TIME Theater

Jason Alexander to Replace Larry David in Broadway’s Fish in the Dark

Jason Alexander attends the 23rd Annual 'A Night At Sardi's' To Benefit The Alzheimer's Association at The Beverly Hilton Hotel on March 18, 2015 in Beverly Hills.
P. Michele—Retna Ltd./Getty Images Jason Alexander attends the 23rd Annual 'A Night At Sardi's' To Benefit The Alzheimer's Association at The Beverly Hilton Hotel on March 18, 2015 in Beverly Hills.

David’s final performance is set for June 7

The man who played George Costanza is taking over for one of George Costanza’s creators. When Larry David’s play, Fish in the Dark, will be extended on Broadway, and Jason Alexander will play Norman Drexel, the role initially inhabited by David.

“I left Broadway 25 years ago because Larry David co-created the show that would change my life and career,” Alexander said in a statement. “It is totally amazing that he also created the show that would bring me back to Broadway. I am thrilled I get to do this hilarious play for him and with this wonderful cast. It is quite simply more fun than any bald man should have.” David, for his part, said: “Needless to say, I was thrilled when I heard he was replacing me in ‘Fish in the Dark.’ Finally I can enjoy the show.”

At a TimesTalks event earlier this year, David said that the character of Norman, whose father’s death spurs the action of the play, is classic Larry David: “As with most things I write, the main character sounded exactly like me.” Playing a David-esque character shouldn’t be a big challenge for Alexander, whose Seinfeld character also had a lot of Larry in him. (George has been described as a David “alter ego.”) Alexander is also a Broadway veteran who won a Tony in 1989 for his work in Jerome Robbins’ Broadway.

David’s final performance is set for June 7. Fish in the Dark will now run through July 19 at Broadway’s Cort Theatre.

This article originally appeared on EW.com

TIME Theater

Behind the Inspiration for Wendy Wasserstein’s The Heidi Chronicles

Cynthia Nixon;Anne Lange;Joanne Camp;Joan Allen
Peter Cunningham—The LIFE Images Collection/Getty Actresses Joan Allen, Joanne Camp, Anne Lange and Cynthia Nixon in a scene from the play The Heidi Chronicles, in 1989

The revival opens on Broadway on March 19, 2015

When the first Broadway revival of The Heidi Chronicles officially opens on Thursday night, starring Elizabeth Moss in the title role, the play — about a woman and her generation’s often-fraught relationship to feminism — will be more than 25 years old. But much of its subject matter is likely to resonate.

The original was a hit, spurring its move from off-Broadway to Broadway in 1989 (even though TIME’s first take on the show found that it was “like an unconscious cartoon of feminist dialectic” full of “mostly whiny and self-congratulatory cliches”). Once it was a sure thing that the Broadway version would be a hit too, the playwright explained to TIME that she had written it because she had “something to say”:

”I wrote this play because I had this image of a woman standing up at a women’s meeting saying, ‘I’ve never been so unhappy in my life,’ ” Wasserstein explains. ”Talking to friends, I knew there was this feeling around, in me and in others, and I thought it should be expressed theatrically. But it wasn’t. The more angry it made me that these feelings weren’t being expressed, the more anger I put into that play.”

But Wasserstein is far too deft a satirist, and far too gentle a person, to compose a screed. Instead, with subtlety and humor in The Heidi Chronicles, she has written a memorable elegy for her own lost generation. Heidi tells the story of a slightly introverted art historian, a fellow traveler in the women’s movement, who clings to her values long after her more committed friends switch allegiance from communes to consuming. At the pivotal moment in the play’s second act, Heidi (played by Joan Allen) stands behind a lectern on a bare stage, giving a luncheon speech to the alumnae of the prep school she once attended. Slowly the successful veneer of Heidi’s life is stripped away as she tries to ad-lib a free-form answer to the assigned topic, ”Women, Where Are We Going?” Heidi’s soliloquy ends with these words: ”I don’t blame any of us. We’re all concerned, intelligent, good women.” Pause. ”It’s just that I feel stranded. And I thought that the whole point was that we wouldn’t feel stranded. I thought the point was that we were all in this together.”

Read the full 1989 interview with Wasserstein, here in the TIME Vault: Chronicler of Frayed Feminism

TIME Theater

Things Shakespeare Got Wrong About the Ides of March

The Murder Of Caesar
Archive Photos / Getty Images The assassination of Julius Caesar at the Senate in Rome, Mar. 15, 44 BC.

