MickeyJoTheatre Podcast Episode Summary

Episode: Todrick Hall (Midnight, Burlesque, Kinky Boots) – INTERVIEW
Host: MickeyJoTheatre
Guest: Todrick Hall
Release Date: March 5, 2026

Episode Overview

In this in-depth interview, MickeyJo sits down with Todrick Hall backstage at Sadler’s Wells East, on the eve of Hall’s newest musical, Midnight. The conversation travels through Todrick’s artistic journey—from a transformative childhood introduction to theatre, through pivotal moments on Broadway, his recent creative challenges and public scrutiny, to building a new kind of musical in Midnight. They also discuss representation, the impact of social media, and the continued importance of live theatre as both an artistic and personal refuge.

Key Discussion Points and Insights

Early Discovery and Love for Theatre

Timestamp: 04:23 – 06:18

• Todrick recounts a difficult early school experience, being exposed to racism. Transferring schools exposed him to supportive teachers, notably Pat Carthal, who introduced him to creative pursuits and dance classes.
• First live theatre memory: seeing The Nutcracker, becoming obsessed with all technical and sensory aspects of theatre.
• Pat Carthal’s season tickets exposed Todrick to major musicals (The King and I, Sound of Music), igniting a lifelong passion.

“I was like, on the edge of my seat, couldn’t believe how much I loved it… I just started to become obsessed with musical theater, and I never looked back.”
— Todrick Hall (05:46)

Broadway Beginnings and Breakthroughs

Timestamp: 06:35 – 11:33

• Broadway debut in The Color Purple: Left a cruise ship job for a chance audition; profound experience of Black representation on stage.
• Described the pride and life-changing moment performing with Fantasia Barrino and being in an all-Black cast.
• Deeply personal connection to Kinky Boots: Initially filled with self-doubt and imposter syndrome, later realizing how the character of Lola paralleled his own strained relationship with his father and his journey to embracing femininity.

“Kinky Boots was like life changing for me because I never saw myself as somebody who would be a lead… so many nights going out at like 3am in the morning and just sobbing in the middle of Times Square by myself because I just couldn’t believe…”
— Todrick Hall (09:23)

• Discusses overcoming performance anxieties, especially as Lola in Kinky Boots, and the lasting impact of family support and audience reaction.

Roles and Representation: Navigating Broadway and the West End

Timestamp: 13:49 – 16:18

• Chicago on the West End: Felt imposter syndrome as the “wrong fit” for Billy Flynn; discusses advice and assurance given by Shoshana Bean.
• Reflects on the unique pressures, as a queer Black man in theatre, to “fit” certain expectations or roles, and how audiences react when traditions are subverted.

“I was like, this should be some straight old white man that looks like the KFC chicken guy… But I had to, like, learn, you know, what is my version of Billy Flynn?”
— Todrick Hall (14:06)

• Talks about the necessity and difficulty of self-validation as an artist, especially when occupying spaces where you don’t “look the part.”

The Making of Burlesque and Industry Challenges

Timestamp: 17:42 – 22:45

• Initially brought on as composer for Burlesque, inspiration from previous visual work caught the producer’s eye.
• Took on expanded creative roles: writer, performer, and director due to shifting production needs.
• Critiques the lack of diverse representation in early drafts, negotiating for meaningful roles for Black queer characters.
• Shares honest struggles with the creative process, social media scrutiny, and being made a scapegoat for wider production issues.

“If I come on, I don’t want to just be the assistant… that trope has just been done so much… I would want my character to… not be just Tess’s, you know, purse.”
— Todrick Hall (18:54)

• Emotional toll: describes sleepless nights, communal effort to finish costumes, and the stress of public narrative around the show.

Reflection on Public Scrutiny and Social Media

Timestamp: 22:46 – 26:31

• Addresses ongoing rumors about payment practices and mistakes from earlier social media career.
• Describes emotional hardship from being a frequent scapegoat online, and yet highlights his refusal to “throw others under the bus.”
• Cites advice from Bob the Drag Queen: “if people are committed to the idea of not liking you, they’re not looking for receipts.”

“It’s really hard because you don’t see a person with a family and feelings and like a full story. You see someone who has been reduced to a headline…”
— Todrick Hall (24:17)

Musical Healing and Inspiration

Timestamp: 26:31 – 27:39

• Shares how seeing The Curious Case of Benjamin Button ten times became his therapy during the stressful Burlesque chapter.
• Influence of that show and direction on the creation of Midnight.

“That show—my therapy. Yeah, it was everything to me… And it is inspired so much of how I tell this story.”
— Todrick Hall (26:48)

Conceiving and Building Midnight

Timestamp: 29:21 – 35:11

• Midnight’s origin: pandemic idea, motivated by cultural divides in America, specifically Black/white and queer identity.
• Michelle Visage’s post-election advice urged artists to create during turbulent times.
• Central themes: reconciling multiple identities; bridging community gaps through art; fear and “imposter syndrome” when betting on unconventional new work.
• Musical and dramaturgical inspirations: Ragtime, Hairspray, Black Mirror, Aida.

