How a 1992 romantic comedy inspired a brassy Broadway musical decades later

How a 1992 romantic comedy inspired a brassy Broadway musical decades later
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In short: Andrew Bergman’s 1992 film Honeymoon in Vegas features a gambler, a skydiving Elvis impersonator, and a high-stakes debt. While the movie became a cult classic, its journey didn't end on screen. After a health scare, Bergman transformed his screwball comedy into a Broadway musical that captured a nostalgic, brassy sound.

The 1992 film Honeymoon in Vegas, directed by Andrew Bergman, follows Jack Singer, a man who promised his dying mother he would never marry. When he finally proposes to his girlfriend, Betsy, a trip to Las Vegas turns chaotic after a professional gambler, Tommy Korman, orchestrates a crooked poker game. Korman, struck by Betsy’s resemblance to his late wife, wins $65,000 from Jack and demands a weekend with her to settle the debt. The ensuing chase spans from Las Vegas to Kauaʻi, culminating in a dramatic skydiving sequence involving a team of Elvis impersonators known as the Flying Elvises.

The film was a modest success, grossing $35.2 million against a $25 million budget and earning Golden Globe nominations for Best Picture and Best Actor for Nicolas Cage. However, the story’s life extended far beyond its theatrical run. Following open-heart surgery in 2001, Bergman reflected on his career and decided to pursue a long-held ambition: turning the film into a musical. He collaborated with composer Jason Robert Brown to create a production that aimed for the brassy, energetic sound of the 1960s and 1970s.

The transition to the stage involved significant creative shifts. Most notably, the character of Jack’s mother, who dies in the film, was kept alive in the musical to maintain the narrative's central tension. After a canceled Toronto premiere, the show debuted at the Paper Mill Playhouse in New Jersey in 2013, starring Tony Danza as Tommy Korman. The production eventually moved to Broadway, opening at the Nederlander Theatre on January 15, 2015, marking a rare instance where a director successfully reimagined his own work for a completely different medium.

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