Why he erred is simple: The dramatist was thinking about the footlights, not the footnotes

History News Network

This post is in partnership with the History News Network, the website that puts the news into historical perspective. The article below was originally published at HNN.

The Ides of March are almost come again and, before they’re gone, we’ll think of Shakespeare’s Julius Caesar. We love the play because it sings — it turns politics into poetry and raises the daily grind of logrolling, backstabbing and cloakroom maneuvers into a sublime contest of friendship and ideology, loyalty and liberty.

It’s not just a play: Caesar really was assassinated by a group of senators in Rome on March 15, 44 B.C., a date the Romans called the Ides of March, that is, the middle of the month of March. But Shakespeare was not a historian. The real story was even dirtier and more devious: it gains in grit what it loses in idealism.

In Shakespeare the influential Brutus was Caesar’s friend who secretly broke with the arrogant dictator in order to save the Roman Republic. And so a conspiracy of senators raised their daggers in the Capitol and assassinated Caesar, but not before the wounded leader recognized the betrayal and asked bitterly, “Et tu, Brute?” — Latin for “You too, Brutus?”

The real Brutus wasn’t Caesar’s friend, just his ally of convenience. Brutus struggled over the risks of killing Caesar but not over the ethics. Nor did Caesar ever say “Et tu Brute?,” a line invented on the Elizabethan stage, but he might have said something even nastier.

An ancient rumor has it that Caesar turned to Brutus and said kai su, teknon — Greek, not Latin, for “you too, child?” It seemed almost as if the dying dictator was confirming Brutus’s worst nightmare. For Brutus was the son of Caesar’s former mistress, Servilia. Gossip claimed that Caesar was Brutus’s natural father but Caesar was only fifteen when Brutus was born. Still, accidents do happen! Yet the ancient sources reject the rumor in the end and conclude that Caesar was too busy trying to defend himself from his attackers to say anything.

Julius Caesar is not really Spartacus, but gladiators played a key role in the historical events. Shakespeare doesn’t breathe a word of them. These sword-wielding brawlers doubled as security guards in Caesar’s Rome. A troupe of them stood outside the Senate House on the Ides of March, providing backup in case the killers met resistance and needed help. The gladiators were slaves who belonged to Decimus, a man who Shakespeare calls “Decius” and who has only a small role in the play. In real life, Decimus was a leader of the plot against Caesar. One of Caesar’s top generals, Decimus was a mole in the dictator’s inner circle. He joined Caesar at his last dinner party and the next day coldly led him to his death. Caesar’s friends later called Decimus the poisoner.

And then there was Cleopatra. Shakespeare saves the seductive queen of Egypt for another play, Antony and Cleopatra, but she was in Rome on the Ides of March and she pricked the public’s imagination. She gave credence to the charge that Caesar wanted to be King. After all, he dated a queen. To add to the plot, Cleopatra was also the mother of a boy named after the man she said was his father: Caesarion, that is, “Little Caesar.” Caesar had ensconced her in his villa on a hill overlooking the city across the Tiber River.

The presence of Cleopatra and of Decimus and his gladiators, along with the absence of “Et tu, Brute?” are no mere details. They are just a few of many other characters and complexities not found in Shakespeare. All told they turn a relatively straightforward tale into something with as many plot twists as the The Affair. Why did Shakespeare get so much wrong? He did not have access to the full range of ancient sources and all their details that we have today. Yet even had he known more, the Bard would surely not have told all. The dramatist was thinking about the footlights, not the footnotes.

And maybe that is for the best. Without Shakespeare’s immortal verses the assassination of Julius Caesar might be no better known today than the assassination of Aurelian (who?). Hooray for poetry, for making us care about the story of Julius Caesar, and hooray for history, for getting it right.

Barry Strauss teaches history and classics at Cornell University. He is the author of “The Death of Caesar: The Story of History’s Most Famous Assassination” (Simon & Schuster, March 2015). Follow him on Twitter @barrystrauss

TIME Theater

Review: Curb Your Enthusiasm for Larry David’s Fish in the Dark

Fish in the Dark
Joan Marcus—Philip Rinaldi Publicity/AP Rachel Resheff, left, and Larry David during a performance of the comedy Fish in the Dark, at the Cort Theatre in New York.

TV's favorite curmudgeon delivers a Broadway hit, but a mediocre play

The Cort Theater has the worst men’s room on Broadway. The line at intermission for the undersized facility starts upstairs at the bar, snakes down the steps and then winds back and forth like the Saturday-afternoon queue for Space Mountain at Disneyland. At a recent performance of Larry David’s Fish in the Dark, a couple of dozen patrons were still waiting their turn when an usher announced that the curtain for Act II would go up in exactly five minutes — and anyone not in their seat would be denied admission for the rest of the play.

