Kevin McHale has been wanting to perform on stage for years, and how lucky for us to have him performing in one of the most anticipated productions this fall. From his roots in a boy band, to the lovable Artie Abrams on Glee, McHale has been a part of our lives for many years and now he’s headed back to middle school!

The 25th Annual Putnam County Spelling Bee is headed to The Kennedy Center as part of their Broadway Center Stage series with a delightful cast including McHale as William Barfée. He joins a company of Broadway favorites including Bonnie Milligan, Leana Rae Concepcion, Nina White, Noah Galvin, Beanie Feldstein, Taran Killam and more. 

I recently caught up with McHale in Manhattan during rehearsals to chat all things Spelling Bee, Glee, and performing in our nation’s capital. Our conversation has been condensed and edited for clarity. 

Theatrely: Rehearsals for these productions are fast and furious. How are you holding up?

McHale: You know, in this process, we have only two weeks to rehearse, but so far, so good. Everybody is so funny, I forget that I'm on stage the whole time and have to actually do things. We've been learning everything at such a fast pace, but also I've just been laughing so much. It has been like the nicest, funniest experience I've ever been a part of.

How did this project come to be for you?

I don't really know actually! I've wanted to do theatre for a long time and I've done workshops here and there, things come and go and then randomly this past year I have done a lot of theatre things. When this came up I figured it wouldn't really happen either but it was a show I really loved and wanted to be a part of, and now here we are!

Were you familiar with the musical beforehand? 

My boyfriend is obsessed with the show and he's introduced me to a lot of shows. We've been together for almost eight years now and it must have been in the first year or two. We were driving down the canyon and he was just playing some of his favorite musical theatre songs and I distictly remember “The I Love You Song” came on. I was like, what was that? and so he gave me the full education of Spelling Bee. I've never actually seen a production but my friend Jenna [Ushkowitz] from Glee is obsessed with it. Ali [Stroker] did a production of it. Everyone I know who knows the show has such fond memories of it, it's just such a sweet show and I'm thrilled to be a part of it.

I was just chatting with Dan Fogler [the original William Barfée] about his new play down in Florida and I brought up this production. He told me watching this is like his own American Dream coming true; watching this little character he created blow up and have so many great interpretations of it. He wishes you all the best!

And so I have goosebumps. I'm only slightly terrified of that! The original company created these incredible, distinct, specific characters. I saw Jesse Tyler Ferguson a couple weeks ago and he was like: just go have fun. We did all the hard stuff for you. It can be scary stepping into a role that is so iconic, but it is such an honor to get to play within the framework that they set up brilliantly.

Talk to me about your company, because it is a pretty great lineup you have. 

On the first day I walked in and it was full first day of high school vibes. I didn't really know anyone, but I have been such big fans of all of them for a long time. From day one, everyone has been so incredibly welcoming so it has been great, I'm just so excited to be in the room with all of them. As someone familiar with sitting in a classroom and watching people perform; it's very much that vibe again. You just get to see your friends show off and be comedic geniuses and sing like crazy. It's very nice to watch all these talented people do their thing.

So will audience members perhaps get a chance to join you onstage down at The Kennedy Center and spell?

This is a proper production of a Spelling Bee, so everything that comes with that will happen. I mean, it's a really important part of the show... I'm really excited and also a bit scared for that. Luckily I have nothing to do with it; it's basically all on Taran and Bonnie as the adults but they are incredible and I can't wait to see what happens.

The Kennedy Center is an iconic venue. Have you spent a lot of time in D.C.? 

I love D.C. so much! I've been there a couple of times already this year, I'm a bit of a political junkie so I try to get there as much as possible. I've never been to the Kennedy Center, only the lobby for a party. Philippe in the cast has actually performed in the theatre we will be in so he has been telling all of us what it is like, but I am very excited to be down there.

I guess I should ask, sometimes we see these productions make it back to New York, would you wanna come to Broadway with it if that ever would happen?

Sure! If that were to ever happen, of course but I'm just trying to get through the 20th of October and I will be very happy. But yeah, if they'd have me, this show is incredible and I would love to do it more than 11 times. The people are so great, so bascially whatever Danny wants I would do at this point; I've committed my life to Danny Medford.

