You Won’t Believe How Stranger Things’ New Broadway Play Reveals Season 5 Secrets!

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In Netflix’s backstage documentary about creating their new “Stranger Things” stage production, there’s a part where a significant chunk of a discussion between the director and scriptwriter is censored due to containing numerous spoilers for the upcoming fifth and last season of the popular TV show.

It functions as an overt reply, addressing those who questioned if “Stranger Things: The First Shadow” fit into Matt and Ross Duffer’s grand design for the Upside Down within their “Stranger Things” series.

Or,

It represents a clear statement to those who doubted that “Stranger Things: The First Shadow” was part of Matt and Ross Duffer’s larger strategy for the Upside Down in the “Stranger Things” universe.

However, the creators of “Stranger Things,” the Duffers, would gladly admit that the concept for the spin-off show isn’t their original idea. In fact, it wasn’t Netflix who came up with it either. Instead, renowned director Stephen Daldry was responsible for this creative endeavor heading into the final season of “Stranger Things.

Matt Duffer stated during a Q&A session following the screening of “Behind the Curtain: Build the World of ‘Stranger Things: The First Shadow” on Monday, “The concept didn’t originate from Netflix; it wasn’t their idea. Instead, it was Stephen who spearheaded this project and made it a reality. His enthusiasm for it was what drove it forward, and I believe that’s crucial. Often, you can have people producing content just to generate income and exploit the brand name, but clearly, this wasn’t about that. This was about Stephen tirelessly working to bring this vision to life.

In 2017, following the airing of the second season of “Stranger Things,” Daldry presented his concept for a stage production based on the popular show to the Duffers. The directors of “The Crown” were taken aback that such an idea had even been considered, and were further puzzled when Daldry clarified it wasn’t a musical. Instead, it was a play with sci-fi/horror elements designed to genuinely frighten its audience in the same manner as the television series does.

Joining forces are renowned West End and Broadway producer Sonia Friedman, director Justin Martin, and “Stranger Things: The First Shadow” playwright Kate Trefry, who has been part of the “Stranger Things” TV series writing team since Season 2. The Duffers provided the initial concept and ensured it aligned with their broader storyline for the show, offering guidance through occasional notes along the way. However, the intricate details of “First Shadow,” which explores the origins of “Stranger Things'” main antagonist Henry Creel/Vecna, were left to the care of Danny Boyle, Friedman, and Trefry. Their responsibility was to create a play that could function as a standalone piece while also serving as a link between Seasons 4 and 5 of “Stranger Things.”

Trefry mentioned that while he was working on writing the play and Season 5 simultaneously, they feel like two intertwined parts to him. He believes that enjoying them together will offer an enjoyable and fulfilling experience as viewers discover their strong connection.

They had such a close relationship that the Duffers regularly shared suggestions about alterations to the final episode of the series with Trefry, who was repeatedly revising the original play script. This revised work premiered on the West End in December 2023 and ultimately earned two Olivier Awards for Outstanding Entertainment or Comedy Play and Exceptional Set Design.

One key issue, as I believe is evident from the behind-the-scenes documentary, is that Kate was working on Season 5 with us simultaneously. However, at some point, she continued her work while we were busy finalizing our episodes. This created a difficulty because, as Matt and I were completing the finale, things were constantly shifting and everything was evolving in real time. The challenge grew larger since, when we began scripting, we realized changes were necessary, which impacted the play production. However, they were already deep into rehearsals for the play, which was about to open within a few weeks.

I’m thrilled to be part of a production that’s reopening at the Marquis Theater in New York, boasting fresh revisions this time around. Some tweaks are aimed at enhancing narrative clarity, others stem from technical adjustments and upscaling for Broadway, but there are also playful additions like a wink to Netflix’s popular “Watch Credits” or “Next Episode…” feature, which briefly appears on the LED screen before the final curtain call, adding an unexpected touch of modernity to our traditional stage show.

In an interview with EbMaster, ‘First Shadow’ producer Friedman revealed that they simply ran out of time while working in London for the documentary. This wasn’t staged; it was a genuine predicament. They were compelled to finish because they had a strict deadline to start performances and open the show. Furthermore, they knew that learning from an audience would be crucial, as they could observe technical and physical demands, and understand the ambitious nature of the production. After opening in London, they recognized that the work needed to continue, as adjustments were difficult once the show was staged. Therefore, they gathered all they learned during the London previews and made modifications where possible, but understood that the project’s evolution was ongoing.

According to Friedman, although the London production remains “exceptionally impressive,” it’s significantly distinct from its original form, being staged in a theater that’s only half as large as the Marquis Theatre.

