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what did Mickey-Jo think of MIDNIGHT? | thoughts on how Todrick Hall's new musical could become a huge hit
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Ryan Reynolds
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- [01:39]
Mickey Jo
to say and this is 100% true. I was at dinner with a friend last weekend and we were talking about midnight because for the past couple of weeks it has been the show to talk about. Have you seen Midnight yet? Are you going to go and see Midnight? And they had seen it and they had gone with a friend who had been lucky enough to see Hamilton when it was at the Public, when Hamilton was in pre Broadway performances at the Public Theater and they said not only did this have a comparable kind of early exciting, buzzy energy, that friend had actually said this was more exciting than seeing Hamilton at the Public. Now listen, does that mean that it's ready for Broadway or the West End immediately? Not quite. But I went to see it last week and I have been so excited to talk to you about the new musical Midnight. But just before I do. Oh my God. Hey, welcome back to my theatre themed YouTube channel. Or hello to those of you listening to this on podcast platforms. My name is Mickey Jo and I am obsessed with all things theatre. I am a professional theatre crit here on social media as well as a content creator. And I recently bought myself some tickets to go and see Midnight, the new musical written, directed by and starring Todrick Hall. It, by the time you're seeing this, will have concluded a two week, I think, development run at Sadler's Wells East, a gorgeous new venue that I was visiting for the very first time. With this being the second public workshop showing that the show has had the first happening, I believe, at Sadler's Wells main space in Islington. And if all of this terminology is sounding a little bit abstract and alienating, basically, this is a show still in development, it is still coming to fruition. The material is still being very much worked on. I heard from people who had seen both workshop performances that there are actually a great many changes to the material between the first and the second. There was a lot more comedy injected into it, there were changes to characters, but at this time it's still going to continue to metamorphosize and shift, which I think is a good thing. I also think it makes sense to do this publicly because there are many productions that have closed door workshops over years and years and years and sometimes that's beneficial and they emerge very refined and improved versions of what they were. I've had the chance to see some of these workshops, so I've seen that development and those positive changes happen. On other occasions, something will arrive on Broadway or in the West End or on a major stage and you will think, how did this have so many years of attention and they still didn't address these gaping problems. Also, as we've discussed recently, there's really no such thing as previews anymore when it comes to talking about something online and on social media. So it is in many ways smart and inevitable for Midnight to make a developmental early version of itself available publicly to audiences. However, just because this is a workshop presentation doesn't mean that we are all sitting around a table and holding scripts. No, no, this is off book. This is fully staged, this is fully costumed. We have choreography, we have set pie, we have an atmospheric two and a half hour plus production. And it is, for so many reasons a show that we absolutely need to talk about. And I am not going to tell you all of the spoilers simply because the show's writer at this time does not want me to. And I want to respect that. But also, it may change. And the version of the show that I just saw, which I'm about to describe to you, may very well be quite different to the next iteration that I'm sure you are bound to see on a major stage before too long. Of course, if any of you had the chance to see Midnight, I would also love to hear what you thought in the comments section down below. But in the meantime, these are some of my non review thoughts about the show, why it could represent a very bold and exciting new step for musical theatre, and also the small changes that it could make in order to take that step even more confidently. I went there, I saw it, I bought the T shirt. Let's talk about Midnight. So if you're familiar with Todrick Hall's work to date, there's a good chance that you will have some understanding of the tonal realm in which this lives and the musical style with which this has been written. Mix in a little more seriousness, mix in some kind of more credible musical theater content. Because, you know, if you've seen the stuff that he's been making as online queer pop music videos, then you know the content has been dictated by the format that he's been working with. They have looked like music videos. There has always been an extraordinarily vibrant artistry and a very clear eye in terms of choreography and aesthetic, as well as a particularly vivid approach to character and storytelling. And the material of Midnight, I think, definitely fuses together Todrick's capacity for sincerity and emotional heft with a very tongue in cheek, almost outrageous kind of a comedy. It also, and if you have had the chance already to watch or listen to the interview that I conducted with him earlier in the day before I saw the show that I shared here last week, feels very much in response to his own identity and sort of harkens back to the show in which he made his Broadway debut, the Color Purple. This is, after all, a story that Begins in the 19th century Plantation era United States and depicts slavery. It's a story about race, but it's also a story about longing and sexuality. And it's kind of intersectional in that way because we have seen black stories on stage, we have seen queer stories on stage. It is comparatively infrequent that we see something that exists wholly within the center of that Venn diagram. And there is sort of depending on the production, anywhere between vaguely alluded subtext and queer euphoria in the