In the 1800s being gay was a death sentence, let alone entertaining the prospect of an interracial relationship. Another widely known, controversial part of American history was unfolding during this time: slavery and the concept of “owning” people. Unearthing a unique story funneled through the filter of a folktale, Midnight might feel a little Hadestown, plus a dash of Hamilton mixed in. Yet, its uniqueness actually carves out a deeply moving original show entirely its own flavor. Acclaimed and wildly creative multi-hyphenate Todrick Hall builds this brand new musical from the ground up, one told specifically through the lens of its queer black mastermind. It depicts slavery and black excellence, queer love and racial dynamics. The muchness may initially seem overwhelming. This is Midnight, an ambitious sucker punch of emotion overflowing with surprises and some of the most outstanding vocals I’ve ever heard either on or off Broadway. With empathy at its epicenter, Midnight collects an impressive roster of black and white talent to tell a once-in-a-lifetime epic love story.
Upon entering the Daryl Roth Theatre, audiences are treated to a curated playlist of black power ballads, including Sinners standout “I Lied to You.” This perfectly lays out the red carpet for the nuanced show we are about to watch, instantly plunging us into its immersive nature. The stage is expansive, complete with an upper balcony level and dangling lanterns. No doubt the main draw here are mannequins with elaborate costumes hanging from the ceiling, situated around a gigantic clock central to the sprawling narrative. From a pure production standpoint, Midnight wows, making the most of its small space with impressive staging that envelops the theatre in transformative splendor. Enslaved narrator Ethel, played by velvety-voiced belter Ayana George, is our window into Hall’s bold, beautifully drawn world. She lays the groundwork for the entrance of one of two main leads: Rail (Hall), named cheekily for his family’s closeness to the railroad tracks, ends up sold off as a baby in the aftermath of a shocking tragedy. As clever, whip-smart Rail comes of age on a plantation, romance emerges with the bubbly Lily Rose (Charlotte Odusanya), much to the dismay of her resting-bitch-face bestie, Happy (Kolbi Jordan).
A set of brothers, lovingly defined as the drunk and the hunk, change everything once they come into the fray. Frazzled and aggressive Harry (Jimmy Brewer) could not be more of a polar opposite to his kind-hearted brother. Longing-eyed, mustachioed twink Richard (Jeremy Beloate) wants to build a new home that integrates black slaves into the living quarters of their white counterparts. With Rail at first reluctant to Richard’s attempts to get him to open up, time eventually softens their exchanges. As Rail begins to share his construction expertise, Richard offers to teach Rail how to read and write. The push-pull of their dynamic is given potency by the tangible chemistry between Hall and Beloate. Between belty, extravagant musical numbers, their bond remains the prime focus by which Hall has chosen to depict this story. Both actors make the most of their scenes together, and their vocalizing gymnastics gave me chills on multiple occasions.
Nearly every character in Midnight is essential to the endgame, with even seemingly inconsequential characters adding substantially to the experience. Every angle seems thoroughly thought out as well; a moment as rudimentary as the announcement of changing seasons has a hilarious payoff thanks to Ethel, Horace (Dwayne Clark), and Squeak (Sidney DuPont). A throughline of queer humor and biting dialogue cuts through some very heavy material. I didn’t get the feeling that any of this would need a trigger warning so to speak, but it certainly grapples with some heavier topics that are made lighter thanks to Hall’s approach. He gives the black and white cast equal weight, with dramatic ballads, sweeping duets, and R&B stylings given to certain ensemble members. Those who have lesser voices are still showcased in unique ways, in a particularly impressive manner.
The real stand out here comes in Act II. Without any spoilers, an astonishing gear shift gives way to a truly powerful change-up that must be seen to be believed. Having been extremely invested after the momentous Act I finale and dying to see where it would be taken next, the presentation and specifics in act two completely bowled me over. I can honestly say I have never seen anything like it before in all my years of attending theater. The actual strength of this section lies in its emotional impact. The show saves much of its most poignant pieces for Act II, along with much of the show’s thematic thrust. Make no mistake: Act I is still full of bangers from beginning to end. In fact, the entire show left me praying for a cast recording to come sooner rather than later. These are some contagious, instantly catchy tunes, with only a couple that didn’t quite work for me. In an obvious homage to Cinderella’s evil stepmother and stepsisters, their song is a little too shrill, but that’s also the point given that these three women are somewhat positioned as the villains of the piece. Additionally, the drunkard brother initially feels quite one-note, but even he has a grander purpose.
I found the way Hall ties time and the concept of midnight into the show to be particularly noteworthy. It stands out as a strong concept, given the structure of the rotating stage and its giant clock piece. A moment juxtaposing two different scenarios through the silhouette of sheets carries a majestic beauty. There are so many interesting creative choices made throughout, some of them which may be divisive by design. Slavery is already a difficult enough topic to approach with any level of nuance, and insisting that that topic is neither black nor white might turn off some of the more sensitive folks in the crowd. As a White audience member, I cannot specifically speak to that facet of the story. But I can say that the gay angle absolutely worked for me on every level, and the racial elements did too. There’s a tenderness in the approach that proves Hall has spent quite some time attempting to unpack this all for himself. You can tell Midnight is a passion project given the sheer breadth of heart that has been poured into every moment. Running nearly 3 hours in length after a stunted start time and an intermission, Midnight absolutely runs long. Yet, the length gets easily justified with some of the most nuanced portrayals of folks during the American South seen in any modern show.
Additionally, Hall’s musical is not based on any prior property. This has all been hatched from Hall’s imagination, and it ripples with the kind of authenticity we crave from creative endeavors. Book, music, and lyrics are all puppeteered by Todrick Hall, as are the direction and choreography. The songs are touching and powerful, and some alone had my audience howling in applause. The ending itself is a tidy, devastating bow on top of an already perfect show. As I attempted to collect my thoughts, drowning in a puddle of my own tears, it really only began to hit me just then how greatly Midnight had affected me. It asks difficult questions, and may not be an easy watch at times. Hall refuses to sugarcoat the difficulties of the time period, and brings the show full circle in a way that feels deeply satisfying.
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. Though some get more time in the spotlight than others, the balance feels perfectly suited for the work. It would’ve been so easy to simply make cartoonish caricatures of white people, or to underline the messaging over and over again in a way that practically hits you over the head. Midnight does neither of these things, instead emphasizing the complicated midpoint of two opposing positions. It will open up conversations amongst its audience, if that audience can ever get some of these songs out of their heads. Driven by Hall’s endless ambition and a bevy of spectacular performances, Midnight strikes just when Broadway needs it the most.
Count down the hours in someone else’s shoes, then run to the Daryl Roth Theatre in them to go see Midnight! For ticketing information, please head over to the official website.