I tell this not to expose my bladder issues, or to complain about officious, anti-consumer Broadway theater policies (though I could). It just seemed like the perfect set-up for a Larry David routine. Imagine his cry of petulant indignation at the notion that, thanks to a theater’s inadequate bathroom facilities, paying customers might be barred from the show’s second act and forced to take a premature cab ride home.

Then again, they wouldn’t be missing a lot. David’s first Broadway play, which opened last night after weeks of buzz and booming box-office business, runs barely two hours, but it seems padded out, overpopulated (18 characters — enough for a Shakespeare history play!), and funny only in spurts. It’s great to see David, the star and creator of the popular HBO series Curb Your Enthusiasm, taking a crack at Broadway. But for all the audience’s indulgent laughter and the obligatory standing ovation at the end, one can’t help but detect a certain, well, lack of enthusiasm.

The play is certainly made to order. David plays Norman Drexel, a version of the familiar character he portrays on Curb: a dyspeptic curmudgeon who is constantly exasperated by the petty slights, annoyances and absurdities of everyday life. The play opens in a hospital waiting room, where Norman’s father is dying and assorted family members are coming to pay their last respects — and squabble over everything from which son will have to take care of Mom to who gets Dad’s Rolex watch.

On Curb Your Enthusiasm (and before that on Seinfeld, the hit NBC sitcom he created with Jerry Seinfeld), David proved himself a master of structure: weaving three or four storylines each week into a neat, 30-minute operetta of comic angst. With a two-act play to fill up, David has made everything bigger. The first predicament facing the family is whether the dying patriarch should be hooked up to a ventilator to prolong his life or not. A promising avenue for David’s dark, politically incorrect comedy — but he drops it after 20 minutes with perfunctory haste, and nary a punch line. From there the plot meanders through complications both consequential (the maid reveals that she and the dead man had a secret affair — and a love child) and superfluous (Norman’s daughter won’t drop the British accent she’s sporting for her starring role in My Fair Lady).

Onstage, David is bigger too. His whiny voice and perplexed expressions are perfectly sized for the small screen. Here he has to project his trademark shrug to the back of the mezzanine — hunching up his shoulders and stretching his arms so wide he looks like a seagull coming in for a landing at Kennedy Airport.

Still, David works hard to please, and he is helped out by pros like Rita Wilson, as Norman’s wife, Ben Shenkman, as his brother, and Louis J. Stadlen, as a loudmouth uncle. Fish in the Dark is hardly devoid of laughs — like a running gag about tipping doctors, and the story behind the play’s mystifying title, which involves a dinner where Dad almost choked on some fish bones because it was too dark to see the food.

But for a comedy writer who practically reinvented the TV sitcom, it’s surprising to see how clumsy and old-fashioned David’s playwriting is. For each of the many scene changes, the curtain has to drop, while the audience is distracted by a video projection of a death certificate and perky, ba-da-ba-da-ba vocals that sound like they come from a 1960s Ross Hunter comedy. Given the sorry state of recent Broadway comedy (Vanya and Sonia and Masha and Spike won a Tony award!), Fish in the Dark may be just diverting enough to satisfy theatergoers who are paying up to $500 to see Larry David’s hangdog act on stage. To that, I can only respond with a shrug.

TIME Theater

Bruce Willis to Make Broadway Debut in Stephen King’s Misery

The stage adaptation of Stephen King’s 1987 novel

Hold on to your typewriters. Bruce Willis will make his Broadway debut opposite Elizabeth Marvel (currently featured in the third season of House of Cards) in a stage adaptation of Stephen King’s 1987 novel Misery. The play will be penned by William Goldman, who wrote the screenplay for the Oscar-winning 1990 film adaptation starring Kathy Bates and James Caan.

Will Frears will direct the limited engagement after helming the world premiere of the adaptation at Bucks County Playhouse in the fall of 2012. The production, which will play a Broadway theatre not yet announced in the fall of 2015, will feature set design by David Korins, lighting by David Weiner, and sound by Darron West.

In Misery, a successful novelist (Willis) is rescued from a car crash by his biggest fan (Marvel), who keeps him captive upon finding out that his newest novel kills off her favorite character, Misery Chastain.

