Murphy, E. Zimmerman