Whirlwind theater tour on Broadway
The annual Christmas gift in our family has always been experiential instead of material, and this year, I decided to treat my teenagers to the magic of Broadway. After my experience of becoming a coproducer for “Here Lies Love” and having the kids witness that journey, I saw the transformational joy it brought them. So at the end of the year, off we went to the Big Apple on a whirlwind, four-day adventure, watching seven of the hottest shows.
Our journey commenced with a flight at the crack of dawn from Los Angeles to Newark, a testament to our dedication to this theatrical pilgrimage. After navigating the bustling Penn Station to the Lower East Side, we dropped our bags at the apartment of a friend and “Here Lies Love” coproducer Cynthia Malaran, and headed to Times Square for our first show.
Diversity on stage
“Maybe Happy Ending,” starring Darren Criss, is about two life-like helper-bots, Oliver and Claire, who discover each other in Seoul in the late 21st century and develop a connection.
I had purchased tickets through TodayTix, a website renowned for its Broadway deals, but the late flight and the excitement of arriving in the city had taken their toll. I found myself battling exhaustion, falling asleep through some quiet, tender moments, though thankfully not due to the show itself.
“Maybe Happy Ending,” with its innovative storyline and original musical about the small things that make life worth living, was a delight. However, what truly resonated with me was witnessing the talent of Filipino American Criss and Helen J. Shen making her Broadway debut. Their presence on the Broadway stage was a powerful reminder of the growing diversity and inclusivity within the theater world. Another Fil-Am Actor, Christopher James Tamayo, is the standby for characters Gil and Oliver.
The postshow experience at stage door for “Maybe Happy Ending” was a quintessential Broadway moment. We braved the frigid New York City air, joining a throng of dedicated fans eager to meet the cast. This dedication, this willingness to endure the cold for a chance to connect with the actors speaks volumes about the enduring power of live theater. Unfortunately, Criss was a no-show.
‘Rush tickets’
The next morning, the real adventure began. My teenagers, armed with an unwavering determination and fueled by adrenaline, embarked on their own “rush ticket” quests. The rush ticket system, a coveted opportunity to score deeply discounted tickets, requires an early-morning commitment.
My son, Kenobi, staked his claim at Circle in the Square for “Romeo and Juliet.” He was first in line at 5:30 a.m., while my other kid, Alecks, joined the line for “The Outsiders” and was third in line.
As soon as my friend, Lito Villareal, got to the Bernard B. Jacobs Theater at 7 a.m., Alecks went to meet Kenobi, since we were trying to get three tickets and each person in the rush line can only get a maximum of two tickets. I met Lito soon after and spent three hours catching up with him in the cold. A seasoned Broadway theatergoer and composer from Manila, Lito is an invaluable resource for all things Broadway.
After a two-hour nap, the afternoon was a whirlwind of activity. We enjoyed a matinee performance of “Romeo and Juliet,” the tragic Shakespeare love story, originally SRO (standing room only), but we were ushered minutes before show started to the third row at the intimate setting of Circle in the Square. Sadly, Rachel Zegler (Juliet) did not come out. The kids were unable to get to the stage door with the massive number of fans waiting.
Before going to the evening performance of “The Outsiders,” I met up with costume designer Raven Ong. Now based in Connecticut and a tenured professor at UConn, Raven took the train to Grand Central to meet up for dinner at Junior’s located in Times Square near the Jacobs theater. We caught up on all things theater, talking about our dear Bobby Garcia, who had died suddenly.
Front-row seats
Lito, the kids, and I headed to “The Outsiders” after dinner with Raven, and sat in the front row. Minutes before the show started, the character of Pony Boy sat literally within arm’s reach. The use of pebble debris to mimic the rough terrain of the setting added a unique dimension to the experience, particularly when you’re sitting in the front row. The book on which the musical was based was required reading for my kids in middle school, so that added a sense of familiarity to the experience.
The evening ended with a mad dash to the stage door. My teenagers, fueled by youthful enthusiasm, secured prime positions, while Lito and I observed from a distance, enjoying the camaraderie among fellow theater rush people we saw earlier that day.
Saturday had a more relaxed pace. I made my way to “Sunset Boulevard” sans kids, but secured prime seats for the evening performance, thanks again to Lito, who was third in line as early as 8 a.m. Originally the kids were slated for the rush line at “Gypsy,” but since the last four shows were cancelled, the kids got in the “Stereophonic” rush line instead by 9 a.m., with our family friend, music producer Angelo Salva.
The morning was spent enjoying a quick hangout at the Marriott lobby, another secret Lito shared with us so we could charge phones and sit, followed by a leisurely brunch at Carmine’s, a Broadway institution known for its generous portions and lively atmosphere.
The afternoon was dedicated to “Stereophonic,” a unique and captivating theatrical experience that blended a straight play with musical performances. The front-row seats provided an unparalleled view of the actors, as if we were in the recording studio where the story takes place, making the performance even more immersive.
The evening culminated with the highly anticipated “Sunset Boulevard.” The sparseness of the production, coupled with the camera work and powerful vocals of lead actress Nicole Scherzinger, was simply breathtaking. Scherzinger, who is part Filipino, shines in this, and it will make you so proud as a Filipino. At intermission, we bumped into Jon Jon Briones, who was recently on the Broadway stage for “Hadestown,” together with his family. Also, bumping into our former friends who did security for “Here Lies Love” was an added treat as they added us to the backstage list!
Last day
Our final day began with a renewed determination to secure rush tickets for “Gypsy.” Lito got there before I did and even got interviewed by a news crew. One man behind us was also a Broadway actor visiting from Los Angeles, who was in Lito’s favorite show, “The Book of Mormon,” for six years! Unfortunately, the high demand for this highly acclaimed production left him with only SRO tickets for the matinee. And we were only third and fourth in line! After securing rush seats for “Gypsy,” we ran to “Death Becomes Her,” for the evening performance.
Witnessing Audra MacDonald’s commanding performance in “Gypsy” as Rose was a highlight for me on this trip. Her talent and stage presence were simply mesmerizing. She is a legend for a reason, and how she successfully sang song after song depicting a stage mother despite being sick was awe-inspiring! We ran out of the theater after the show and didn’t even think about stage door. We only had enough time to grab our backpacks and headed to Jersey to see family. Thankfully a friend, Howard Ho, who lives in Times Square, let us leave all our stuff before “Death Becomes Her.”
“Death Becomes Her,” starring Megan Hilty and Michelle Williams, was everything you would expect from a Broadway musical—flashy costumes, stage magic, and a spin-off from the 1992 movie starring Meryl Streep and Goldie Hawn. This was my least favorite show because it didn’t have the memorable music or depth that spoke to me.
Witnessing all the diverse talent on display on Broadway, including the growing representation of Asian American artists, however, was particularly meaningful. It served as a reminder of the importance of representation and the power of the arts to break down barriers and foster understanding.
Happy rushing!
