Stranger Things Takes Over Broadway: The Ultimate Immersive Experience

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Upon entering “Stranger Things: The First Shadow” on Broadway, audience members are met by a colossal replica of the Creel house at the heart of the Netflix series, plush demogorgons available for purchase and eerie music from the 1950s echoing as signs guide them to Hawkins, Indiana.

As he settles into his seat during a preview show in April, an audience member in the first few rows announces, ‘You’ll be directly facing the Mind Flayer!’

The upcoming performance at the Marquis Theatre, scheduled for April 22, makes its New York debut following a premiere in London’s West End in December 2023. This represents Netflix’s largest Broadway venture thus far. By bringing this production to the stage, Netflix aims to engage with a significant fanbase of one of its top-tier series, much like they have been organizing immersive experiences for shows such as “Bridgerton” and “Squid Game”.

As a dedicated fan, I can resonate with Josh Simon, Vice President of Consumer Products at Netflix, who shared that our shared passion for great storytelling is deeply rooted in our core values. While movies and TV shows are our primary means of expression, we at Netflix also yearn to explore other creative avenues. What truly excites us is the opportunity to immerse fans into the captivating worlds of their beloved characters, making them an integral part of the storytelling experience.

Furthermore, not only does the play serve the fanbase, it’s penned by Kate Trefry, who contributes to the Netflix series as well. This production is structured as a prequel to the TV show’s storyline and could offer insights into future seasons.

Trefry stated that it is integral to the storyline, fitting seamlessly within seasons one through four and also hinting at future events in season five. He described it as a crucial missing piece that ties together various elements of the series.

The story unfolds in Hawkins during 1959 and introduces us to the high school counterparts of characters from the TV show, such as Joyce (played by Winona Ryder), Bob Newby (Sean Astin) and Hopper (David Harbour). In addition, there are new characters like Patty, Bob’s sister. However, their peaceful high school life is disrupted when a fresh student, Henry Creel (who debuted in the previous season), starts exploring his newly discovered powers.

Initially inspired by the blend of horror and sci-fi in “Stranger Things,” Director Stephen Daldry sought to adapt the series for the stage as a means to create a link between television and live theater. Previously, Daldry and co-director Justin Martin had worked with Netflix on “The Crown” following their collaboration on the stage production of “The Audience.

The duo presented their concept to the Duffer Brothers, who developed the Netflix series and are currently executive producers for the stage production. They enlisted Sonia Friedman as the production’s leader and Trefry as the playwright due to her understanding of the Stranger Things universe. Interestingly, Trefry was not a playwright before this project.

Martin suggested, “Rather than penning a full play, compose two separate episodes instead.” He added, “These episodes turned out to be extraordinary, expansive, exactly as we had envisioned, yet utterly impractical to produce. Her creativity knew no bounds.

The challenge then, Martin says, was asking “How can we blow up our own imaginations?” 

Following Trefry’s advice to simplify certain aspects from the initial sketch, I became part of a creative process that spanned numerous workshops over months. This team effort resulted in a revised version retaining several jump-scare moments and striking stage effects. These effects ranged from bodies mysteriously floating towards ceilings, characters transforming into monstrous forms unexpectedly, to a chilling cold open where a colossal battleship seemingly materialized out of the blue without warning.

In essence, Trefry emphasized that a strong opening sequence, often referred to as the “cold open,” is crucial in television production in general, and they dedicate significant time and effort towards crafting it for their TV show. Therefore, if you’re planning to create something similar to ‘Stranger Things’, a captivating cold open is essential.

Additionally, the team aimed to replicate the rhythm and plot sequence of the television show, where characters often separate to work on individual assignments before reuniting to understand the bigger picture. This, combined with the fast-paced nature of the streaming series, is what makes it so hard to resist watching, according to Trefry.

It took six months to construct the Broadway set, during which the team enhanced certain special effects compared to the original West End version. For instance, a scene featuring a wall of TV screens that shatter in quick succession as an ominous creature appears is now implemented with more practical effects rather than video. The Broadway performance also has a reduced run time compared to the ongoing West End production at the Phoenix Theatre. Trefry and the directors revisited the script, refining specific elements for the Broadway cast.

Louis McCartney is once again stepping into the character of Henry Creel on Broadway, with T.R. Knight portraying Victor Creel, Alison Jaye as Joyce, Gabrielle Nevaeh in the role of Patty Newby, Nicky Eldridge as Bob Newby, and Burke Swanson playing James Hopper, Jr.