The production comes from Warner Bros. Theatre Ventures, Castle Rock Entertainment, and Raymond Wu. Warner Bros. is currently represented on Broadway by The Curious Incident of the Dog in the Night-Time, with the West End production of Charlie and the Chocolate Factory on its way to Broadway for the 2016-17 season.

This article originally appeared on EW.com

TIME movies

Behind The Sound of Music: Why the Real Maria Went to the von Trapps’

Familie von Trapp
Imagno/Austrian Archives (S)/Getty Images Family Von Trapp singing in a radioshow in London on Dec. 9, 1937

When the movie of The Sound of Music premiered 50 years ago, on Mar. 2, 1965, the world learned the story of would-be nun Maria, whose superiors, at their wits’ end over her flightiness, sent her to work as a governess for an Austrian naval captain with seven children.

But in reality, though Maria and the von Trapp family were real people, some details differed. For example, as TIME reported in 1949, before The Sound of Music was a play or a movie, her reason for going to the family was not quite like the cinematic version:

As a novice in a Salzburg convent, Maria Augusta began to get “bad headaches,” she says, and her superiors decided to give her a vacation helping care for the seven children of the widowed Baron Georg von Trapp. Maria Augusta married the baron, bore him three children.

All the Trapps sang and in 1937 Soprano Lotte Lehmann heard them at it. She insisted that they enter choral competition at the Salzburg Festival that year. They took first prize, but never sang at Salzburg again; ardently Roman Catholic and ardently anti-Nazi, they left home just before Hitler seized Austria.

The story’s description of Maria is about as far from the film’s flibbertigibbet as possible. Rather, she has “the charm and will of a medieval matriarch.”

Interestingly, an earlier TIME story about the Trapp family, from 1938, reported on the Lotte Lehmann anecdote and the family coming to the U.S. to sing, “surpris[ing] many a gas-station attendant with their dirndl dresses and Lederhosen,” with no mention of the Nazis, the actual reason they ended up leaving their homeland. Their transition to living in the U.S. was not completely smooth — though Maria loved long-distance calls, she told TIME that she hated that the envelopes were oblong and that people put mayonnaise on pears — but eventually they settled down in Vermont, where the family still maintains an inn.

Read next: Can Even a Cranky Guy Fall for The Sound of Music?

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TIME Advertising

This Ad Perfectly Captures the Horrors of New Motherhood

It's also great birth control

HelloFlo doesn’t just tackle first periods — it’s also breaking into the mom market.

The women’s health company, which scored a viral hit last year with an ad about a young girl’s “first moon party,” is back with a new campaign. In this ad, a new mom takes a break from breastfeeding and changing diapers to perform a musical about how much it sucks to have a tiny baby. “How could I let another woman walk through the terrifying abyss of motherhood without telling her the things I’d seen?” she says.

“For what it’s worth: There’s no laughter after after-birth,” she sings in a full-on Broadway style belt.

When asked if she’s worried about the success of her musical, she replies: “I have suction cups attached to my nipples, squeezing milk out of my rock-hard boobs. I fear nothing.” Once she sees HelloFlo’s new mom kit — which includes essentials like nipple cream, breast pads, lotion and Luna bars — she fears it’s so useful, it will make her musical obsolete. Until she uses it to bribe everyone to see her show.

If you’re a mom, you’ll love this. If you’re not a mom yet, it might scare you off for good.

Read next: This Video Shows Why Being a Mom Is the Hardest Job Out There

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TIME Theater

Here’s Your Chance to See Benedict Cumberbatch as Hamlet

Times Talks And TIFF In Los Angeles "Imitation Game" Discussion
Amanda Edwards—WireImage/Getty Images Actor Benedict Cumberbatch attends the Times Talks and TIFF In Los Angeles discussion of "The Imitation Game" at The Paley Center for Media on February 16, 2015 in Beverly Hills, California.

London fans, get thee to a cinema, go!

You may not be able to fly to London to catch Benedict Cumberbatch’s performance as the brooding Prince of Denmark, but fear not: The show will be screened in movie theaters around the globe.

The broadcaster National Theatre Live will begin selling tickets on March 16, according to The Hollywood Reporter. Hamlet runs at London’s Barbican Theatre from Aug. 25 through Oct. 31, with the screening taking place in participating theaters on Oct. 15. Some movie theaters may even show encore performances.

Since the live show is already sold out, according to the Barbican’s website, this now seems like the best option even for Cumberbatch fans who live in London. So get thee to a cinema, go!

