It’s January 2018. A new year has begun. The Imperial Theatre still lights up, the digital marquee showing “The Most Tony-Nominated Show of The Year!” The snowy posters outside read “Final Performance September 3rd!” The wall, showing the ensemble, is faded, but still reads “The Great Comet.” The barricades are outside the stagedoor, waiting for the show to end. Inside, the cast board, now dusty, is still up. The faint notes of the orchestra play from inside the theater. The audience members are living off of the pierogis in the theater. Standing near the stairs, Lucas Steele is still holding his “WOOOOOOAAAAOOOOAAAAHHH” note. There is scattered applause every few minutes. Dave Malloy sits in the orchestra pit, proud. The Comet never ends.
