The Unlikely Broadway Duo: Carly Rae Jepsen, Lena Dunham, and the Reinvention of a Classic
When I first heard that 10 Things I Hate About You was getting a Broadway makeover, my initial reaction was skepticism. Not because the 1999 film isn’t a beloved classic—it absolutely is—but because the pairing of Carly Rae Jepsen and Lena Dunham feels like a creative leap that could either soar or spectacularly crash. Personally, I think this is exactly what Broadway needs: a bold, unexpected collaboration that challenges our assumptions about who can tell which stories.
Why This Pairing Matters (and Why It’s Risky)
What makes this particularly fascinating is the contrast between Jepsen’s pop sensibilities and Dunham’s sharp, often introspective storytelling. Jepsen, known for her infectious melodies and feel-good anthems, is stepping into a role typically dominated by seasoned musical theater composers. Meanwhile, Dunham, whose work on Girls explored the messy realities of young adulthood, is co-writing the book with playwright Jessica Huang. On paper, it’s a mismatch. But if you take a step back and think about it, this could be the perfect recipe for a fresh take on a story that’s already deeply rooted in the complexities of youth, rebellion, and romance.
One thing that immediately stands out is the absence of an out-of-town tryout. This is a bold move, especially for a production with such high-profile names attached. What this really suggests is that the team is confident—perhaps overly so—in their ability to deliver. Or maybe they’re banking on the nostalgia factor to carry them through. Either way, it’s a gamble that could pay off in a big way… or leave them scrambling to fix issues in the spotlight.
The Story’s Enduring Appeal (and Its Modern Relevance)
The original film, loosely based on The Taming of the Shrew, is a masterclass in balancing humor, heart, and teenage angst. But what many people don’t realize is how much the story’s themes still resonate today. Kat Stratford’s rebellion against societal expectations, Patrick Verona’s charmed manipulation, and the sibling dynamics between Kat and Bianca—these are universal struggles that transcend generations.
From my perspective, the challenge for Dunham and Huang will be to honor the original while injecting enough modernity to make it feel relevant in 2027. Will they lean into the #MeToo era’s reevaluation of consent and agency? Or will they focus on the timelessness of teenage rebellion? Either way, I’m intrigued by how they’ll navigate the fine line between nostalgia and innovation.
Jepsen’s Music: A Make-or-Break Element
Let’s talk about Carly Rae Jepsen’s role in all this. Her Broadway debut in Cinderella proved she could hold her own in the theater world, but writing the music and lyrics for an entire show is a different beast. Personally, I’m excited to see how her pop-driven style translates to a narrative format. Will we get earworm-worthy tunes that advance the plot, or will it feel like a concert with dialogue sprinkled in?
A detail that I find especially interesting is the collaboration with Ethan Gruska, whose indie-folk influences could add depth to Jepsen’s more polished sound. If they strike the right balance, this could be the musical equivalent of a perfect playlist—something that feels both familiar and groundbreaking.
The Broader Implications for Broadway
This production raises a deeper question: What does it mean for Broadway when pop stars and TV writers take the reins? Is it a sign of the industry’s willingness to evolve, or a desperate grab for mainstream attention? In my opinion, it’s a bit of both. Broadway has always been a space for experimentation, but the stakes feel higher now, with audiences craving authenticity alongside spectacle.
What this really suggests is that the line between ‘high art’ and ‘pop culture’ is blurring—and that’s not necessarily a bad thing. If Jepsen and Dunham can pull this off, they could pave the way for more unconventional collaborations, proving that Broadway is big enough for both Lin-Manuel Miranda and the woman who gave us ‘Call Me Maybe.’
Final Thoughts: A Risky Bet Worth Watching
As someone who’s always rooting for creative risks, I’m cautiously optimistic about this production. Yes, it could flop. Yes, it might feel like a mismatched experiment. But what if it doesn’t? What if Jepsen’s melodies and Dunham’s wit combine to create something truly magical?
If you take a step back and think about it, Broadway thrives on these kinds of ‘what ifs.’ And while I’m not betting my life savings on this show becoming the next Hamilton, I am betting that it will spark conversations—about storytelling, about collaboration, and about what it means to reinvent a classic.
So, mark your calendars for August 17, 2027. Whether it’s a triumph or a trainwreck, one thing’s for sure: this is one Broadway debut you won’t want to miss.