We reconstructed the entire set anew, incorporating our unique design elements along the way. However, everything was painstakingly rebuilt from scratch,” I shared. “As we refer to it as ‘the gantry’ – one of our final, jaw-dropping effects – that particular piece actually hails from London. In fact, many components were imported. But the Mind Flayer that emerges in the auditorium is a completely new creation, especially tailored for New York. We aimed to go big, and boy, did we ever!

Netflix doesn’t reveal the exact cost of producing “The First Shadow” for both West End and Broadway, but it was undeniably expensive. However, with ticket sales and exclusive merchandise available only at “The First Shadow,” Netflix stands a chance to recover their investment. Netflix’s vice president of consumer products, Josh Simon, refers to these items, some of which are only sold during intermission to avoid spoiling the first act, as “artifacts” instead of “souvenirs.

Simon notes that Matt and Ross Duffer have always been passionate about entertainment memorabilia, and they continue to cherish their extensive t-shirt collection from years of collecting. He explains that the play is a delightful chance for them to produce items exclusively available in theaters, making it an exciting experience for fans who attend.

Although ‘Stranger Things: The First Shadow’ could mark Netflix’s debut on Broadway, it’s not their first foray into live events. Over the past three years, they’ve been expanding this aspect of their business significantly, reporting over 40 distinct experiences worldwide and reaching a fanbase of 7.5 million across 170 different locations in 100 cities globally. These include ‘Squid Game: The Experience’, ‘The Queen’s Ball: A Bridgerton Experience’, ‘Stranger Things: The Experience’, as well as the Netflix Bites LA and Vegas restaurants. In the near future, Netflix plans to open two permanent venues offering in-person entertainment and experiences called Netflix House; one in King of Prussia, Pennsylvania, and another in Galleria Dallas, Texas.

Simon mentioned, when asked about the possibility of Netflix’s intellectual properties moving to Broadway and the West End, “We aim to tell captivating tales, and this can occur through various means.” He continued, “Our goal is to bring fans closer to the worlds and characters they adore. Theater is one method we use for that purpose. Experiences such as restaurants are other examples, and I’ll simply say that we’re constantly seeking innovative ways to breathe life into fresh stories.

Currently, it’s essential for you to make a trip to the cinema as Netflix has yet to announce any plans for streaming “The First Shadow.

Simon shared that our work from a visual effects and production design perspective is breaking new ground and hasn’t been attempted before. People react strongly, whether it’s from the heart-stopping jump scares or the hilarious moments, or even the unexpected musical interludes. The end result is an extraordinary, one-of-a-kind experience that we’ve specifically created to be a standout theater event. That’s what we’re concentrating on.

In “The First Shadow,” we delve into the past before “Stranger Things” with younger versions of Joyce (Winona Ryder’s role), Hopper (David Harbour’s character), and Bob Newby (Sean Astin’s portrayal). The story is packed with nods to the original series. At its heart, it unfolds as a romantic tale between Henry Creel (Louis McCartney playing this part originally on the West End) and a new character, Patty Newby, brought to life by Gabrielle Nevaeh on stage.

Trefry explained to EbMaster that a key challenge in this process was crafting a story that was distinct yet connected to what had preceded, as well as hinting at future episodes in the final season. Yet, it should be self-explanatory for Season 5 viewers who might not have seen previous episodes. At times, it seemed like a difficult balancing act, but Trefry believes they managed it well. Ideally, everyone would see every episode and additional content for an optimal viewing experience since everything ties together.

However, Trefry is unable to reveal whether Patty will appear as a character in the fifth and final season of “Stranger Things” when it airs this year.

Friedman is pleased that over 70% of the audience for “The First Shadow” are first-time theater attendees, which is due entirely to the performances in the West End and Broadway previews before opening night on Tuesday. If this level of interest continues, it will influence how long the show stays on, but Friedman isn’t ready to make any predictions about that just yet.

Friedman stated, ‘This question is quite challenging to address, yet I can assure you that no team pours such extensive effort, time, and passion into a project as we have over these past years. We’ve been nurturing this idea since 2018, and now it’s 2025. We didn’t craft this for a brief stint; instead, we aim to endure a bit longer. However, given that we’re discussing this just days before the premiere, let’s revisit our discussion in six months.’

Concerning Trefry, she intends to take a pause before writing any additional scripts, be they for the stage or otherwise, following her exhaustion from “First Shadow.

Trefry assured, “There are some wild speculations suggesting this is the beginning of a trilogy, but I can neither verify nor refute that claim.

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2025-04-23 00:48