The Emperor’s New Groove: Why Andrew Barth Feldman’s Nero Is More Than Just a Musical
There’s something undeniably captivating about watching a young talent take on a role that seems to defy expectations. When I heard that Andrew Barth Feldman, the Long Island prodigy who burst onto the scene as Evan Hansen, would be playing Nero in a new London musical, my first thought was: Why Nero? And then, Why now?
Feldman, who turned 24 in May, has always been a performer who thrives on reinvention. From his high school triumph in Catch Me If You Can to his Broadway debut at 16, he’s never shied away from complex characters. But Nero? A Roman emperor whose name is synonymous with tyranny, excess, and madness? That’s a leap—and a fascinating one at that.
The Role That Redefines a Career
What makes this particularly fascinating is the way Feldman’s career trajectory mirrors Nero’s own journey in some ways. Both are young, ambitious, and thrust into roles they’re not entirely prepared for. Nero, as described in the musical’s synopsis, was an artist and performer before he became a ruler. Feldman, too, has always been an artist first—a detail that I find especially interesting. It’s not just about playing a historical figure; it’s about embodying someone who, like him, struggled to reconcile their creative identity with the weight of expectation.
Personally, I think this role could be a turning point for Feldman. Broadway’s golden boy taking on a darker, more nuanced character? It’s a risk, but one that could solidify his range as an actor. What many people don’t realize is that Nero, despite his infamy, was a complex figure—a man torn between his artistic passions and the brutal demands of power. If Feldman can capture that duality, it’ll be a performance for the ages.
A Modern Reimagining of an Ancient Tale
The musical itself, NERO, promises to reimagine the emperor for a modern age. With a book and lyrics by Steven Sater and music by Duncan Sheik (the team behind Spring Awakening), it’s bound to be bold, provocative, and emotionally charged. But what does it mean to “modernize” Nero?
From my perspective, it’s about more than just updating the costumes or adding a contemporary soundtrack. It’s about exploring the timeless themes of power, identity, and the corrupting influence of ambition. Nero’s story isn’t just a history lesson; it’s a cautionary tale about what happens when a young leader is given unchecked authority. If you take a step back and think about it, that’s a narrative that resonates deeply in today’s political climate.
The Southwark Playhouse: A Stage for Risk-Takers
The choice of venue is also worth noting. The Southwark Playhouse, described by The Guardian as “one of the most important venues on the London fringe,” is a space known for nurturing emerging talent and pushing boundaries. It’s not the West End, but that’s precisely the point. This isn’t a safe, commercial production; it’s an artistic gamble.
One thing that immediately stands out is how this aligns with Feldman’s own career choices. He could have stayed in the comfort zone of Broadway, but instead, he’s crossing the Atlantic to take on a role that’s both challenging and controversial. It’s a move that says, I’m not just here to entertain; I’m here to provoke thought.
What This Really Suggests About Feldman’s Future
This raises a deeper question: Where does Feldman go from here? His career has been a whirlwind of highs—from winning the National High School Musical Theatre Award to attending Harvard (though he didn’t graduate)—but Nero feels like a deliberate shift. It’s not just another role; it’s a statement.
In my opinion, Feldman is positioning himself as an actor who’s unafraid to tackle the uncomfortable, the complex, and the misunderstood. That’s a rare quality in an industry that often rewards likability over depth. What this really suggests is that Feldman isn’t content to be just another Broadway heartthrob. He wants to be an artist who challenges audiences—and himself.
The Broader Implications: Why Nero Matters Now
Finally, let’s talk about why Nero’s story matters in 2023. In an era of political polarization and the rise of charismatic leaders, Nero’s reign serves as a stark reminder of the dangers of unchecked ego and the fragility of democracy. The musical’s tagline—“a young ruler’s desperate search for identity spirals into madness”—could just as easily describe any number of modern figures.
What makes this particularly timely is how it invites us to reflect on our own relationship with power and fame. Nero was a performer who became a tyrant; Feldman is a performer who’s choosing to tell his story. The contrast is striking, and it’s a conversation we need to have.
Final Thoughts
As I reflect on Feldman’s journey from Long Island to London, I’m struck by how much this role feels like a coming-of-age moment—not just for him, but for his audience. Nero isn’t just a musical; it’s a mirror. It forces us to confront the darker aspects of ambition, the cost of fame, and the thin line between artistry and tyranny.
Personally, I can’t wait to see how Feldman brings this infamous emperor to life. If his past performances are any indication, it’ll be nothing short of extraordinary. But more than that, I’m excited to see what this role does for him—and for us. Because in the end, it’s not just about telling Nero’s story. It’s about asking ourselves: What would we do in his shoes?
And that, my friends, is the kind of theater that truly matters.
