That’s me deep in conversation with world-famous playwright Henrik Ibsen outside his apartment in Oslo, Norway. And since I know you’re all (not) dying to know what I’m dying to see during the Broadway season that started (in September), here goes:

Hamilton: No, I haven’t run to see it yet. Lin-Manuel Miranda is fine and dandy, but I’m not a super-fan of his. I’ll see it at some point. It’s not going anywhere. I’m sure it’s great.

The Crucible: Classic Arthur Miller with Ciaran Hinds, Jim Norton, and Tavi Gevinson? Sigh me up.

Fool For Love: I love both Nina Arianda and Sam Rockwell so I’m THERE. I’ll be buying 30-under-30 tickets as soon as I can drag my lazy butt to the box office.

Long Day’s Journey Into Night: YES, YES, YES. I’ve never seen this staged professionally but I worked on it in college and it’s Eugene O’Neil and it’s great. And there’s John Gallagher Jr.! What’s not to be excited about?

Noises Off: Two words: Tracee Chimo. Enough said. Oh, and Rob McClure.

School of Rock: This could be a good adaptation or it could be awful. I hope it’s good. 

She Loves You: I’ve never seen this show or heard the score so I’m very interested. And the cast is great: Laura Benanti, Zachary Levi, Gavin Creel, etc?

Tuck Everlasting: I’ve never seen this movie but it has an awesome cast. Terrance Mann back on Broadway!

A View From the Bridge: More Arthur Miller! I missed the last production, so maybe I’ll actually make it to this one.

Waitress: So, four new musicals on Broadway this season? Sad.com. I’ve heard lots of hype but really, um, maybe? I’ve never seen the movie, but the plot sounds basic. Jessie Mueller is awesome, soo… maybe? I don’t have much of an opinion on this. But if I get a free or cheap ticket, I’d totally go. 

HAIR is one of those amazing experiences that you’ll have in a theatre maybe a few times in your life you’re lucky (read my first review here).  It’s an atypical musical and lacks a story unless you open your mind to it.  It’s about love, freedom of expression, defying government (aka burning your draft card), and of course, peace.  If I could pick any other decade to live in, I would always say the 1960’s.  Last night I saw in the right orchestra, which was a different and still lovely way to view the show as opposed to the ‘be-in boxes’ that I sat in last time.  I was extremely lucky and the seat on the right aisle in the second row was open all through the first act, and I grabbed it during intermission, which made the second act that much better.

I grabbed my ticket in their “snow day” ticket frenzy, so when the character of Claude (played by Gavin Creel) wishes in the second act, “I wish it would snow!  I wish there would be a huge storm and everything would be covered in white!” – well, the audience applauded because it was just that outside.  The audience was extremely enthusiastic because, I would think, a lot of the HAIR groupies came in to get the $40 tickets.  After the show, all of the cast members said what a great audience it was and “it was like opening night all over again.”  The amount of money I would’ve paid to be at opening night is endless.

Hearing the groupies scream reminded me of my days (about ten years ago) as a Renthead.  Feeling apart of a show.  Knowing it line-by-line (I know all of the lyrics, but not the dialogue).  Knowing when to scream and shout and get the cast going.  It has a tendency to be obnoxious, but when you’re a teenager, it makes you feel like you’re apart of something and that’s awesome, not matter how only-in-your-mind it is.

I digress.  Last time I saw the show, Gavin Creel was out, so I was ecstatic that he was in that night.  And he was fantastic.  He embodied to the lost & trying-to-fit-in soul of Claude.  I can’t stop my foot from tapping on the ground when the shows first chords hit and I tried my best not to be mouthing the words (please, I don’t sing the during, for fuckssake!).  The rest of the cast (which is leaving on March 9th to open the show in London) was solid, powerful, and seemed to be having the time-of-their-life up there.  Which is what I would do if I were up there!

And I was.  For five minutes at least at the end.  They invite the audience onstage for a be-in after the curtain call (paying homage to the original Broadway production) and it’s just another wonderful way to experience the show.  The cast hugs the audience onstage before heading to their dressing room and you’re left with the view of the audience and the lights in your eyes.

The Flesh Failures (Let the Sunshine In) had me in tears, as it always does.  I got a daisy (which I put my ear) and a Be-In poster (which the cast signed after the show and I will now have framed).

It was magical.  It was unique.  It was HAIR.