Let’s jump over to your podcast And That’s What You REALLY Missed for a little. It is so fun to listen to, are you having a blast with it?

I am! Especially now as we're getting into sort of like the second half of the series, where our collective memory is pretty bad. We don't really remember much of it. We're sort of watching it for the first time again, which has been really fun. And then having the fans prep us is really fun. Since we started this, the best part has been interviewing the people who worked on the show, the cast and crew, and some of the die hard fans from around the world. I think since the beginning, because of Ryan Murphy, people feel like they can say whatever they want in a safe place and they know they are being heard and understood because we all experienced it together, so that context is there which has been really nice. We have some really exciting guests coming up so stay tuned...

Speaking of the world of musical theatre. Let’s go back before the pilot of Glee, how big into the musical theatre scene were you?

Honestly, I was more into it like as a child. I would put on productions of The Phantom of the Opera in my living room to no one or I'd force my mom to watch, I had a mask and everything. She would take me to touring shows that would come through Dallas, we would see everything. And then in my teens, I got more into the music world, I was in a boy band and all that. When Glee happened, being surrounded by all these very professionals, it was like an expedited course in musical theater. I taught them about current music and they taught me about Broadway. And since then, it has just been a part of my everyday life with Glee friends or my boyfriend. I'm always surrounded by it and I love that.

If they did a whole Spelling Bee episode on Glee, I'm curious as to which characters would be playing who?

Why didn't we do that?

I was thinking the same thing. 

Well, Rachel Berry would be Logainne — Gay dads, obviously. The teachers are easy. Who else? I mean, Kurt would be Leif, makes his own clothes... wait, is Glee based off of Spelling Bee? I feel like I would probably have the same part. You know what? They might have put Mercedes as Rona because she can sing up there. We need somebody who can hit those notes and nobody is hitting those notes excpet Amber. Chip would have been Blaine. Well, or Finn. I really think Spelling Bee is just middle school Glee.

I'm also curious which of your Glee cast mates who have yet to do Broadway would you love to see onstage?

Chris Colfer has to. I don't care what it is. It can be a one man show, there's nothing he can't do. I mean, Amber technically has not done Broadway yet either…

Have you gotten the chance to see any shows while you have have been in rehearsals?

I have been so bad. Every day I go home and just fall asleep. But I need to catch Sunset Blvd at some point. 

Nicole is stunning in it. 

I've known that girl since I was like 15 or 16. And she's always been a freak of nature, and I mean that as a gigantic compliment. When I was in the boy band, we opened up for The Pussycat Dolls. One day we walked in to a soundcheck and Nicole was on stage singing a cappella, I think a version of “I Don't Need A Man,” and we were all like, who is that! Jaw on the floor, freaking out. She's beyond talented and then getting to know her and watching her as a solo performer afterwards. Plus, she has always been such a theatre nerd, it's amazing to see all that's happening for her and I can't wait to see it. 

The 25th Annual Putnam County Spelling Bee will play the Eisenhower Theater at the Kennedy Center from October 11 - 20, 2024. For tickets and more information, visit here. 

It is with great honor that I share Marla Mindelle’s deranged Off-Broadway rule has extended. Long live gay stupidity! Long live Jason Robert Brown references! Long live hilarious, original musicals! Mindelle’s The Big Gay Jamboree, joins her sister Titanique as the newest, hottest ticket for that gay guy you know. It’s here. It’s queer. It’s where STOMP used to be.

Unlike Titanique, Mindelle has teamed up with book writer Jonathan Parks-Ramage and composer and lyricist Philip Drennen to create a new musical comedy featuring original songs. Also unlike Titanique (and I say this with love), the budget has seemingly increased, thanks to producers like Margot Robbie’s LuckyChap Entertainment. 

Even though irreverent, queer theatre is thriving (see Oh Mary!’s record breaking run), the Suits would say The Big Gay Jamboree is a “risk.”  Titanique was lighting in a bottle, largely credited to Mindelle’s Lucille Lortel Award-winning kooky-crazy performance. Could that be replicated, this time with a bigger budget and original story? 

