MIDNIGHT
A new, original musical is currently ticking away at the Daryl Roth Theatre. With Todrick Hall at the helm as writer, composer, lyricist, director, choreographer and star, MIDNIGHT is an ambitious theatrical undertaking generating plenty of buzz. But does it all come together?
This complex piece of theatre follows 12 characters whose lives intersect despite existing at opposite ends of the social spectrum. Set in the 19th-century American South, where racial divisions shaped everyday life, the show challenges these boundaries and asks audiences to consider: “What if the life you inherited had belonged to someone else?”
Before I reflect on MIDNIGHT, I want to acknowledge the perspective from which I write. As a white Australian, I approach this history as someone who has not lived these experiences or felt the generational impact of slavery and systemic racism in America. I recognize that theatre exploring these subjects can bring up painful emotions and trauma for Black Americans. While I believe it is important to keep these conversations alive, I also recognize the limits of my own perspective when engaging with this material. These stories deserve to be told, but they must be approached with care and sensitivity, and audiences should be given the chance to prepare themselves for what they may experience.
At the center of the story is Rail, played by Todrick Hall, a young Black man enslaved by a wealthy white family. Outside of his duties, Rail begins a relationship with another slave, Lily Rose (Charlotte Odusanya). His story takes another turn when Richard (Jeremy Beloate), the wealthy fiancé of Rail’s enslaver, Scarlet (Kennedy Caughell), chooses Rail to help build an integrated home. As they work together, their relationship develops, and feelings begin to emerge between the two men.
With Rail enslaved by Richard’s fiancée, their emotions are complicated by racial inequality, an imbalance of power, infidelity and same-sex attraction. Together, these elements add complexity to the story, making Rail and Richard’s relationship about more than romance alone.
As the lives of the other characters and their storylines intertwine, the narrative builds towards a major plot twist that challenges audiences to reconsider how much of our lives is shaped by the circumstances into which we are born.
With one of the most vocally talented casts I have ever had the privilege of hearing, MIDNIGHT features standout performances from Hall, Beloate, Odusanya and Caughell, alongside Anya George, Autumn Hurlbert, Kolbi Jordan and Bella Coppola. The score is incredibly demanding, ranging from legit musical theatre to pop, rock, contemporary and opera, and this cast can seemingly do it all.
At times, I found myself struggling to hear every word clearly, and I wonder whether this came down to diction or sound mixing. Given that this is a fully sung-through musical, I felt as though I missed some major moments because I couldn’t completely understand what was being sung. But despite this, the vocal ability on display from every single performer was extraordinary.
Hall’s direction is strong, particularly when navigating such a large cast on a relatively small stage. The production never feels stagnant, and scenes flow with intention and purpose, keeping the story moving without losing its sense of scale.
Where I felt Hall lost his footing, however, was in the choreography. The dance sequences often felt juvenile and, at times, unnecessary, pulling me out of the story rather than adding to it. These moments could have been better served by smaller, more intimate vignettes, rather than leaning so heavily into theatrical spectacle. There was also little need for Rail’s introductory number to feature an acrobatic tumble pass within his dance solo. While undoubtedly a display of physical ability, it felt out of place in a show whose subject matter and musical style called for a more considered approach.
As you enter the Daryl Roth Theatre, you are immediately taken aback by the space, a former bank transformed into a black box theatre. Morgan Large’s hauntingly beautiful set design features wooden panels lining the room and an enormous Roman numeral clock hanging above the stage. Dresses and jackets displayed on mannequin torsos hang from ropes above your head, creating an intense, ominous atmosphere. The entire space feels deliberately unsettling, setting a sense of dread before the show has even begun.
Complementing Large’s set, lighting designer Jake DeGroot makes excellent use of a variety of lighting techniques to elevate the world of the musical. A particular standout comes in Act Two, during an incredibly confrontational and uncomfortable scene. DeGroot’s use of strobe lighting distorts the audience’s vision, intensifying the moment and giving it all the more impact.
Beck Jones’ costume design is thoughtfully considered, with grand period dresses contrasting against the more muted tones worn by the workers. This creates a clear visual distinction between the characters and their differing social positions. Working alongside Jones is wig designer Charles G. LaPointe, whose beautiful designs capture not only the period but also the different hair textures and styles of the characters.
MIDNIGHT has incredible bones and extraordinary performers; it just needs a little more editing. At almost three hours, some moments felt cut short and rushed to make way for others that, in contrast, seemed to drag. Despite these pacing issues and some choreographic choices that did not quite land, the production is electrifying, shocking and deeply moving. Pairing extraordinary vocals with powerful storytelling, MIDNIGHT is an ambitious musical that challenges perspectives and leaves you with plenty to think about long after the final note.
MIDNIGHT
At the Daryl Roth Theater
101 E. 15th St.
Running time: 2 hours, 55 minutes, one intermission
Through November 8, 2026