Color Purple. But it's really only a show, like a strange loop that truly uplifts both of those identities simultaneously and exists proudly in that shared space. And genuinely, I can't think of many more musical theater stories that are as much about being queer as they are about being black. Don't tell me that Kinky Boots is another one, because per the licen, Lola is canonically a heterosexual drag queen, which I know makes no sense whatsoever, but here we are. The other thing I think I can tell you about Midnight, to give you a sense of this show is the kind of vague formula for where it comes from. Take a little bit of Cinderella, the fairy tale, not the Andrew Webber musical. Mix that with the likes of BRIDGERTON and honestly, 12 Years a Slave, which I'm sure you're thinking already, are obvious bedfellows, as well as maybe the littlest bit of Natasha, Pierre and the Great Comet of 1812. These are all kind of ingredients. Get the plot of this show. One in which a young black male slave named Rael, short for Derail, named after the train on which he was born, one which was supposed to take his parents to safety but failed to, finds himself serving at a party in which two eligible white brothers are courting potential wives. Among the guests is a manipulative, wealthy white woman, the sister of Rael's slave owner master, who has two daughters of her own, who she is hoping to set up with one or both of these eligible young men. And if you aren't already hearing the Cinderella parallel, then you should be now. One of these young women, her mother's favorite, is thrust into the arms of the kinder and gentler of the two brothers, while the other is left to feel undesirable and forgotten about. Meanwhile, we've been acquainted with three or four other black characters prior to this, a trio of whom function as storytellers, narrating the prologue to the piece as well as its ongoing and two others of whom are a different pair of young women, two close friends, Lily Rose and Happy, who evidently ought to have been named just about anything else, because she almost never is. Lily Rose, meanwhile, has a positive disposition and takes a liking to the handsome young slave Rael. All of which would be absolutely fine in this sort of dual boy meets girl story on either side of the picket fence if it weren't for the fact that I told you this is also a queer musical. And these Cinderella stories almost never conclude with the prince actually liking one of the two sister thrust towards him by the mean old lady in the hoop skirt. As you may have guessed, though he continues to pursue a marriage with one of the two daughters, in reality he cares far more deeply for the young man named Rael. And this is where it all gets a little bit Bridgeton, also a little bit Aida, I suppose, as we have this forbidden love story of these two people from completely different worlds. I mean, it would be a forbidden love story already even if they were white, but on multiple levels it represents a great danger to them both. And all of this has been set up, by the way, about two thirds in the first act. From there, everything just sort of continues with its own natural momentum, sometimes for the better, sometimes for the worse. And if you think that we come back to a second act that just picks everything up and carries on with it neatly, you would be quite mistaken. We return from the interval to a coup d' theater that just about inverts all of our expectations of watching this show and what we were anticipating. And I'm not going to tell you exactly what that is. I dare say people are already talking about it online. Do your best not to spoil it in the comments section down below. I think it deserves to be a mystery for at least a little while longer. By the time this show has any major ongoing run, it will get talked about. And I think that's for the best because it is also, and I say this while holding up the artwork, a really major part of the show's identity. And as soon as people find out en masse that that is what this show is, then that is how it's going to get talked about. For now though, I'm not going to tell you exactly what it is, but I'm going to continue to allude to it. Something big happens at the start of the second act that changes. Meanwhile, if you're wondering where the excitement factor comes from and what feels fresh and original about this queer interracial romance storyline that mostly comes from the music. It's a very exciting pop theatrical score that sounds familiar of Todrick's work, but definitely augmented within the realm of theatricality and musical theatre. It's sort of a pseudo hip hop opera in many ways, living in a post passing strange and Hamilton landscape. I actually think, and I've said this on many occasions before, that as we are moving out of the Pasek and Paul defined era of like Christian rock esque contemporary musical theatre sound, Dear Evan Hansen, the Greatest Showman and the many other shows afterwards that began to sound suspiciously similar, I think the next sound of contemporary musical theatre is going to be typified by the work of Marlow and Moss and Six and Jack Godfrey and Todrick hall alongside them. I think this very much lives in the same house. And like Dave Malloy's work actually on Natasha Pyrrh and the great Comet of 1812, it does a lot of interesting things in bringing together these different styles. I mean, so much of this show is about this class collision between these characters from completely different racial groups, and they are each defined by a very different sound. And it is contemporary and it's vibrant and it's quite unlike what we normally hear in the theater. It's also aspirational and joy and exciting. It has gospel roots, but it also feels unashamedly modern and pulse raising. I'm very excited for when we first get to hear recordings of this score and everyone else can figure out what I'm talking about. But I think the dynamism of the music in conjunction with the choreography and the thrill of the storytelling approach, the overall storytelling approach, is what has been launching people to their feet at the end of this performance and what has been making people so palpably enthusiastic about this show.
