When Maybe Happy Ending opened on Broadway, few could have predicted its trajectory: 10 Tony nominations, six wins—including Best Musical and Best Leading Actor for Darren Criss—and an emotionally resonant performance at the 2025 Tony Awards that captured the hearts of audiences around the world.
At the center of the show’s magic is 24-year-old Helen Shen, who stars as Claire, a robot who, along with Criss’s Oliver, discovers love in the final days of their battery lives. Speaking with NY Times the day after Broadway’s biggest night, Shen reflects on the whirlwind of it all—from performing at Radio City Music Hall to being part of a groundbreaking moment for Asian representation in theater.
NY Times: First off, congratulations on the show’s incredible Tony night! How are you feeling?
Helen Shen: Ahh! It’s surreal. From the start, even when we struggled to fill seats during previews, we knew this show was special. The people who came felt it—deeply. But it was so hard to explain to anyone who hadn’t seen it. “Two robots fall in love” doesn’t exactly sell itself. To now be on the same stage as the best in the industry and get this kind of recognition? It’s humbling. I hope it shows that audiences do want something different—and that it’s worth it for producers to take that risk.
TV: What was it like to perform live at the Tonys?
HS: It was insane! My seat was literally behind Audra McDonald—I watched her watch the show with her daughter, her family. That felt healing. She was my idol growing up, and to see her there, still experiencing it like a theater kid? It made it all feel real.
When we performed, I was grateful we had over 250 shows under our belts. I knew the material in my bones. But doing it for a packed Radio City and knowing it was being broadcast? That’s another level. I think our director Michael Arden and the creative team did an incredible job making our two-minute segment really translate the heart of the show.
TV: You said it was “healing” to be there. In what way?
HS: This was always my dream. But when your dream becomes your job, suddenly everything—your talent, your worth—feels tied to how other people see you. I’ve taken rejection to heart. It’s hard going from being the big fish in a small pond to feeling lost in the ocean.
What Maybe Happy Ending taught me, especially through playing Claire, is that softness can be powerful. I used to think if I wasn’t belting eight times a week or sweating through a costume, I wasn’t doing enough. But this show showed me that intimacy and subtlety have value too. That’s been a journey—for me to believe that about myself. I’ve had amazing champions in Darren, Michael, our writers Will [Aronson] and Hue [Park]—they helped me see that.
TV: Darren Criss gave you a special shoutout in his acceptance speech. What was that moment like?
HS: I was crying. Darren is such a star—he’s magnetic and transforms every role he touches. And yet from day one, he’s been my biggest cheerleader. That speech meant so much. We carry this show together—we rarely leave the stage—and it’s all about being present with each other. I’m so grateful he used his spotlight to share it with me. And to see him also honor his wife, Mia… he’s such a generous person.
TV: Darren is now the first Asian actor to win Best Leading Actor in a Musical. What does that mean to you?
HS: It means everything. Representation on Broadway hasn’t always included people who look like me. But we’re changing that. Lea Salonga introduced us at the Tonys—the Lea Salonga! She was my beacon growing up. For her to champion our show has been a full-circle moment.
We’ve had Asian families come to the stage door and say, “I’ve never seen a show like this. My kids finally saw themselves onstage.” That’s the power of this piece—it feels inherently Asian in its DNA, but it’s not about being Asian. It’s about love and humanity. And that’s universal.
TV: The show’s journey wasn’t always certain. What kept you going during those early, uncertain days?
HS: The belief in this story. The music. The book. The team. I’ve never felt more connected to a project. But it really was like trying to explain a color no one’s seen before. The concept sounded too abstract. But we knew—once people experienced it, they’d get it. And they did. The sentiment of the show helped me stay grounded: Claire lives in the moment because she knows tomorrow isn’t guaranteed. That’s how I approached the entire process—every step forward was a miracle.
TV: Have you been part of the show’s growing online fanbase? I heard the "fireflies" are very active.
HS: I love the fireflies! They’ve been amazing—spreading the word, supporting the standbys, even pooling money to buy tickets for people who couldn’t afford them. It’s such a kind, generous fandom. There’s a softness and cerebral quality to the show that attracts people who feel deeply. I feel connected to them—if I weren’t in the show, I’d be a firefly too.
TV: With the extension through January, what do you hope comes next for Maybe Happy Ending?
HS: I want as many people as possible to see it. We’re living in a time where technology is accelerating rapidly. This show doesn’t condemn it—it asks how we hold onto our humanity while using it. It’s a warm, compassionate take. I hope it gets done around the world. I think it should be. People everywhere can connect to this story.
TV: You mentioned AI and technology in the show—how do you feel about the real-world evolution of things like AI and chatbots?
HS: It’s scary how casually we’re adopting it. There’s a Pandora’s box feeling to AI—especially when it’s being developed by people who are motivated by profit, not empathy. If we could use AI to solve actual human problems—inequality, climate change, etc.—that would be incredible. But it’s tough when the people building it are also the ones benefitting from the status quo. I think we need to accept it’s inevitable and move forward with kindness and thoughtfulness.
TV: There’s been a lot of talk about Gen Z’s impact on Broadway this season. What do you want young people to know about live theater?
HS: It’s for you. I mean it. Shows like John Proctor Is the Villain and Romeo + Juliet are speaking directly to young people—and they don’t talk down to them. There’s real power and wisdom in youth. Yes, there’s still so much to learn, but that doesn’t mean your voice doesn’t matter right now.
Live theater is irreplaceable. There’s nothing like sitting in a room with strangers, experiencing the same story together. I hope more young people find their way to it, even if it’s through rush lines or discounted tickets. The stories are waiting for you.
TV: A lot of fans also loved Hue Park’s viral “I’m single” comment. Any insight into his type?
HS: [Laughs] Hue is so Claire-coded—sardonic, witty, soft-spoken. He and Will are such a fun duo. I’d say if you’re kind and genuine, maybe hit him up in the DMs. But be warned: he’s got a sharp sense of humor.
TV: So, what’s next for you?
HS: Before Maybe Happy Ending, my dream was to do something like this. And now that I’ve done it… what comes after your dream comes true?
I’d love to explore film and TV. Theater is in my bones, but I’m hungry to play with the intimacy of the camera, too. I also have a background in classical piano, and I think there’s a story there that I want to tell someday—maybe something about the music world from the inside out. Writing might be in the future, too. I’m just getting started.
TV: We can’t wait to see where you go next.
HS: Thank you. I can’t wait either.
