Forgetting to Breathe During ‘Dear Evan Hansen,’ Looking at NYC From Above, and Meeting Jeff Daniels

Today was another packed day that definitely didn’t start out that way!

In what is becoming a trend I can get behind, I got the last rush seat for this afternoon's performance of "To Kill A Mockingbird" on Broadway (starring Jeff Daniels). It was even an actual seat -- they typically only have standing room available, so I'd steeled myself for that! But after an hour and a half baking in 90+ degree temps near the front of the rush line this morning, my butt very much enjoyed my seat.

I was at first worried I wouldn’t get a rush seat at all, as the line was much longer than usual when I arrived. But half the people were waiting in line to exchange tickets from the previous night's blacked-out show, meaning they’d be filling the expensive seats, not the rush ones. Hooray! I even managed to avoid a sunburn (no awning over the rush line) with an improvised stylish jacket headscarf and sunglasses look (it’s the next big thing — not).

Fortunately, my next stop, Top of the Rock at Rockefeller Center, was thoroughly air-conditioned. I exchanged my ticket from last night for one early this afternoon, and was on my way to the top. It’s a 43-second ride up 67 floors, and unlike the Empire State Building, you can watch the ascent to the top of the shaft via a glass ceiling atop the elevator. The weather was gorgeous, and I got some lovely views!

I knew I wanted a daytime visit to Top of the Rock, as I’d previously scoped out the NYC nightscape at 1 a.m. at the Empire State Building after a debate-night shift at The New York Times (magical!).

In a head-to-head battle between Top of the Rock and the Empire State Building, my vote goes to the Empire State Building. Here’s why: The ESB’s slotted bars are more viewing-friendly than TotR glass panels (which are prone to fingerprints and smudging), the viewfinders are free atop the ESB (there’s a charge for the ones at TotR), the ESB deck is 16 floors higher (86 compared to 70, the highest of the three TotR levels), and I just like the view from the top more at the ESB.

I also prefer going up to a deck at night as opposed to day, as the twinkling Manhattan grid is stunning in a way the daytime view just can’t match. Don’t get me wrong, NYC is gorgeous during daylight hours, too (and my photos came out better, I'll acknowledge), but it's otherworldly with a cool night breeze whipping through your hair, looking down on the blinking city lights and all-night traffic after the sun goes down. The Empire State doormen and women are also much more “into it,” even in the middle of the night.

Then came today's astounding news: I won the Broadway lottery for “Dear Evan Hansen” this evening! It was a special additional 8 p.m. performance in which the entire cast and crew volunteered their time so all the proceeds could go to The Actors Fund. It only took me two months, but it turns out the “Dear Evan Hansen” lottery isn’t impossible to win (hey, "Hamilton," looking at you)!

But back to “To Kill A Mockingbird,” which it was finally time to see at 3 p.m.

I knew the Aaron Sorkin script was a reimagining of the classic tale, but I didn’t realize just how much of a reimagining it would be. I’d be interested to get someone’s take who was seeing the play for the first time. I’m unsure whether it’d be harder to follow the action if I weren't previously (very) familiar with the premise, as the plot centers on the Tom Robinson trial rather than Scout, Jem, and Dill’s adventures.

Many of the children’s adventures are cut in favor of adding additional backstory to the trial plot, such as scenes between Atticus and Tom Robinson beforehand and discussions between Atticus and others in the town about his actions. "TKAM" reminds me of “Harry Potter and the Cursed Child” in that it plays with Harper Lee's existing universe in ways that may not exactly be true to the spirit of the characters (Judge Taylor becomes comic relief), but that are entertaining nonetheless.

There are a number of inside jokes for those familiar with the story: Tom Robinson’s ill-timed “I felt sorry for her” line becomes part of a preplanned strategy rather than slip of the tongue. Atticus tells Tom in their practice sessions, “You can’t say that in court,” yet, intentionally, Tom does anyway. And as for Mayella Ewell’s complaint that Atticus is mocking her when he’s being polite to her, Judge Taylor gets to say the line: “Sweet Jesus, what is wrong with you?!” Atticus also gets some humorous lines that definitely aren’t present in the original.

Other notable changes: Dill is much older, Bob Ewell appears more civilized (he even wears a suit in court in lieu of overalls), and Scout’s friendly overtures to Mr. Cunningham outside Tom’s jail cell seem very out of character for her sans any prior interaction between her and the younger Cunningham boy, which was cut.