Stuffed to the brim with pop culture references, musical theatre allusions, and absolute, bat-shit heart, The Big Gay Jamboree is a sturdy, smart musical that, despite some meandering, solidifies Marla Mindelle’s star. Aided with a splashy Off-Broadway design team and strong supporting cast, it’s a laugh-out-loud funny show that, sure, isn’t going to be for just anyone. Luckily, Marla Mindelle knows exactly who her audience is. They want to talk about Jennifer Lopez’s career through musical theatre!  If that’s not you, don’t worry. You’ll catch up.

Like The Wizard of Oz (1939) or Trap (2024), the musical is about escaping. Struggling actress Stacey’s (Mindelle) biggest dream turns worst nightmare when she wakes up, vertically a-la Tracy Turnblad, as the lead in a golden age musical. Her sisters, also Tracy Turnblad-ing, exclaim it’s Stacey’s wedding day in Bareback, Idaho! Stacey did drink a bit last night. 

What follows is a fabulous, oh-what-a-beautiful-mornin number whooshing us into the world of Bareback, where one arm holds a baby and the other holds a gun. It’s an excellent setup for audience members who, and I say this with extreme confidence, religiously know the trials and tribulations of golden era musical theatre. Perturbed, Stacey decides the only way out is through. She will endure this dollar-store River City musical and plan her escape along the way.

It does take a bit for the story to find its dramatic footing. As Stacey tries to piece things together, the plot comes to a halt. Stacey’s early interactions with Bareback-ians are equally haunting and hilarious, especially when speaking to her stepford sisters, but the stranger-in-a-strange-land setup and subsequent confusion starts to wear thin. Sure, Stacey wants to escape this musical, but what does she really want? Just how many times can her sisters suggest they go to the beauty parlor before actually going?

The Big Gay Jamboree gets stuck between being a golden-era musical parody and a larger, dumber story that never fully materializes. At times, it seems the show is at odds with itself, trying to prove it’s a big budget musical with something to say AND incredibly stupid theatre for a modern audience. This is partly because the Mindelle and Parks-Ramage book is weaker in the first half and Mindelle and Drennen’s music and lyrics, while bright and engaging, are often overpowered by the orchestra and sound design in the small space. 

Thankfully, things begin to firm up when we finally get Stacey’s I Want song at the beauty parlor. We learn what Stacey wants, more than anything in the world is… To Be A Real Housewife On Any Franchise (Except Dubai). Yes, the great American dream of the modern actress! It’s a hilarious song expertly performed by Mindelle in her best contemporary musical theatre mix, a stark contrast from the rest of the score. As the 1940s glam headshots behind Stacey morph into the titans of Bravo, the tone of The Big Gay Jamboree hits its ultimate sweet spot between superfluous and dire. Such is all good gay culture. 

In a friend of Dorothy way, Stacey collects companions along her escape route, promising them fortuity in the modern world. There’s Clarence (Paris Nix), a Black man constrained to sing the token gospel song of the show. There’s Flora (Natalie Walker), a BDSM-curious diva shamed for her sex-positive ways. And there’s Bert (Constantine Rousouli), a really gay guy forced to live in a cave. We also continually flashback to Stacey’s insidiously-bro boyfriend Keith (Alex Moffat) and her failed acting career in the real world 

Across the board, the supporting performances are excellent. Especially worth shouting out are “THE Leading Man” Paris Nix’s vocals, “Madeline Kahn Character Actress” Natalie Walker’s comedic chops, and “Music And The Mirror” Constantine Rousouli’s dancing. Alex Moffat’s twisted character study of the “Worst Straight Guy You Know” is uniformly remarkable. It’s also great to see Titanique’s super-swing Brad Greer round out the versatile ensemble. 

Despite its flaws, most of The Big Gay Jamboree really works for a fun night out. There is no one better to convince you of that than Marla Mindelle. One standout moment is when she rallies the crowd to sing the gay ABCs like Maria Von Trapp did to those nasty children. Or when she scolds the audience for not acknowledging her dress “like at all” after a big costume change. The twists remain surprising and, by curtain call, the audience reaches a synchronicity: Marla Mindelle is a talent to revere. 

Synchronicity in the East Village where STOMP used to be aside, I do wonder when, if ever, shows like The Big Gay Jamboree will stop being seen as a risk. Maybe they’re only risky for those on the outside of the jokes. 

