Midnight Off-Broadway Reviews

Midnight is surely entertaining: The cast feels gloriously unified while also giving actors like Charlotte Odusanya, Bella Coppola, Ayana George, Kennedy Caughell, and Kolbi Jordan standout vocal moments of their own. The choreography is dynamic and ...

Midnight is surely entertaining: The cast feels gloriously unified while also giving actors like Charlotte Odusanya, Bella Coppola, Ayana George, Kennedy Caughell, and Kolbi Jordan standout vocal moments of their own. The choreography is dynamic and creates fine stage imagery, and the score has multiple earworms. But one can’t help but wonder if Midnight is also indebted to the age of the megamusical, when spectacle mattered more than a meaningful relationship between the subject matter and the style in which it's delivered. Does Miss Saigon really need that gigantic helicopter to convey the impossibility of love in a fruitless, tragic war? Does Midnight really need clubby strobe lights while Rail gets beaten on a plantation? Probably not, but it certainly is memorable.

If Midnight makes the leap to Broadway, Hall should embrace the show’s thorny uncertainties, including the risky possibility that audience members asked to see the world through a new lens may glimpse vastly different vistas. Rather than pulling hi...

If Midnight makes the leap to Broadway, Hall should embrace the show’s thorny uncertainties, including the risky possibility that audience members asked to see the world through a new lens may glimpse vastly different vistas. Rather than pulling his punches, he can acknowledge that his theatrical experiment, much like race in America, is complex, messy, and resistant to easy solutions. Midnight already sounds, looks, and innovates like the best new musical of the year. Instead of smoothing over its difficulties, Hall should go further, exposing the rough edges.

The voices are powerful, and by the end, theatergoers will wonder whether they could live someone else’s life. Although the show is set in the 1800s and centers on racism and homophobia, both remain sources of contention today. The music will keep ...

The voices are powerful, and by the end, theatergoers will wonder whether they could live someone else’s life. Although the show is set in the 1800s and centers on racism and homophobia, both remain sources of contention today. The music will keep you in your seat, but the message, especially so close to a monumental midterm election, will challenge your heart and mind.

Mr. Hall not only provides the music, lyrics, book, and essentially the leading performance, but also serves as the production’s director and choreographer — roles that not even Lin-Manuel Miranda, who juggled all those other tasks for “Hamilto...

Mr. Hall not only provides the music, lyrics, book, and essentially the leading performance, but also serves as the production’s director and choreographer — roles that not even Lin-Manuel Miranda, who juggled all those other tasks for “Hamilton,” assigned himself.“Hamilton” is actually a good reference point for “Midnight,” as Mr. Hall seems to have studied that mega-hit assiduously. In everything from its rhythms and rhymes (mostly sung, with some rapping as well) to its constant movement to its alternately winking and sober nods to history, “Midnight” practically declares itself a successor to Mr. Miranda’s venerated blockbuster.  That’s a tall order for a first musical, and if Mr. Hall deserves an A for ambition, “Midnight” does not, unfortunately, offer the sparkling wit, dazzling score, or sheer ingenuity that more than mitigated the self-importance of “Hamilton.”

It’s certainly ambitious, but once the initial shock wears off, we’re left with a meandering second act that seems even longer than the first (it’s actually 15 minutes shorter). Part of this has to do with the musical’s lack of creative persp...

It’s certainly ambitious, but once the initial shock wears off, we’re left with a meandering second act that seems even longer than the first (it’s actually 15 minutes shorter). Part of this has to do with the musical’s lack of creative perspectives, which might have helped scale back some of its excesses. MIDNIGHT is that rare case of not enough cooks in the kitchen.

There are some shows that make so much noise before it opens that I know the show’s whole history and paper trail reviews before the first note is played. I can’t say this is the case with Midnight, the exciting, daring and unwieldy new musical b...

There are some shows that make so much noise before it opens that I know the show’s whole history and paper trail reviews before the first note is played. I can’t say this is the case with Midnight, the exciting, daring and unwieldy new musical by internet and reality show personality Todrick Hall, whose previous projects missed me completely. But when I hear one person wrote the book, songs, choreographed and directed his first ever musical, my first instinct is skepticism. Stephen Sondheim had Hal Prince and Michael Bennett. Lin-Manuel Miranda had Thomas Kail and Andy Blankenbuehler. But as they say, confidence is half the battle, and whoever Hall convinced to help him produced a show that is truly his vision, the gamble paid off.

Todrick Hall’s Midnight is the bold, completely original theatrical adventure I have hungered for in Broadway’s recent years. Profoundly meaningful, provocative, and dangerously thrilling, this show explores humanity’s innate susceptibility to ...

Todrick Hall’s Midnight is the bold, completely original theatrical adventure I have hungered for in Broadway’s recent years. Profoundly meaningful, provocative, and dangerously thrilling, this show explores humanity’s innate susceptibility to hatred in an epic opera. The score weaves a rich vocal tapestry augmented by instruments. It is a slice of life story in which the audience gets to know everyone on stage over the course of a three hour journey, rife with moments of laughter and moments of tears. The show washed over me in waves of emotion as the audience’s empathy was challenged, prodded, and poked, all with the end goal of asking us to sit with ourselves to acknowledge the power we hold and how we hold it over others.

Midnight is the first musical to receive The BroadGAYS’ MUST-SEE designation. The score, the voices, the dancing, and the sheer imagination of the staging make this an extraordinary night of theater. I can already imagine audiences discovering it f...

Midnight is the first musical to receive The BroadGAYS’ MUST-SEE designation. The score, the voices, the dancing, and the sheer imagination of the staging make this an extraordinary night of theater. I can already imagine audiences discovering it for years to come, and I’m grateful I got to experience this production in person. Tickets are nearly sold out. Go get yours right now.

To call Midnight sprawling would almost be underselling its grandiose scope. The costumes alone are stunning in their detail, the lighting effects are spectacular, and the choreography equally matches the ambitiousness of the vocal hoops that perform...

To call Midnight sprawling would almost be underselling its grandiose scope. The costumes alone are stunning in their detail, the lighting effects are spectacular, and the choreography equally matches the ambitiousness of the vocal hoops that performers are asked to leap through. This is ultimately an important show, largely original in every way. Ayana George could not have been a better pick for the narrator to sweetly guide us on this journey.

Even great creators need strong collaborators, sounding boards who will nudge them to revise, streamline, and “murder their darlings” in the service of producing a better final product. Midnight has flashes of luminous greatness, but too often Ha...

Even great creators need strong collaborators, sounding boards who will nudge them to revise, streamline, and “murder their darlings” in the service of producing a better final product. Midnight has flashes of luminous greatness, but too often Hall does not know when to stop. There’s a meandering final song, full of muddled references to the number 12 and spoken-word updates on the progress made toward equality for Blacks and queer people in the U.S. since the 1860s, that feels utterly superfluous. Especially when compared to encore song that Hall leads post-curtain call, a choral masterpiece that perfectly sums up the “new day” that the show envisions and sends the audience out on a goosebumpy high.