Class Notes: Christopher James Tamayo “Maybe Happy Ending”

Summary

BroadwayRadio Podcast Summary: Class Notes with Christopher James Tamayo on “Maybe Happy Ending Sometimes”

Episode Title: Class Notes: Christopher James Tamayo “Maybe Happy Ending”
Host: Lauren Klaus Schneider
Release Date: March 26, 2025

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Introduction

In this episode of BroadwayRadio, host Lauren Klaus Schneider welcomes Christopher James Tamayo, who portrays Oliver in the Broadway production of “Maybe Happy Ending Sometimes”, a role originally originated by Darren Criss. The conversation delves into Christopher’s approach to his character, his journey to joining the cast, his educational background, and the collaborative rehearsal process that brought the show to life.

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Diving into the Role of Oliver

Lauren opens the discussion by describing the premise of “Maybe Happy Ending Sometimes” and asks Christopher about his approach to embodying Oliver, a “Helper Bot 3” living a secluded life in Korea.

Christopher James Tamayo shares his creative process:

“We draw a lot on as far as the physicality is concerned. So many different resources. Animation to Charlie Chaplin to Commedia dell'arte... Oliver is just like an amalgamation of all these things that I grew up watching.”
(00:59)

He elaborates on his inspirations, citing animated robots from films like Wall-E and Big Hero 6, as well as comedians like Robin Williams and Jim Carrey. Christopher relates Oliver’s personality to his own love for media consumption and his identity as a listener, emphasizing the character’s core purpose:

“At his core, he loves to help people, and he is all, you know, his purpose as a helper bot is to help.”
(02:50)

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Journey to “Maybe Happy Ending Sometimes”

Lauren inquires about Christopher’s path to joining the show. He recounts a serendipitous journey:

Christopher James Tamayo describes how the opportunity arose while he was touring with Les Misérables:

“I was reading for Oliver, and she [his friend] was reading for Claire... I had to be a part of it. I read the script, I read the sides, filmed it the next day... I get a call from my agent, and we go out to the car. You've got the job off of a single tape.”
(03:22 - 06:02)

This swift and somewhat unexpected audition process underscores the importance of being prepared and open to new opportunities.

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Educational Background and Its Impact

Lauren shifts the focus to Christopher’s academic background, noting his recent graduation from the University of Michigan and his role in a national tour.

Christopher James Tamayo reflects on his time at the University of Michigan:

“Michigan, it just prepares its students really well... My favorite courses were often the ones outside of the musical theater department... History especially.”
(07:12 - 09:00)

He emphasizes the value of a well-rounded education, highlighting how courses in philosophy, psychology, and even video game music enriched his perspective as an actor. Christopher also stresses the importance of respecting writers:

“Treasure your writers, because it's not easy to do that stuff... honor their work as best you can.”
(08:30)

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Collaborative Rehearsal Process

The conversation transitions to the dynamics within the rehearsal studios and the collaborative environment of the production.

Christopher James Tamayo expresses both excitement and nervousness about working closely with the writers and directors:

“It's terrifying because you don't want to disappoint the writers... but we were able to have this open dialogue, and we were able to be very participatory in the creative process.”
(10:05)

He describes the intimate setting of the rehearsal space, where a small team collaborates closely, fostering an environment where ideas can be rapidly tested and refined. The director, Michael Arden, often encourages the team to question and improve upon the work:

“He would ask, like, investigate, does this work? The writers would talk about it, and they'd be like, yeah, we can change that to more organically fit what's going on in the scene.”
(10:45)

This dynamic allows for a vibrant and evolving production, with Christopher actively engaged in capturing every detail:

“Furiously in the corner, like, taking notes, like, making sure I get everything down. It's a whirlwind time...”
(10:15)

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Closing Remarks

Lauren wraps up the conversation by thanking Christopher for his insights, to which he responds gratefully.

“Thank you for having me. Really, really a pleasure.”
(11:48)

Lauren concludes by highlighting Christopher’s role and contributions to the Broadway scene.

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Key Takeaways

• Character Development: Christopher approaches Oliver by blending various influences from animation, comedy, and classical performance arts, creating a multi-faceted character grounded in a love for helping others.

• Auditioning Success: His journey to the role was marked by timing, preparation, and a supportive network, demonstrating the unpredictable nature of theater casting.

• Educational Influence: A comprehensive education at the University of Michigan provided Christopher with diverse knowledge and skills, enhancing his performance abilities and appreciation for the collaborative art of theater.

• Collaborative Rehearsals: The intimate and interactive rehearsal process allowed for meaningful contributions from all members, fostering a creative and dynamic production environment.