“I experience being black and being queer simultaneously every single day… I don’t know how to write from, like, a place of just being black or just being queer, because I’m both of those things…”
— Todrick Hall (42:13)

Collaboration, Casting, and Community

Timestamp: 35:11 – 40:59

• Assembling the Midnight company: pride in casting Ayanna George (whose character, Ethel, is named after Todrick’s grandmother).
• Emotional significance of Broadway and West End stars singing his music.
• Touched by the struggle for respect as a Black creative leader; reliance on supportive collaborators like lighting designer Rory; silent barriers and microaggressions in creative teams.

“If I were a straight white man, people would be listening to what I have to say… every hurdle that I had to jump was ten times harder… they don’t respect you because to them, I didn’t look like what they felt like a director should look like.”
— Todrick Hall (38:57)

Navigating Double Minorities: Storytelling and Visibility

Timestamp: 41:45 – 43:43

• Critiques the notion that intersectionality is “convoluted”—his story, and Midnight, exist at the intersection of Blackness and queerness.
• Explores societal discomfort with BIPOC and queer leads in traditionally white roles (references to Emma Watson as Belle vs. Halle Bailey as Ariel).
• Expresses joy at the chance to create work that embraces both of his identities fully.

Looking Ahead & Broadway Hopes

Timestamp: 45:12 – End

• Announces his imminent move to New York; hopes to bring Midnight to Broadway.
• Cautious optimism, acknowledging industry trends towards “safe, commercial” IP; recognizes risk but desires to prioritize artistry and lived experience.
• Personal take on theater’s unique, unmatched catharsis and communal joy, paralleling the host’s love for live performance.

“I just want to be around theater and be able to go see Broadway shows… it’s the happiest I ever am and is when I’m sitting down watching theater.”
— Todrick Hall (47:01)

Notable Quotes and Standout Moments

• “Congratulations on everything you’re doing. I mean, I think if someone gets a rave review from you today in 2026, it’s better than, like, the New York Times review.”
  — Todrick Hall (02:46)
• “I have a severe case of imposter syndrome. I think that I play it off well. I have a good poker face, so people don’t know how much I’m, like, freaking out about everything that happens.”
  — Todrick Hall (10:43)
• “The way that you’re being treated is not the norm… these people are being disrespectful to you because they don’t think you’re going to be able to get this job up.”
  — (Paraphrasing Rory, lighting designer, as told by Todrick Hall, 39:25)
• “I want to write a show that would be thought provoking… I wanted a show that made you sit down and talk about this.”
  — Todrick Hall (33:16)
• “So to be able to go out on stage now, I don’t care if there’s 12 people in the audience. I’m just so grateful that I’m in this position…”
  — Todrick Hall (38:03)
• “If people are committed to the idea of not liking you, they’re not looking for receipts.”
  — (Advice from Bob the Drag Queen, shared by Todrick Hall, 24:55)

Episode Structure (with Timestamps)

• [02:02] – Backstage at Sadler’s Wells: Show introductions
• [04:23] – Todrick’s first experience with theatre and early mentors
• [06:35] – Broadway debut and its impact
• [09:15] – The significance of Kinky Boots and overcoming imposter syndrome
• [13:49] – Navigating non-traditional casting (Chicago, imposter syndrome)
• [17:42] – Burlesque: creative process, racial and queer representation, social media fallout
• [22:46] – Social media scrutiny, online mythologies, advice from peers
• [26:31] – Therapy in musicals: Benjamin Button inspiration
• [29:21] – Creating Midnight: concept, themes, intersectionality
• [35:11] – Casting and creative assembly: working with Ayanna George and others
• [38:57] – Racial bias in production rooms; industry challenges
• [41:45] – On writing for intersectional experience; visibility of Black queer stories
• [45:12] – Moving to New York; the dream of Midnight on Broadway

Tone and Style

This episode is warm, intimate, and honest—marked by open self-reflection, candid discussion of failure and resilience, and the shared passion of two theatre-lovers. Todrick Hall’s voice is emotive, personal, and unfiltered, while MickeyJo provides thoughtful questions and empathetic support.

Summary Useful For Non-Listeners

Listeners are treated to a full-circle portrait of Todrick Hall: a driven, self-aware creator unafraid to admit vulnerabilities, passionate about authentic representation, and deeply invested in the future of musical theatre as an agent of social change. The episode gives rare access to the backstage mindsets of both the subject and the host, offering encouragement to those navigating creative industries, social identity, and personal growth.