There are echoes of “Go Set A Watchman” in some of the changes and additions, and while I couldn’t get behind the spirit of all of them, my thought process went something like: “He/she would never say that, but I’m going with it because it’s hilarious!”

Every seat in the theater was occupied, and this was probably the most crowded production I’ve been to in New York. That might have been due to last night’s power outage, but Mockingbird is also a hot ticket in general at the moment. Jeff Daniels steals the show as Atticus Finch.

Speaking of Daniels, I got to meet him at the stage door after the show (where I also learned that Senator Doug Jones of Alabama was in the audience today). Daniels attracted one of the largest stage door crowds I’ve come across in NYC (his rival is Adam Driver). He was also by far the quickest actor to exit the theater after a show I've seen — he was out in 15 minutes, and most actors typically take half an hour to an hour to leave after a show. His comment on today’s show? “We did OK today.” That’s putting it mildly.

After getting my program signed (sorry, no selfies allowed!), I also came *this* close to getting Jeff Daniels's t-shirt sticker stuck to the front of my program. Someone in the crowd pointed out that he still had the “XL” sticker on the front of his new T-shirt, so he ripped it off and stuck it on the program of the guy next to me. Now that’d be an interesting souvenir.

Before my second show of the day, I walked to Gotham Market on 11th Avenue, where I enjoyed my favorite ice cream I’ve had in NYC (both the flavor and the ice cream itself). The winner: "Corn to Run" from Ample Hills Creamery (the Manhattan outpost of the Brooklyn shop).

Corn and blueberries are a dream combo: It's sweet corn ice cream with a cornmeal crumble and blueberry swirls (and a tribute to the Springsteen song). Corny in the best way! 🌽

Then it was on to “Dear Evan Hansen,” which is my second-favorite show I’ve seen this summer after “My Fair Lady” (an honor that keeps growing more prestigious). And since “My Fair Lady” closed last week, "Hansen" is now my top recommendation for what to see on Broadway (in case anyone’s planning on visiting NYC!).

This was my first time seeing “Hansen” in person, and I was delighted to find that my lottery seat was in the front row. The mid-show mental breakdown in the middle of Evan’s speech that happened two feet from my face was intense, but also astounding up close.

This show was uncomfortable to watch at times because the actor who played Evan embodied his character so thoroughly, and the audience was so invested in his struggles, that you forgot you were watching a show and felt part of the world on stage. That’s the mark of truly magical theater, and it’s rare for a production to make me forget where I am, but this one did. I looked up, and the first act was over --- I’m pretty sure I didn’t draw breath the entire time (exaggeration, but my neck was stiff from not moving because I was so enraptured by what was happening on stage).

I was reading the cast bios at intermission, and was amazed to see that many of them were making their Broadway debuts in this show. I’d never have guessed it.

I’d previously listened to the cast recording, but it was a completely different experience seeing the show that accompanies what is some of the most beautiful music on Broadway at the moment (as I'm sure "Hamilton" will be when I finally see it). The show is riveting, and I’m SO, SO glad I got the chance to see it (thank you, lottery luck!).

I was going to skip it because, as much as I’ve seen, I can’t see everything, and the lottery is the only way to get an affordable seat since "Hansen" doesn’t offer rush seats. Plus it’s an open-run production that no longer includes the original cast; shows I’ve tended to skip this summer (as I’ve already seen many of them elsewhere, e.g. Wicked, Waitress, Book of Mormon, Aladdin, etc.).

But this cast blew my mind, and again, I can’t believe I almost passed this show up! “Dear Evan Hansen” is everything I hoped “Be More Chill” (big disappointment) would be, times a million. Now THIS is how you do a musical.

One caveat: The ending is too neat. My skepticism is the same as when I saw "Hannah Montana: The Movie" in middle school (I know, strange comparison, just go with it). They can really keep the lid on that secret from that many people, with no one poking a hole in the story? Riiiiight .....

If you were curious, my top five shows of the nearly 20 I’ve seen this summer (so far!):

1: “My Fair Lady” with Laura Benanti (closed July 7)

2: “Dear Evan Hansen”

3: “Harry Potter and the Cursed Child”

4: “Frankie and Johnny in the Clair de Lune” with Audra McDonald and Michael Shannon (closes July 28)

5: “Kiss Me Kate” with Kelli O’Hara, Will Chase, and Corbin Bleu (closed June 30)

As yet another magical theater day comes to a close, I’m extraordinarily sad that I’ll have to leave NYC in about a month. I absolutely love it here — my job, The New York Times, the city, Broadway, all of it (caveat: OK, the trash tornadoes and rats can go far, far away).