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“Maybe Happy Ending Sometimes” stands as a testament to innovative storytelling on Broadway, with Christopher James Tamayo’s portrayal of Oliver bringing depth and charm to the beloved role originally held by Darren Criss.

Transcript

[A]

Hi, I'm Lauren Klaus Schneider with Clash Notes for Broadway Radio. I'm here with Christopher James Tamayo performing in maybe Happy Ending Sometimes as Oliver, a role originated by Darren Criss. Hello and welcome.

[B]

Hi. Thank you for having me.

[A]

Oh, my goodness. I'm so excited to hear more about your experience with this show. Takes place in Korea. A helper bot 3 lives a happy life, quietly listening to jazz records and caring for his favorite plant. But what else is there to do for a robot that's been long retired and considered obsolete? When his fellow Helper bot Claire, asks to borrow his charger, it leads to a unique friendship, a surprising adventure, and maybe even love. So my first question to you, Chris, is in playing the role of Oliver. Well, there's not a roadmap for playing a helper bot 3. How do you dive into that role?

[B]

Oh, I. I have loved getting to do this because I've never. You know, I've. I'm freshly graduated from college, right. You know, relatively recently. So I've never had the pleasure of working on an original work like this. But Darren Criss likes to talk about this when, you know, when we're originating this Original helper bot 3.0 role, we draw a lot on as far as the physicality is concerned. So many different resources. Animation to Charlie Chaplin to Commedia dell'arte. Like, there are so many different elements throughout every medium of entertainment that we are drawing on in order to create this character. So I like to think of Oliver as just like an amalgamation of all these things that I grew up watching. I love animation, personally. I love whenever robots are depicted, you know, in film. You know, films like Wall e, Big Hero 6, the wild robot come to mind. But I also worshiped growing up comedians, you know, when like. Like Robin Williams or Jim Carrey, like, I loved them as a kid, and I would find myself imitating them. And Oliver, similarly, he has grown up, as you have said, in isolation for. For 12 years, approximately, in. In this apartment in Seoul, Korea. So he has no human companionship, but he does have all of his records, and he does have all of the movies that are, you know, at his disposal. So his personality is kind of based on the consumption of media. And honestly, like, I find myself in a very similar position because I. I just love watching. I kind of think of myself as a listener. So to answer your question, I think of Oliver as just an amalgamation of all of these. All of these different things throughout entertainment history. So. But at his core, he loves to help people, and he is all, you know, his purpose as a helper bot is to. Is to help. You know, it's in the name, right? So it's a mixture of all of those things, for me, at least.

[A]

I'm so happy to hear a little insight into that character, which has been somewhat of a mystery to me how an actor would approach it. So thank you for that. Now, of course, tell us about your journey with maybe Happy Ending. When did it start and how did it start?

[B]

Oh, man, it was a fast process, fast onboarding process. So I was actually. I remember when maybe Happy Ending got announced for its Broadway debut, and my classmate Helen J. Shen and Darren Criss, they released this music video of one of the songs in the show. And I remember thinking, wow. Wow, that is fantastic. I have no idea what that's about, but I'm so happy for Helen. I have no idea how I would ever even be a part of that. But I was thrilled because it sounded musically gorgeous. Fast forward a few months. I'm on tour with Les Miserables in North America, and my best friend, who I'm also on the tour with, gets an audition tape. She asks me to read for her. And I'm reading, and I'm reading for Oliver, and she's reading for Helen J. Shen's character, Claire. And I'm like, is this the Helen J. Shen project, maybe Happy Ending? And she's like, yes, it is. And I was. And, you know, I'm reading for this robot guy, and I was like, I. This guy. I feel like I know this guy. I'm like, do you know if they're looking for anybody to cover Darren or anyone else in the show? And she's like, I would ask your agents. So I texted my agents as soon as I finished reading for her tape. I'm like, I need to be in this room. And I. You know, I don't often do that because, you know, I had this. I had this job at the time, which I was in love with. And they're like, we'll see what we can do. Ten minutes later, they get me an appointment. I read the sides, I read the script. What Will Aronson and Hugh park have Written? It rocked me to my core. And I can't recall being touched by something like that ever in my life. And so I just knew instinctively, like, I had to be a part of it. So, you know, I read the script, I read the sides, filmed it the next day, sent it off, didn't hear back for about a month. And then during our layoff or tour layoff, when we had like a month break. I was in Hawaii with my best friend who helped me tape for it, and I get a call from my agent, and we go out to the car. I miss the call, but he leaves a voicemail, basically telling me, you've got the job off of a single tape. I still can't believe it. None of us can. Because it was a very similar process for a lot of the other standbys. But, yeah, after that, I had about, like, a month left with Les Miz, and then I came to New York City and I. I reunited with my old classmate Helen, and the rest is history, you know, but that was, you know, that was my whole onboarding process. And it's been very. It's been a very busy and a very fulfilling time, you know, or.

