“Maybe Happy Ending” has emerged as one of Broadway’s most remarkable success stories, transitioning from an uncertain inception to a major triumph. The musical, which won six Tonys including Best New Musical, faced skepticism and adversity that nearly derailed the entire project. Its journey serves as a testament to resilience and the power of word-of-mouth in the world of theater.
Initially, the show’s future looked bleak. Producers Jeffrey Richards and Hunter Arnold had to postpone its opening by a month. Citing supply chain issues which resulted in delays for digital video tiles from China, industry insiders speculated that financial troubles were at the heart of the postponement. As the situation escalated, many believed the show was dead on arrival. In fact, the production went so far as to temporarily lay off workers and offer ticket refunds, with whispers of cancellation surrounding it.
Darren Criss, the show’s star, found himself grappling with uncertainty. “We didn’t know if this show would even open,” he said, reflecting on the gloomy atmosphere. “This was definitely the little show that could.” His commitment to the project, however, provided a glimmer of hope. For the team, doubts loomed large as investors began to withdraw support, influenced by a TikTok theatre influencer’s suggestion that the musical might never see the light of day.
When “Maybe Happy Ending” finally began previews on October 16, ticket sales were pitiful, totaling just $450,000—an alarming figure for a Broadway musical. The production struggled to fill seats in the Belasco Theater, often only achieving 80 percent occupancy. Adding to their woes, the show racked up significant losses during previews, with weekly revenue falling under $300,000, not even close to covering its running costs of $765,000. By week four, average ticket prices dipped to an astonishingly low $45.
Despite its seemingly insurmountable challenges, the marketing—ironically—became its next hurdle. The show was described as exploring themes of memory, love, and isolation through the experiences of two robots, set in a near-future Seoul. Yet, the quirkiness of the premise made it hard to market. Arnold noted the difficulty: “Every time you try to explain…people are just like, ‘This doesn’t sound like a musical to me.’” Even the show’s website didn’t mention robots in its descriptions, with director Michael Arden admitting that it was “a gentle, contemplative piece” that didn’t lend itself easily to promotion.
But then, something began to shift. Those who ventured to watch the show found themselves unexpectedly moved, and word began to circulate. “I think people liked being able to share a secret,” Arden observed. When the show officially opened on November 12, the critical reception was overwhelmingly positive; reviews described it as “ravishing” and dubbed it “a darling gem.”
Still, uncertainty reigned supreme in the Broadway landscape. Producers and creators braced themselves for a short run, evaluating the shifting tides of opinions and sales. Encouraged by the swell of viewer enthusiasm and the favorable reviews, the team decided to invest an additional $1.75 million to promote the show. Slowly but steadily, ticket sales began to improve. Just a week after opening, gross revenue climbed to $591,000, and during the Christmas holiday, the show celebrated a revenue milestone exceeding $1 million.
Currently, “Maybe Happy Ending” has been enjoying consistently sold-out performances, especially following its Tony nominations, demonstrating its acceptance by the theater community and the public alike. While it remains unclear if the production will turn a profit amidst rising operational costs, the accolades from the Tony Awards significantly enhance its visibility, drawing new audiences eager to witness the best musical of the year.
The creative pairing of Will Aronson and Hue Park, who wrote “Maybe Happy Ending,” embodies a truly unique collaboration. Park, whose idea for the musical sparked in a Brooklyn coffee shop back in 2014, infuses cultural insights and musical language from South Korea alongside American influences. Their journey began with a successful run in Seoul, which eventually paved the way for its English adaptation in New York.
The Broadway route wasn’t easy. The production faced multiple setbacks, including the COVID-19 pandemic, which halted all momentum—including Criss joining the cast, which was a critical turning point for potential investors. Eventually, in an unexpected stroke of luck, the Belasco Theater opened up and became the perfect venue.
With its elaborate set design and intimate atmosphere, the theater has proven to be the right fit for this unique musical. And much like performances of old that have turned things around, “Maybe Happy Ending” is recognized as this generation’s “miracle on 44th Street,” reminding everyone of the unpredictable nature of Broadway.
As the cast and creative team celebrated their Tony wins into the early hours, the pride reflected not just in their trophies but in their hearts. The show has demonstrated that with determination, originality, and the right audience, even a production that appeared doomed can overcome insurmountable odds. Perhaps the phrase “happy ending” is more than just a title; it’s a reminder that dreams can come true with perseverance.
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