‘Bridgerton’ Meets ‘Jane Austen’ at The Temple

More than 220 theater enthusiasts applauded Monday evening, Aug. 3, as the National Council of Jewish Women (NCJW) Atlanta presented an exclusive preview of “Regency Girls,” the new musical poised for a Broadway debut, at The Temple. In addition to the performance, it was a conversation about creativity, collaboration, and the power of theater to entertain while exploring timeless issues, more specifically, issues affecting women in 1810 that persist today.

The event was spearheaded by NCJW Atlanta co-presidents Laura Kurlander-Nagel and Susie Greenberg. Through sister-in-law, Carrie Kurlander, the connection came with Tony Award-winning Broadway producer, Robin Goodman, who related, “My mother was past president of NCJW Essex County, New Jersey. This comes full circle for me.”

That connection was fitting as “Regency Girls” explores themes of women’s independence, healthcare, reproductive choices, and self-determination, issues aligned with NCJW’s commitment to social justice.

Set in England during the early 1800s, the musical combines contemporary conversations inside an irreverent comedy. Transported to another era, the dilemmas confronting the four sisters exist today in the search for personal fulfillment. Rather than delivering a political lecture, the production “gets laughs” while recognizing the theme’s relevance.

Goodman described the musical as “the first female-led caper comedy.” Several musical selections were performed by four cast members with Broadway-quality voices. Laced throughout were formal questions with behind-the-scenes answers about the play. Performances were a glimpse of the full production, which has already completed a critically acclaimed run in San Diego.

“We’re all set,” Goodman said of the show’s Broadway prospects. “It’s just a matter of finding the right-sized theater.” One highlight was an engaging conversation with director and choreographer, Josh Rhodes, whose enthusiasm and humor charmed. The best chuckle of the night was this comparison to “planning the biggest bat miztvah ever.”

Also appearing were co-producers, Josh Fiedler and Nicole Hudson, along with lyricist, Amanda Green, whose body of work spans Broadway, television, and film. Green, the daughter of legendary lyricist, Adolph Green, has written songs for “Only Murders in the Building” and “The Marvelous Mrs. Maisel.” She also stepped in as one of the singers. Discussing the evolution of “Regency Girls”, Green revealed that the show’s opening number alone was rewritten more than 100 times before the creative team found the right introduction.

The musical itself  has been many years in the making. Despite addressing controversial subjects, Green emphasized that the score never becomes heavy-handed. The lyrics are “not preachy or didactic nor incendiary. Instead, they blend contemporary pop, modern musical theater, and hip-hop influences into a score that feels fresh remaining emotionally authentic.

Goodman reflected on why this production occupies a special place in her career. Known for producing “Tick, Tick … Boom!,” “Altar Boyz,” “Avenue Q,” “Giant,” and “In the Heights,” one of Lin-Manuel Miranda’s earliest productions, she acknowledged that many of her projects centered primarily on male characters. “Some of the other plays were too much about men. Now it’s time to tell a different story.”

Earlier that day, members of the “Regency Girls” company visited Atlanta’s Alliance Theatre where they conducted a workshop with students. Several of those young performers later appeared briefly during the NCJW program, demonstrating the connection between professionals and the next generation of theater artists.

Audience member Deborah Wexler told the AJT, “This evening was a one-of-a-kind delight. We heard from all levels about the tremendous time and effort it takes to create a show like this. The originality, music, and message left me wanting more. Can’t wait to see it on Broadway!”

At the beginning of the evening, Greenberg and Kurlander-Nagel discussed NCJW’s advocacy pillars, citing actions like distributing safe sex kits for rural Georgia and Mississippi, and an Aug. 25 event, “Preserving Democracy.”

Note that the ticket price for “Regency Girls” was intentionally $18.01 to represent, “Chai and life.”