[A]

What a goosebumpy, extraordinary story. And I was also like that. The way that you identify with the character as the helper was the same person who agreed to work on this audition with your colleague and friend?

[B]

Oh, yeah. I've never thought about it like that. But, you know, I'm. I. I love reading things too. And it was just. It felt right. The. The fit was right for me, I think. Yeah.

[A]

It just kind of reminds all of us that when we can just say yes.

[B]

Just say yes. Oh, that is the best. Just say yes.

[A]

You talked about being on the road in Les Mis, and you graduated from the University of Michigan three short years ago, and you've already been on national tour with Les Mis Marius during that time.

[B]

Yeah, I was in the ensemble and I was an understudy for Marius. Yeah.

[A]

Well, then cast and maybe happy ending. Tell us about your experience at University of Michigan. Did that have anything to do with nurturing your talent as you land these highly coveted roles?

[B]

I mean, Michigan, it just prepares its students really well. It's a very. What I liked about my time at Michigan was that it wasn't a strict conservatory program where we only thought about the arts 24 7. You know, we were exposed to. To life on campus at large. And I loved my musical theater training, don't get me wrong. But my favorite courses were often the ones that occurred outside of the scope of the musical theater department. Like, I took a fantastic video game music class. You know, I love playing video games, and I love it as an interactive medium. So I loved absorbing that. I loved going to history lectures and learning about philosophy and psychology, all these different things. History especially. So, yes, musical theater gave me, like, the foundational training and techniques that I so desperately craved and needed in order to function in the industry. But the university at large gave me a taste of life that I'm from Spokane, Washington, and there's not a lot going on there, but being at such a big, prestigious university really gave me kind of a lens into what I had been missing out there in the boonies, you know, so to speak. Just. Just. Yeah, I think exposure to life on that campus was really the most important, important thing for me, and learning from people who weren't necessarily in the arts. But the thing is, like, everything is arts adjacent, and everything filters into the experience of an actor on stage. Right? Yeah. And I think Helen and I, you know, we went to school during COVID so our skill sets developed in certain directions, you know, so. But. But they were very specific to us. And I think whatever I came out of, you know, school doing, because I had to learn about music, I had to learn about the. You know, Helen and I both got, like, composition, songwriting, writing, minors. So you learn to respect musical theater from a writer's standpoint. The, you know, the writer is the most important. They are the progenitor of everything that you are articulating as an actor, as a technician, as a stage manager. They are the. They are the font of all of this stuff. So I think that was arguably the most important thing I learned in the musical theater department, specifically. Just treasure your writers, because it's not easy to do that stuff. So when you find a writer that you really resonate with, you want to latch onto them and honor their work as best you can.

[A]

You know, taking that and having you go back to the rehearsal process with us, in addition to the process, after the show opens for the work that you do, what's it like in those rehearsal studios with the writers and particularly the work that you're prepping for now?

[B]

Oh, it's terrifying because you, you know, you don't want to disappoint the, you know, the writers. It's their baby, you know, They've been working on this for almost a decade. But I will say, because this company is so small, we're comprised of a total of nine people now. But at the time when we were in the rehearsal studios, it was only eight before we brought on CL Claire Kwan, our additional standby for Claire. But it's such. It was such an intimate space that we were rehearsing in. So you have the writers at your disposal, you have the directors and the music director there and our music supervisors. So everyone is in dialogue with one another. So despite me being, you know, a standby and functioning in a more offstage capacity. We were able to have this open dialogue, and we were able to be very participatory in the creative process, you know, and bringing all of this to life. So we felt very. The standbys felt very involved in everything, and it was so exhilarating to see a change take place right before your very eyes. You know, Michael Arden, our director, would say, does this work? He would ask, like, investigate, does this work? You would ask it to the writers of the show, and then the writers would talk about it, and they'd be like, yeah, we can change that to more organically fit what's going on in the scene. So that was probably the most special part about our rehearsal time, you know, before. Before even going on. And I'm, like, furiously in the corner, like, taking notes, like, making sure I get everything down. It's a whirlwind time, to be sure, but there's nothing more exciting than to see something burgeoning right before your eyes, you know?

[A]

Well, Chris, thank you so much for this special insight into a special time on a special piece.

[B]

Thank you for having me. Really, really a pleasure.

[A]

I'm Lauren Klasschnyder with Christopher James Tamayo performing on Broadway in maybe Happy Ending Sometimes at Oliver. Thank you.