[The Hollywood Reporter]

TIME Theater

Josh Radnor: ‘People Who Stuck With the Series’ Understood the How I Met Your Mother Finale

Third Annual Paul Rudd All-Star Bowling Benefit
Jamie McCarthy—Getty Images Josh Radnor attends the Third Annual Paul Rudd All-Star Bowling Benefit at Lucky Strike Lanes & Lounge on Jan. 12, 2015 in New York City.

The Broadway actor describes his current role and the Mother backlash

Having met and bid farewell to the Mother, Josh Radnor is set on reinventing himself.

Since October, Radnor has been starring in Disgraced, a Broadway play that won the Pulitzer Prize for Drama. It’s about the degree to which a Muslim-American lawyer (Hari Dhillon) is able to outrun the stereotypes associated with his religion, provoked by the interrogations of his dinner guests, including an art dealer (Radnor)—and in the frankness with which it addresses issues of race and religion, it’s a far cry from Radnor’s last big role. On nine seasons of How I Met Your Mother, Radnor, playing Ted, pined for love winningly, a journey Radnor is now ready to push back against. The actor told TIME: “Sometimes if I’m doing something lighter as an actor, I want to find something heavier.”

Not that Mother was so simplistic. There was plenty of heaviness in the controversial finale, which aired last March. That episode revealed that the Mother, the character audiences had been waiting for years to meet and who had developed in her brief time onscreen real chemistry with Ted, had been dead throughout the series-long narration. A year on, Radnor is sanguine about the controversy: “Various arts are littered with stories of things being greeted with outrage that go on to find their place and be looked on in a different way.” As for Disgraced (playing at New York’s Lyceum Theatre through March 1), there’s been little but praise. It’s a story about how Radnor met with acclaim that he’s only too happy to narrate.

TIME: What went into the decision to act on Broadway now, coming off the momentum of How I Met Your Mother’s finale last year?

Josh Radnor: I did a couple of plays over the years during our summer months off on the show. If I don’t do a play for a while, I miss it a lot. I didn’t have an overarching plan about coming back to Broadway, but I admired the novel [Ayad Akhtar, the playwright] wrote and we became friends. Last April, the show had ended a month earlier, and he told me I had an offer to do it on Broadway. It doesn’t take you long to say yes to something like that, to work with a friend on something amazing on Broadway—a play that feels culturally relevant, everything I wanted to do on Broadway. I’d be a fool not to do it.

Talk about that relevance: Has it been complicated for you to perform in a play about anti-Muslim prejudice given all that’s happened in the world since the run began?

It speaks to two things: This ongoing tragedy that unspools across the front page of paper every day. The play is set in 2011, and he was working on it for years before. It also speaks to Ayad’s prescience as a writer, being slightly ahead of the story, being able to take these issues on. It was a very strange day when the Charlie Hebdo [killings] happened in France, and we have a line about the French banning the veil and their problem with Islam. I remember thinking Oh man, there’s those lines about France, people will think they added this in. But [that] was in there from the start; he just had his finger on the pulse.

Did you worry about this play taking a toll on your reputation as someone who was a part of a fun, sunny comedy? Did you think it’d offend fans in a way that’d cause you problems?

No, that’s not something that really crossed my mind. I value the opportunity to participate in something that feels provocative. It’s not recklessly provocative, it’s not sensationalistic—it’s exploring the deepest questions of identity and tribalism. And to me, sometimes if I’m doing something lighter as an actor, I want to find something heavier. I’m doing She Loves Me next season so that’ll be lighter; I like to have a mix of things.

It’s gratifying to me because the guy I’m playing is nothing like the guy I played on TV for so long. An actor’s career is about demolishing that—fighting to get people to see you in a different way. Some people have a very crystallized idea of me as an actor. I was always clear, on How I Met Your Mother, that I was playing a character. In this show, I’m playing a totally different character. If you came to see some version or riff on what I did on TV, you’re gonna be disappointed. One guy wrote me on Twitter, asking: Why weren’t you in the show, and why didn’t they make an announcement? And I was! He just wasn’t wearing his glasses. I took it as a total compliment. I feel like this guy is different from me and from the guy I played on the show. I’ve enjoyed flexing those muscles.

Which is more punishing: Acting on Broadway, or taping a TV show?