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Ryan Reynolds
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- [13:49]
Darina, Co-founder of Quo
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- [14:49]
Mickey Jo
Now I will entertain a brief little aside to talk about the performances. It's very possibly moot because the chances of these individuals reprising their roles in future productions. There's every Possibility that the next version of Midnight happens stateside where Todrick hall is next heading. Yeah, it feels like it's very possibly not going to be this entire cast, if any of them. Obviously Todrick is playing Rail because know directing, choreographing, writing wasn't enough. Why not also star in the thing? And you know, he wouldn't be the first multi hyphenate creative to do that. It's a couple more hats than Lin was wearing during Hamilton, but I do have a thought on that front and I will get back to it in a little bit. Jeremy Belote is opposite him as Richard. He is a brilliant vocalist, very passionate and that sort of seems to have been the main casting criteria here because it is outstanding voices and fantastic personalities. Charlotte Giaconelli, who appeared in Burlesque alongside Todrick, is playing Violet, one of the two white sisters, with Maya Gough as Scarlet, the other she. Again, brilliant voice. They both do the two other characters. Lily, Rose and Happy, meanwhile, are played by Rachel Webb and Marisha Wallace, Always a joy to see on stage. She has a real scene stealing moment in the second act that I can't tell you any details about whatsoever, but it's pretty fantastic. We have two slightly more matriarchal characters. One is Charlotte, mother to Violet and Scarlet, the two white sisters. She is the cruel, wealthy white woman character. She is played by Rachel Tucker with her usual force on stage. But the real revelation among this company is Ayanna George, who is playing the role of Ethel. I mentioned a trio of storytelling narrators. She is at the forefront of this. She is sort of the first prominent voice voice that we hear in each act. And she has this gorgeous solo song during the first act in which she presents Rael with a pair of shoes and sings about their significance and the young man who wore them before him. Now, Ayanna made her Broadway debut in MJ the Musical and she is the most staggering vocalist. Like all of them on the stage, command, power and fluidity. But there's some additional magic in the musical storytelling that she gives life to on that stage. She's wonderful. The principal cast is completed meanwhile by Nick Rashad Burrows and Ahmed Hamad, who play two of the other storytelling characters. George Maguire, another one from Burlesque, once again typecast as a villain. Something about George Maguire and he plays this irredeemable, contemptible slave owner. While Isaac J. Lewis plays the brother of Jeremy Belote's character, Harry, the other of the two eligible brothers who are introduced with the song Two brothers. And I actually think controversial as it may be, and though you would have to admittedly rework that lyric, I don't know if we need a second brother. I don't know if that is a choice to sort of move it a step further away from the more obvious Cinderella parallels what they actually do with the timing of midnight and the significance of midnight as a time has little resemblance to Cinderella other than, you know, the clock striking in the same place. But in terms of the way that the plot functions, there's nothing really that his character does that couldn't be done by George Maguire's character or by a different character. And it occasionally feels like we just have a couple too many people in the mix. Likewise, I actually think that we don't need a trio of storytellers. We could do it with two. For the most part, we function pretty well with just one. Now, here are some other thoughts I had in no particular order.
