JUST IN TIME Cancels First Two Previews

Broadway musicals are no stranger to large-scale transformations, but converting an entire theatre into a working nightclub is a move that’s raising eyebrows and exclamations in equal measure. JUST IN TIME was supposed to begin previews on 28 March, only for the first two dates to be scrapped at the last minute. The reason? Delays in building that immersive environment—one complete with a live, onstage big band—to honour the legacy of Bobby Darin. Although some might find the sudden change in schedule inconvenient, it’s also a testament to the production’s ambition.

Designers and stagehands have been working around the clock, determined to ensure the theatre oozes old-school, late-night glamour. Instead of seats arranged in a conventional proscenium style, we’ll have intimate table settings reminiscent of a vintage jazz club. According to a recent survey by the Broadway League, immersive shows with unconventional staging have seen a notable rise in audience engagement, sometimes by as much as 30%. Clearly, the creative team behind JUST IN TIME hopes to tap into that trend, delivering an up-close-and-personal vibe that transforms every attendee into a participant rather than a mere spectator.

The Impact of Preview Delays

Now slated to start previews on 31 March, JUST IN TIME might appear to have stumbled at the last hurdle. But ask any seasoned theatre professional—myself included—and they’ll tell you: a musical’s preview schedule is an elastic thing. Legendary hits like HAMILTON had their fair share of shifting timelines, and look how that turned out. The key, I suspect, is that Alex Timbers (the Tony-winning director at the helm) understands the importance of details.

Turning Circle in the Square into a nightclub is no small feat. You can’t just string up a couple of fairy lights, stick a jazz band in the corner, and call it a day. From acoustic engineering to sight lines, there’s a dizzying array of elements to synchronise. Considering that Timbers once transformed a theatre into a 1970s disco club for Here Lies Love, I’d wager these early delays foreshadow an immersive masterpiece rather than a minor fiasco.

Seasoned theatregoers are used to a bit of chaos on the route to opening night. And let’s be honest, part of the fun in attending a preview is witnessing the production find its feet in real time. If you’re the type who cherishes those unpredictable flourishes, circle 31 March on your calendar. You might catch a once-in-a-lifetime moment that never makes it to the final iteration.

Jonathan Groff Takes on Bobby Darin

At the core of JUST IN TIME is the inimitable Jonathan Groff, a performer whose name alone sparks queue-worthy excitement. Fresh off his Tony win for the revival of MERRILY WE ROLL ALONG, Groff has an impressive theatrical lineage: SPRING AWAKENING, HAMILTON, and a slew of off-Broadway credits. Not to mention, he’s become something of a global pop-culture icon courtesy of film and TV projects.

But why Bobby Darin? Why does a star like Groff, with such a wide repertoire, choose to step into the shoes of a singer from a bygone era? The short answer is that Darin’s music has a timeless, cross-generational appeal. Songs such as Beyond the Sea, Splish Splash, and Mack the Knife are still covered by contemporary artists, bridging the gap between ‘50s swing and modern pop stylings. The long answer might lie in the emotional depths of Darin’s biography, a life story that was as meteoric as it was turbulent. He battled illness, rocked the music charts, and navigated a personal life that felt as dramatic as any stage show.

Groff’s ability to convey sincerity and vulnerability—traits that served him well in SPRING AWAKENING—could be the very ingredients that make his portrayal of Darin soar. And if the notion of seeing him croon those classic tunes flanked by a live big band doesn’t spark your theatrical curiosity, well, my friend, check your pulse.

An All-Star Ensemble and Creative Team

It’s easy to forget that a show is never just about one performer. JUST IN TIME boasts a glittering cast, including Erika Henningsen, Michele Pawk, Joe Barbara, Emily Bergl, Gracie Lawrence, Lance Roberts, Caesar Samayoa, Christine Cornish, Julia Grondin, Valeria Yamin, John Treacy Egan, Tari Kelly, Matt Magnusson, Khori Michelle Petinaud, and Larkin Reilly. Look at those credentials and you’ll find everything from Tony winners to Drama Desk nominees—a veritable who’s who of Broadway’s finest.

