“It’s basically a f—ed up ‘Thoroughly Modern Millie’/’42 Street,'” Bloom explains in the latest episode of Stagecraft, Variety‘s theater podcast. And then she gives listeners a taste of the opening number.
She wrote the musical before beginning work on “Crazy Ex-Girlfriend,” but there’s clear overlap, even in the title of the show: “Broadway Crazy.” “So if I want to do ‘Broadway Crazy’ now — which I do, I love it — do I want to change around the things that happen to be similar about ‘Crazy Ex?'” she wonders. “Or just say, ‘Well, this is gonna be a lot of the same sh–!'”
Another possibility? “Crazy Ex-Girlfriend” could get the Broadway treatment. “We are actively looking into it and pursuing it,” she says.
During the podcast, Bloom also spills on her favorite Broadway musicals, what it’s like to work with so many theater names on “Crazy Ex-Girlfriend,” and the latest plot developments in the third season of the series.
A theater lover from before birth — “Apparently when I was in the womb, my mother would play piano and I’d kick. Which is such a theater kid thing to say!” — Bloom hosted the backstage segments at the Tony Awards this year. “The first time I was on camera I squee’ed like a fangirl at Comic-Con,” she jokes, before going on to explain why the Tonys are, in the words of her “Crazy Ex” co-star Donna Lynne Champlin, “a goat rodeo.”
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