- [18:31]
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- [19:27]
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- [20:01]
Mickey Jo
The way in which the show opens and first unveils itself to us isn't necessarily indicative of the tone of the entire thing, and I don't know whether this is a symptom of it. Having metamorphosized between the first workshop run and the Second, because I have been told more comedy has found its way in a little more vibrancy. And we begin this musical as if it's ragtime, as if it's going to be 12 years a slave, but with dance numbers. And where we end up in the second act is quite divorced from that. We have moved quite far away tonally. And I think it would be more beneficial to really establish the entire vibe. Hamilton is a show that does that. In the Heights is a show that does that. There are plenty of others besides that acquaint you with themselves and their personality, as it were, within the first few moments. There's actually, and I can't tell you how many times I sit in a theater and have this thought, the possibility that the Act 2 opening number, which is very strong and encapsulates the show's completely unique musical and theatrical identity, there's the possibility that that could be a reprise of an earlier version of itself that could open the first act act as well, or could take place near the end of the first act. The thing that I so often feel is when I go back in and there's a great Act 2 opening number and I'm like, that's the energy you needed at the start. Maybe not that exact song, but that energy. And I think an Act 1 opening is actually easier to write than an Act 2. So if you can do that with an Act 2, then you can definitely write a really strong Act 1 opening number where the show arrives with an explosion. I think that's what a musical like this merits. Merits. Now, the beginning of Act 2 is when this thing happens that I'm not going to tell you about. And my biggest hot take about the restructuring of this show is that I think for multiple reasons, from a creative standpoint and from an artistic standpoint, and also from an audience experience standpoint, that thing needs to happen at the very end of the first act before the interval. And it's not something that has really been done on stage before, but there are other examples of places where it kind of happens. And audience members have struggled to understand what it is that they are looking at. And the audience that this show has been getting right now is a very engaged and receptive one. The show didn't really do much marketing and so people just sort of started finding out about it through organic word of mouth. And these were largely Todrick fans and die hard musical theatre fans who were going to go and see this each time. But when it arrives at what I think will be an inevitable commercial run later, down the line, and it plays to a broader order. Audience. I think a lot of people are maybe gonna need that interval to figure out what they've just been told about what's happening to the story and maybe have a conversation with their younger relatives about what they're gonna see when they get back. I actually feel very, very strongly about that. And it would also be to the show's benefit as well, because you would have the most exciting, buzzy interval ever, in which everyone spends 20 minutes talking about the revelation that just happened, rather than getting shocked by it moments into the second act and then just having all of that energy continue through the show. How exciting would it be to have people really anticipate that second act and be ready for it? I don't know that we really play enough with the idea of cliffhangers in musical theater. Obviously, into the woods gives you a little bit of a to be continued. But very often we put a little small little ribbon on the first act so that we can then tie a large ribbon on the second. Meanwhile, I also told you there would be artistic benches benefits to it, and I'm not really able at all to articulate what those are without spoiling it, which I refuse to do. But I just think the whole thing would play better from a character standpoint if there were more space between that moment and what comes afterwards. And character, I think, is probably an area in which midnight stands to improve the most. I think each are introduced well and characterized well in material. Each could find even more specificity. But my big picture thought on this front, and this is going to sound maybe a little bit insane, is the show isn't currently telling a love story, and yet a love story is getting told. One is getting performed, and the audience are experiencing one. But what's happening here is the material is, for all intents and purposes, going. This thing kind of seems like it's maybe gonna happen, and then it happens maybe a couple of scenes later than it should. And then the first moment in which it happens is played a little more for comedy than sincerity. And if Bridgerton has taught us anything, that first moment of collision, of spark and of ignition needs to be played for sincerity. And we need a robust understanding in that moment of where everybody is. Are we both getting on this train? Is this something? Is this a direction that we both want to head in? Do we feel the same way about this right now? Thereafter, the hallmarks of this particular storyline have the vibe of, well, you know, what's gonna happen next, or. And you can imagine what happened after that. And see, look, this happened. Didn't you see that coming? And we actually want to see the beats. And we know how this is all going to unfold. Given the context and the location and all of the other characters surrounding it and everything that's already been established. We get the sense that it may not end well, that it is going to be challenging, that it's going to take us to some really angsty, difficult places. But we need to see each of those storytelling moments nonetheless. And there are important emotional beats