Crucially, the team behind the scenes is as starry as it gets. JUST IN TIME was developed by Alex Timbers and is based on an original concept by Ted Chapin, featuring a book by Tony winner Warren Leight and Isaac Oliver. The choreographer is Shannon Lewis, whose job it is to capture Bobby Darin’s trademark style—bouncy, confident, always teetering on that fine line between slick showmanship and irrepressible spontaneity. Meanwhile, Andrew Resnicksupervises the music and oversees arrangements, ensuring those iconic tracks deliver the goosebumps they always promised.

And let’s talk about design royalty for a moment: scenic design by two-time Tony winner Derek McLane, costume design by eight-time Tony winner Catherine Zuber, lighting by Tony winner Justin Townsend, and sound by Tony winner Peter Hylenski. That’s enough hardware to fill a trophy room. When you gather this calibre of talent, you inevitably create a production that’s more than the sum of its parts.

The Aussie Connection

If you’re reading this in Australia (and let’s face it, many of you are, given we’re an Aussie publication), you may be pleased to learn there’s an Australian link. John Frost, a titan of our own theatre scene, is one of the producers. Having backed musicals from THE KING AND I to WICKED, Frost has an enviable track record of spotting hits. His involvement guarantees a certain standard, not just in lavish production values but also in the show’s global potential. If JUST IN TIME follows the typical path of successful Broadway musicals, we could well see an Australian transfer. Imagine that: sipping a flat white while watching Jonathan Groff croon Beyond the Sea at a theatre down under. Stranger things have happened in this industry, trust me.

Here’s something not everyone realises about Bobby Darin: Although he’s often reduced to a pop-crooner cliché, he was also a savvy businessman who navigated the recording industry on his own terms. In the late 1950s and early ‘60s, Darin struck deals that gave him a surprising amount of creative control—a rarity in that era. Weaving that backstory into a show like JUST IN TIME presents a golden opportunity to highlight Darin’s acumen, not merely his flashy showbiz persona. With Warren Leight and Isaac Oliver penning the script, expect them to peel back the layers of Darin’s life, potentially revealing a figure who was just as audacious as the production around him.

Bathe in the Immersive

A 2019 study from the National Endowment for the Arts found that musicals celebrating iconic figures—like Jersey Boys (Frankie Valli and the Four Seasons) or Beautiful (Carole King)—often draw a wider demographic than fictional works alone. People want a taste of history, the greatest hits, and a compelling life story rolled into one. JUST IN TIME checks all those boxes.

Immersive theatre also stands out in a marketplace saturated with standard proscenium musicals. The sense that you’re stepping into Darin’s world, possibly brushing shoulders with the cast, beckons theatregoers seeking a fresh experience. Circle in the Square, known for its semi-in-the-round layout, already creates a proximity between actors and audience. Add in nightclubs, big-band orchestrations, and the star wattage of Jonathan Groff, and you’ve got a recipe for a show that could be the talk of the season.

Given that first impressions are everything, especially for a new musical in a highly competitive Broadway scene, those behind JUST IN TIME aren’t leaving anything to chance. Scott Rowen is the production stage manager, with Live Wire Theatrical serving as general manager—both integral for pulling this massive operation together. The producing team, which includes Tom Kirdahy, Robert Ahrens, John Frost, and Groff, has collectively shepherded multiple hits to the stage, so they’re well acquainted with the pressures of an ambitious venture.

At the risk of sounding like a broken record, I’ll say it once more: the real magic of theatre lies in its glorious unpredictability. JUST IN TIME is shaping up to be one of those shows that merges memory and innovation, bridging the gap between the golden age of swing and the contemporary fervour for immersive spectacle. The delayed previews aren’t merely a hiccup; they’re a testament to a vision grand enough to justify a few extra days of sawdust and hammering.

So if you’ve ever swayed to Mack the Knife, if you’ve always found yourself humming Splish Splash, or if you’re the sort who likes to claim bragging rights for spotting a Broadway smash from the get-go, don’t let this one pass you by. As the band strikes up and the stage transforms before our eyes, we’ll all be reminded of why we adore live theatre in the first place—it takes our shared history and makes it immediate, urgent, and undeniably alive. And in a world that can feel scripted, a bit of unbridled spontaneity is a gift we should cherish every chance we get.