By Greg Evans. Platt also talks about being an ally to Black theater workers, how Broadway needs to change, his stage dreams, and why he chose to cover a year-old Elton John song in his show. The weird thing is that I had so much space time-wise before this all happened — both the special and the season of The Politician were ready to go, finished, and so it was just a matter of waiting for them to come out. So for the beginning of quarantine, much like everybody else, I sort of spent a lot of time watching content and just keeping myself calm and, you know, focusing on kind of self-care and adjusting. Just something that is kind of uncharted territory for me. I was really excited about the prospect of doing some sort of classic dramatic piece, a straight play, and sort of experiment with the experience of getting to have the live Broadway lifestyle without all of the stress of maintaining my vocal ability and all that. So we were looking at some titles, and I was talking to some producers, but nothing concrete. And then, obviously, once this hit, everything hit pause.
Liza Elliott, the protagonist of the musical, who runs a fashion magazine called Allure , has lots of power but no outward oomph. As her story is revealed through troubled dreams, it turns out that Daddy and the other men who rejected Liza early on are responsible for all that drabness and repression. Once she gets to the bottom of it all, Liza becomes a happier, more fulfilled person. Since those days, the vocabulary of analysis has entered the mainstream, and the therapeutic process has found a place in any number of musicals. Evan Ben Platt is seventeen and in high school. Wearing a striped short-sleeved shirt, he sits on his bed and pecks away at a computer, only somewhat hindered by the hard white cast on his left arm. As he types, FaceTimers, iChatters, Facebookers, and Tweeters are projected onto walls and scrims all around him, but the person Evan is writing to is in the room.
In a new interview with Deadline, Tony Award-winner Ben Platt has revealed updates on a few of his many upcoming projects, including his 'hankering' to return to Broadway following the pandemic. He says, "I was really excited about the prospect of doing some sort of classic dramatic piece, a straight play, and sort of experiment with the experience of getting to have the live Broadway lifestyle without all of the stress of maintaining my vocal ability and all that. So we were looking at some titles, and I was talking to some producers, but nothing concrete. He continued, "I'm definitely hankering - I think we're all hankering - to have live experiences. I'm certainly hankering to be back on stage and in the theater. I'm looking at film offers and scripts, but once it's possible, I'm certainly looking to get back on stage. Ben also has two high-profile musical film projects in the works, a real-time adaptation of Stephen Sondheim's Merrily We Roll Along and the film adaptation of Dear Evan Hansen. According to Ben, a portion of Merrily had already been filmed before the Covid pandemic began. So it's really like we're starting over.
Benjamin Schiff Platt born September 24,  is an American actor, singer, and songwriter. He began his career in theater as a child and appeared in Broadway productions of The Music Man , The Book of Mormon — , and Dear Evan Hansen — , receiving multiple accolades for his performance as the title character in the latter, including the Tony Award for Best Actor in a Musical. During his time at Columbia, he was a member of the campus a cappella musical group Nonsequitur. The show premiered at the Bank of America Theatre on December 19, , after a week of previews. He really leans into this part, throwing himself out there with the abandonment of youth". The film emerged as a major commercial success and received mostly positive reviews from critics. The show premiered on July 9, and closed August 23, Platt and the cast played a month of previews, beginning on March 26, , before premiering on May 1, The limited engagement sold out its entire run with Platt playing his last performance on May 26, Critics hailed his work, calling it "historic" and "one of the greatest leading male performances ever seen in a musical".