that I think we're being deprived of a little bit at the moment by skipping through. Oh, and then a few weeks later, then by that point, now it's this. But then months down the line, now it has become this. I need to see those moments. If this is going to wear the badge of being one of only a few interracial, unapologetically black, unapologetically queer musical theater leading storylines, then I really want it to shine all of the spotlight on that and not have it just progress by implication. Which isn't to say that it's not currently entertaining. It absolutely is. I just think it could be even better. And watching the show, you know, the difference between the moments where it really succeeds, needs and when it's still finding its feet. And there is a run of three or four truly great songs in the first act that make you sit up and go, oh, that was a great number. And some shows have been successful having just one of those, to have about three in a row, I want to say it was the dancing one through Dear Mama, through Two Brothers. The Dancing one is the beautiful, moving solo song performed by Ayanna George. I also liked the song Pretty Eyes, though. That was lovely. Somebody is a wistful, romantic solo. I do want to talk a little bit about choreography because I like the visual identity and I think it's very exciting. I see a lot of shows where even, like shows that have made it to Broadway, shows that have won the Tony Award for Best New Musical, where I think you've got great material, you don't yet have a definitive visual identity. A show like Hamilton has a definitive visual identity. So does Six. So does the original Broadway production of Come From Away. And you know, these productions, because it feels very difficult to then do not. Not impossible, but it feels very challenging to imagine a different creative interpretation visually, a different aesthetic, a different movement, language. This has a movement, language and a choreographic style that really makes sense for its identity. You understand what this is? And it all works together because it's from one cohesive creative mind. That being said, I think there are moments that dance that don't need to, and there are moments that need to that currently don't dance. And the song, the dancing one needs. And everybody's talking about Jamie act one style moment of lyrical dance to the side. It doesn't have to be center stage taking focus because we want to enjoy the performance from Aiyana as well as Rhael on stage, silently responding to this emotionally. But I think the way that this story is told, it really invites, invites some, perhaps even like half lit, pseudo silhouetted moments of dance upstage on the other side. We get little bits of this later on in songs where I think, actually no, I just want the isolation of these two characters again when we're doing the love story, sometimes you just want to need to see the two of them truly alone to buy into this love. Now, as with Lynn in Hamilton and countless playwrights, writes in countless plays, and almost anyone who's ever written a one person show, I think it makes sense for Todrick to continue to star in this. But for logistical reasons, because of what happens in the second act, I think if he is going to continue to do so, then it may make sense to bring in a co director with a specific focus on character. I think he has such a gift for staging and choreography and visual storytelling and emotional storytelling. But I think there is such specificity that we need to find in character ARCs from Act 1 through Act 2. There's an exactness that we need to be able to achieve. And I simply don't know how you do that while also inserting yourself into the roster. I also think while there is so much benefit to one cohesive, singular creative perspective on stage, the entire show, in many ways, as you're seeing from this artwork here, is about duality and the coming together of two different perspectives. And I wonder if it's like Todrick hall and someone like a Whitney White co directing that could bring a really interesting combination of perspectives to this. Oh, and while I'm talking about the program that I'm holding here in my hands, we have two different versions of the artwork. One on the front, the other on the reverse verse. And I actually think I like this version better just because it has some texture. I'm just not much of a fan of like the plain black and white thing going on. That does, however, bring me to the end of my thoughts on the new developing musical Midnight. I have a few more creative notes that I will pass along more privately to the team, but if anyone else has anything that they would like to share in the comments section down below. If you have seen a performance of this and you have any feedback, I'm sure that would be invaluable. While the show continues to gestate, feel free to share all of your thoughts and feelings down below. If you are going to share explicit spoilers, please do your best to flag that at the top of your comment, but let me know exactly what you thought of Midnight. Did you enjoy it? Were you excited by it? And in what direction do you think it could progress? Meanwhile, those have been my thoughts. Thank you so much for listening. I hope that you enjoyed if you did make sure to to subscribe here on YouTube or follow me on podcast platforms. You know the drill. That's where you can find all of my regular updates about all of the shows that I go and see, including the ones which I will be actually reviewing because they're finished and open. And if you want to stay up to date with everything that I see and everything that I have to say about it, you can sign up to my free weekly Substack newsletter in the link in the description down below. I have been Mickey Joe and I hope that everyone is staying safe and that you have a stagey day. For 10 more seconds, I'm Mickey Jo Theatre. Oh my God. Hey, thanks for watching. Have a stagey day. Subscribe
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