Luckily, shows like this can help others experience Bareback for themselves. 

The Big Gay Jamboree is now in performance at the Orpheum Theatre. For tickets and more information, visit here. 

From the moment Hannah Gadsby steps on stage, the audience at the Abrons Arts Center goes wild. Their fan base is a dedicated one. From the start, each joke is met with roaring laughter and even applause. Gadsby has no problem making an audience feel at ease.

After rocketing to stardom with Nanette, the Netflix special that spawned endless discourse, it’s hard not to be wary of Gadsby, who lured us all in with their whimsy and self-deprecating humor, only to masterfully pull the rug out from under us in ways both hilarious and heartbreaking.

“This isn’t Nanette,” Gadsby assures us early on. And it’s not. However, Nanette looms large. Gadsby bemoans the fact that all of their subsequent work lives in the shadow of that Netflix special, in which they mined their trauma to provide commentary on identity, neurodivergence, and comedy itself. 

“This is a show about big questions,” says Gadsby, familiarly impish. Though this often comes on the back of a joke, WOOF! does excavate questions around big ideas like identity, grief, and fame in Gadsby’s one-of-a-kind way, yet it fails to cohere into anything compelling. 

It’s true that, in today’s entertainment landscape, content creation is often prioritized over craft. When one has established themselves as a clear brand, it’s advantageous to keep that brand cohesive moving forward. Of course, this can hinder an artist. Why try something new when your audience loved what came before? 

While Nanette propelled Gadsby to the world’s stage, it’s not the kind of comedy they want to do anymore. Still, there’s a pressure to deliver that particular brand of trauma-informed comedy their audience has come to expect. It’s a fair gripe, and even understandable, but it’s not material entertaining enough to sustain a show, even if there are moments that work well.

Throughout WOOF!, Gadsby tells the audience they’re “going analog,” meaning they won’t be posting on social media about the personal material in the show and would appreciate it if we let that personal stuff come from them, not us. 

Though not always revelatory, what Gadsby shares after these please-don’t-tell caveats make up the major themes of this new show. I’ll do my best to refrain from any spoilers and honor their analog wishes. 

In WOOF!’s first half, Gadsby is exactly as you would expect: wry and self-effacing, quick to make themselves the butt of the joke while also throwing pointed barbs at the likes of Taylor Swift and Silicon Valley, even Cabbage Patch dolls. When contemplating the untold amounts of Cabbage Patch Kids piled high in landfills across the globe, Gadsby describes them, as only Hannah Gadsby could, as “some sort of Blair Witch Croquembouche.”

Nanette brought Gadsby unprecedented levels of success and fame, which inevitably brings about wealth. A large part of WOOF! is spent exploring their anxiety around this new tax bracket they’ve found themselves in. As they would put it: they went from cleaning motels to staying in “posh hotels.” Gadsby is skilled enough to keep this material funny, but it will always be eye roll-inducing, not to mention tone deaf, to complain about the existential crisis caused by getting richer. It’s a “problem” most people can’t relate to. 

Gadsby’s gift for comedic storytelling is undeniable, and it’s clear they’re comfortable in the hands of director Jenney Shamash, who has produced all of Gadsby’s work since 2019. But once the joke-telling and the hilarious stories end—I’m thinking particularly of an unforgettable anecdote involving a package of Tim Tams—the rest of the show falls apart under scrutiny.

Shamash and Gadsby have clearly spent time thinking about the audience’s reaction to this material. Just as I was sitting there thinking that most of their cultural references were outdated, Gadsby made the same point and justified their use of it. Still, the payoff isn’t satisfying enough to alter the fact that the audience must sit through material that would’ve felt fresh last year.

Oona Curley’s production design, based on original designs by Shamash, is pleasantly simple yet used effectively to underscore Gadsby’s storytelling.

Gadsby’s voice is singular and a welcome one in today’s comedy scene. Their particular blend of humor and cultural commentary elevates the form and takes it in a new direction, which makes it all the more difficult when WOOF! doesn’t quite rise to the level we’ve come to expect.

WOOF! runs through October 27 at the Abrons Arts Center. For tickets and more information, visit here.