I don’t know that I could describe the pace of the TV show as punishing. It was quite a civilized schedule. We had one week off a month, a four-month break each year, and shot three days a week. We only shot nine days a month. It was great for people who were having families, or for me and Jason [Segel], who were creating our own projects. It’s certainly different doing eight shows a week. There’s something fascinating about it as an actor. You have to fight being mechanical and listen to keep it fresh. You can fall into thinking, “This is my performance,” rather than living it. There are days that have a Groundhog Day feeling. There are days we look at each other and say I can’t believe I’m still doing this play! But it’s the audience’s first time hearing it. With eight shows a week, no matter what you do—this play’s only 85 minutes, so it’s more merciful, but you do have to let your whole day coalesce around it.

Theater Review Disgraced
Joan Marcus—Boneau/Bryan-Brown/APFrom left: Gretchen Mol, Karen Pittman, Hari Dhillon and Josh Radnor in a scene from Disgraced.

A year or so on, how do you think the How I Met Your Mother finale aged? A lot of longtime fans were angry at the time with the revelation that “The Mother” died of a terminal illness.

I think the series and the finale are going to age pretty well, that’s my sense. Various arts are littered with stories of things being greeted with outrage that go on to find their place and be looked on in a different way. I think some of that outrage spoke to how passionately people felt about it. With television series, people really feel a sense of ownership. They spend hours with it, intimate hours, in their pajamas, when they’re sick—I loved hearing from fans how the show had brightened their day in the midst of tough times. If you really look at the DNA of the show from the beginning, it was always about really tough stuff. Some weeks, it was a really broad comedy, and some weeks, it made you cry. We never shied away from the fact that death exists and that you don’t always get what you want. It wasn’t a fantasy, it always had real life intruding.

[Show creators] Carter [Bays] and Craig [Thomas], this was their plan from the beginning, and no one objected. When I read the finale script, I thought it was a beautiful, poignant way to say goodbye to these characters. I was a fan, and I think that a lot of people who stuck with the series from day one really got it. The people who didn’t—I hope this isn’t offensive—a lot of the young fans were offended by it. They were more upset with the idea of death than anything. There’s a book I hold up in Disgraced called The Denial of Death. It’s about the idea we’re living our lives oriented around trying to deny death at every turn. I don’t know that that’s the healthiest way to live: We hide old people, we don’t want to see sick people. I don’t know we have a healthy relationship with mortality. People got upset! But if you look at, thematically, what they were going for, there’s some beautiful stuff there.

Are you planning to direct more feature films in the future?

Yes, but I can’t talk about what’s in the works: It’s partly superstition — partly I just can’t. Discovering the directing thing while I was on the show was really important for me and opened up avenues for ways to tell stories.

Your How I Met Your Mother co-star, Neil Patrick Harris, was recently on Broadway in Hedwig and the Angry Inch and is set to host the Oscars. Do you two exchange tips on performing live?

The last time I saw Neil was when I saw Hedwig. I haven’t heard from him since then, but I’m excited to watch him! As for tips: We trust each other to do our thing.

Read next: Darren Criss Will Return to Broadway as the Next Hedwig

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TIME Theater

Darren Criss Will Return to Broadway as the Next Hedwig

Darren Criss attends GQ and Giorgio Armani Grammys After Party in Hollywood, Calif. on Feb. 8, 2015.
Joe Scarnic—Getty Images Darren Criss attends GQ and Giorgio Armani Grammys After Party in Hollywood, Calif. on Feb. 8, 2015.

Criss will begin a limited engagement starting April 29

For a show originally intended as a limited engagement, Hedwig sure has legs. Which, come to think of it, is no surprise at all.

Glee star Darren Criss will be the latest actor to don the high heels and fishnets of rock singer Hedwig Robinson in Broadway’s smash revival of Hedwig and the Angry Inch. Criss will begin a limited 12-week engagement starting April 29 at the Belasco Theatre, following John Cameron Mitchell’s exit on April 26. This marks the fifth headliner to play the role since the production opened in April 2014.

The role signifies a return to Broadway for Criss, who made his debut succeeding Daniel Radcliffe in How to Succeed in Business Without Really Trying. The three weeks in which Criss starred in 2012 broke the box office, earning over $4 million and becoming the most profitable three weeks of the revival’s 11-month run.

Criss will replace current star Mitchell, the show’s co-creator (with composer and lyricist Stephen Trask) who has taken up Hedwig’s mantle almost two decades after the musical’s original off Broadway production. Mitchell is the fourth Hedwig in the revival, preceded by Dexter alum Michael C. Hall (who temporarily steps in for an injured Mitchell from Feb. 17 through 21) and Girls and The Book of Mormonstar Andrew Rannells. All four men follow the revival’s original star, Neil Patrick Harris, who earned a Tony Award for the role last June.

This article originally appeared on EW.com.

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