As a dedicated fan, I aimed to scatter “hidden gems” or “Easter eggs” for fellow series enthusiasts while crafting a narrative that resonated with theatergoers who were new to the show. I can’t reveal too much about how the story connects to the upcoming season of Stranger Things, scheduled for 2025 premiere, but trust me, experiencing the play before season five will be incredibly rewarding and satisfying!

Trefry mentioned that he was juggling the creation of season five and a play simultaneously, making them essentially two halves of the same coin. He’s eager for people to experience the complete narrative and notice how these works in different formats seem to engage in a dialogue with each other.

In the documentary series that covers the production of the show, certain parts of the play needed adjustments during its staging in London, to ensure they didn’t disrupt the narrative flow of Season 5.

Ross Duffer stated at an April 21st event, we aim to ensure that everyone can enjoy season five without spoilers and nobody feels excluded because they can’t travel to New York or London. Yet, we want the play to be genuine within its own narrative context. Finding the right balance took considerable effort, but we are pleased with our current approach.

Initially, Daldry spoke with the Duffer Brothers following the first season of the series, yet it wasn’t until the conclusion of season four that their schedules aligned, as mentioned by Ross Duffer.

As a dedicated gamer speaking about my latest project, I admit that due to the extensive nature of the season, we weren’t able to fully delve into every aspect of our beloved character, Henry. However, I believe we’ve found an ideal opportunity to give him the spotlight he deserves, and that’s exactly what we’re doing now.

In the Broadway performance, they added an unexpected element before the final bow where a Netflix screen descends showing options for “Watch credits” or “Next Episode,” causing excitement among the audience during the April preview because they thought they might catch a glimpse of upcoming plotlines. This feature is also being included in the West End production.

One aim behind incorporating numerous special effects on stage was to surpass the spatial constraints of the theater and enhance the viewing experience, making the performance appear more engrossing, as Simon explained.

During your seat time for several hours, you’re observing something that might seem quite passive, but their ability to breathe life into it and create a sense of immersion as if you’re actually living an episode of the show is truly remarkable, I believe,” Simon expressed.

This aligns it with other unique Netflix offerings such as “The Queens Ball” for “Bridgerton”, “Squid Game: The Experience” – a set of interactive games inspired by the series, “Netflix Bites” – a restaurant featuring dishes from various streaming platform titles, and the upcoming “Netflix House”, permanent exhibits showcasing immersive experiences. Additionally, there’s an immersive “Stranger Things: The Experience,” co-created with the Duffer brothers.

These assorted experiences broaden the global influence of the streaming service’s intellectual properties, much like how corporations such as Disney and NBCUniversal extend their brands with theme parks.

Simon stated, ‘This seems to be our take on it.’ He added that they have introduced 170 of their attractions in a total of 100 cities across the globe.

Indeed, it’s worth noting that rival companies have also been taking their intellectual properties to Broadway. Shows like Disney’s ongoing productions of Aladdin and The Lion King, Universal’s Death Becomes Her and Wicked, among several others, are all examples of this trend.

During the previous season, Netflix collaborated as a producer on the play titled “Patriots,” penned by Peter Morgan, who is known for writing “The Crown.” Additionally, this production was also overseen by Friedman. This partnership, Simon explained, was primarily to aid in Friedman’s creative endeavors, and at that time, Netflix announced they were working on transforming the play into a screen version. Moreover, Netflix holds ownership of the Roald Dahl Company, which has been adapted for several stage performances, such as “The Witches” and “Matilda the Musical.

Netflix aims to keep the Broadway production of “Stranger Things: The First Shadow” running for a number of years. With an extensive cast of over 30 individuals and intricate special effects, operating costs are predicted to be substantial (as Friedman recently mentioned to The New York Times, “I can’t even begin to guess how much Stranger Things will cost”). The initial previews have been mostly well-received, boasting impressive ticket sales.

Indeed, Simon suggests that Netflix could potentially expand its narrative realm by exploring storytelling on stage, noting that “it’s an excellent platform for creating fresh narratives,” much like the various forms of content they already produce.

Simon stated that whether it involves a restaurant, store, stage play, escape room or a murder-mystery event, what truly matters is linking audiences with narratives. He’s open to experimenting with various mediums to achieve this goal.

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2025-04-22 20:56