Review: MAYBE HAPPY ENDING at DPAC

Maybe Happy Ending might just be one of the best musicals I’ve seen in years, if not ever. With a spectacular cast, stunning production design, and a story that is as sweet as it is deeply moving, this Tony Award-winning musical delivers something truly special.

Set in a near-future Seoul, the story follows Oliver and Claire, two outdated Helperbots who have been left behind by their former owners. When Claire unexpectedly knocks on Oliver’s door looking to borrow a charger, their unlikely friendship sets them on a journey of discovery, connection, and something even more. It’s a deceptively simple premise that gradually unfolds into something much more profound, exploring what it means to live, love, and experience the world around us.

At the heart of this production are two truly extraordinary performances from Steven Huynh and Claire Kwon as Oliver and Claire. While their characters are quite literally machines, there is nothing remotely synthetic about what these performers bring to the stage. Their chemistry is immediate, their vocals are outstanding, and together they create a relationship so genuine that it becomes impossible not to invest in their journey.

Huynh is exceptional as Oliver, carrying much of the production’s emotional weight through an incredibly precise physical performance. As a Helperbot 3, every movement and mannerism reinforces the character’s mechanical nature without ever becoming stiff or wooden. What makes the performance so impressive, however, is how subtly he allows Oliver to evolve. As the character experiences new emotions and begins to open himself up to the world, Huynh introduces the smallest changes in expression, movement, and delivery, gradually revealing a vulnerability beneath the programming. It’s a masterclass in physical and vocal characterization, and one of the most moving performances I’ve had the pleasure of witnessing.

Kwon is equally outstanding as Claire, bringing a completely different energy that perfectly complements Huynh’s Oliver. She’s effortlessly funny, with impeccable comedic timing and an infectious personality that immediately breathes life into Oliver’s carefully structured existence. Yet beneath that humor is a profound vulnerability that Kwon reveals with remarkable honesty. Her performance of “What I Learned From People” is a particular standout, shifting the tone of the evening as she delivers a raw, deeply impactful performance. Kwon makes every emotional turn feel earned, and the contrast between her exuberance and Huynh’s restraint makes their relationship all the more compelling.

Francisco Javier González brings wonderfully smooth vocals to Gil Brentley, whose music and presence weave throughout the story, while James Seol brings a grounded, understated quality to James and Junseo that provides an effective contrast to the more whimsical elements of the production. And of course, a special shoutout to Hwaboon, Oliver’s beloved houseplant, who manages to steal a few moments without ever uttering a word.

Will Aronson and Hue Park’s book and score are every bit as beautiful as the world created around them. The music is sweet and sentimental, with recurring melodies that take on new meaning as Oliver and Claire’s relationship develops. Oliver himself reflects on how jazz can repeat the same melody while introducing new harmonies, and the score follows that principle, with familiar musical themes returning throughout the evening, each time carrying something new. The story itself feels like the epitome of a Korean drama, balancing romance, humor, and heartbreak with an effortless charm. Yet for all its familiar qualities, I never quite knew where it was going next, making every new development feel like another discovery.

One of the production’s greatest achievements is its visual presentation. Dane Laffrey’s scenic design creates a world that feels simultaneously futuristic and deeply intimate. The modular set pieces move and transform, with illuminated edges framing each environment and creating the sensation of moving between snapshots of the characters’ lives. The design reaches breathtaking heights during the firefly forest sequence, where the stage bursts into a sea of light and life. It’s one of those rare moments in theatre where the sheer beauty of what’s unfolding before you almost demands applause.

Ben Stanton’s lighting design is equally impressive, particularly in the subtle ways it reflects the growing connection between Oliver and Claire. Oliver’s once stark white environment gradually becomes infused with Claire’s pink, while his blue begins to creep into her world. As their lives become increasingly intertwined, those colors blend into purple. Clint Ramos’s costume design is similarly understated but effective, helping establish the Helperbots’ identities without distracting from the performances.

George Reeve’s video design, alongside Laffrey’s additional video work, adds yet another dimension to the production. I particularly loved the way the show reverses our expectations of what’s real and what’s artificial. While Oliver and Claire are robots, they’re physically present onstage, while the humans in their lives are largely represented through digital projections. These sequences allow the audience to experience the world as the characters do, creating a sense of immersion that makes the production feel unlike almost anything I’ve seen onstage.

Michael Arden’s direction is nothing short of extraordinary, seamlessly weaving together every element of the production into a cohesive and deeply affecting theatrical experience. He knows exactly when to infuse humor, when to let the quieter, more sentimental moments breathe, and when to allow the spectacle to take over. What I particularly loved was how the staging reflects Oliver and Claire’s expanding world. We begin much like the Helperbots themselves, confined to the small spaces they know, with their entire existence seemingly contained within the walls of their apartments. As they venture beyond those walls, the stage gradually opens up, eventually exploding into the breathtaking landscapes of Jeju Island and beyond. It’s a beautiful progression that allows us to experience their growing sense of discovery alongside them.

At just one hour and forty minutes without an intermission, the production moves swiftly from one moment to the next without ever feeling rushed. I was so completely immersed in this world that I genuinely wished it would never end.

For a musical centered on two robots, Maybe Happy Ending has an extraordinary understanding of what makes us human. It’s a story about the connections we make, the memories we carry, and whether the possibility of loss should prevent us from experiencing something wonderful in the first place. There are moments that make you laugh, moments that make you cry, and moments of such astonishing beauty that you almost forget to breathe.

There’s no “maybe” about how extraordinary this production is. From its remarkable performances to its breathtaking design and deeply touching story, Maybe Happy Ending is the kind of theatrical experience that reminds me exactly why I love live theatre. If you have the opportunity to experience Maybe Happy Ending, you should definitely take it.

If I were a Helperbot, I’d replay this show over and over again.

Maybe Happy Ending plays at DPAC through Sunday, October 18.

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