Spoiler Alert: The following article contains details about Mae Whitman’s new series “Up Here” on Hulu.
Mae Whitman, best known for her role in the hit TV series “Parenthood“, is stepping out of her comfort zone and into the world of musicals with Hulu’s new rom-com series “Up Here“. She recently disclosed how her experience on “Parenthood” prepared her for her singing debut in the new series.
When Mae Whitman sang on camera for the first time, it was in front of her “Parenthood” co-stars who cheered her on from the front row. As Amber, her character on the NBC drama, she grew up using music to channel her angst. Both the performer and the character were terrified at the thought of exposing their innermost feelings through music in front of an audience.
While recalling her performance in “Parenthood”, she shared that, “It really felt like I was doing a performance in front of my family. I remember getting up on stage for the scene and seeing the whole cast sitting right up front taking pictures and crying. It was a really special way to have my first foray into being musical on camera. I felt safe and supported and held, and it allowed me to be vulnerable enough to explore what that really feels like for me.”
Almost a decade later, Whitman has grown as a performer and is taking on the lead role in Hulu’s new musical comedy “Up Here”. However, despite her experience, she is still terrified of singing, which is what made her want the role. She shared the reason behind the willingness to do this role, saying that, “What translates into fun for me now, strangely, are the things that make me uncomfortable. I’ve never done anything like this in my life, so I couldn’t fake my way through it. Every single day demanded the utmost presence and vulnerability.”
“Up Here”, the Hulu original musical romantic comedy series, explores the love story of Lindsay (Mae Whitman) and Miguel (Carlos Valdes). The show is set in New York City in the last days of 1999, against the backdrop of the looming dread of Y2K. As the couple navigates their journeys of self-discovery, they must confront their own insecurities, anxieties, and fears while attempting to find happiness with each other.
Mae Whitman as Lindsay, is an aspiring writer who is hungry for the kind of life experience that will help her write Great American Novels. Her struggles to find her voice on the page is reflected in her journey of self-discovery, which she takes through song. Meanwhile, she meets Miguel, an equally lost New Yorker who has yet to find his place in the banking world.
The show’s title alludes to the internal dialogues that people have with their inner demons and insecurities, which are given physical manifestation in the characters of Lindsay and Miguel. Lindsay’s inner voices are represented by her hypercritical mother and overly cautious father from her childhood, while Miguel’s are embodied by his late mother, who was overly protective, and the anonymous stranger he found in bed with his fiancé (Scott Porter).
The show features 21 original songs written by the Oscar-winning lyricists Robert Lopez and Kristen Anderson-Lopez, who recently won Marvel its first Emmy for “Agatha All Along” from “WandaVision.” The series is directed and executive produced by Thomas Kail, who won a Tony for directing “Hamilton,” and co-written by Steven Levenson, who won a Tony for “Dear Evan Hansen.” “Up Here” is reminiscent of emotive stage musicals, but with a unique hook that sets it apart.
Described as a raw and emotionally intimate portrayal, Mae Whitman explains that “Up Here” is not a classic showy musical like “42nd Street.” Instead, the characters’ vulnerabilities are on full display, with their innermost thoughts laid bare for the audience.
The season concludes with the question “Can I Ever Know You?” serving as both a reflection of the main characters’ relationship and a personal challenge they each face. As the season draws to a close, Lindsay and Miguel appear to have found some semblance of peace from the voices in their heads. However, in the final scene, set against the backdrop of the Y2K countdown, the couple boldly sings out in defiance against their inner demons. This climactic number is Whitman’s personal favorite from the series.
Whitman shares her feelings, saying that, “The finale was so emotional and important in a way that is indescribable. It shows everyone together, but it is kind of the first time Miguel and Lindsay are singing to each other. There is this connection there they haven’t really gotten to experience yet. It is like graduation. These voices might not ever go away, but they will change and grow. It is like throwing a pebble in a pond. The effects will ripple out and become much bigger for these two.”
By the end of the series, Lindsay discovers her true identity and transforms her grand novel into a reflective children’s book featuring Squid the Squirrel’s identity crisis, to whom she can relate. Although it was not her intended literary direction, Whitman believes it perfectly aligns with Lindsay’s character.
She described the impactful characteristics of Lindsay as follows: “In a way, she feels like if she had been given the tools to be brave and accept herself as a kid –– to know the things she has been ashamed of her whole life are what make her special –– her life may have turned out differently. Communicating that to kids and giving them tools is the most important thing she can do, because children’s literature can be the most intense and vulnerable. I love that for her.”
To further add, Whitman shares that Lindsay will have to quickly acquaint herself with the mind of a child, as she discovers she is pregnant with Miguel’s baby. She says that while the couple got to know each other in the last days of the millennium, having a baby means delving even deeper.
Whitman commented on the aforementioned scenario, saying that, “What could be more terrifying than having your vocal defense mechanisms being opinionated about raising a child? I can see her mother being all over this. I think the idea of everybody trying to tell Lindsay and Miguel how to raise a child could offer a deep wealth of comedy.”
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Hulu has yet to order a second season, but Whitman is committed to playing Lindsay for as long as the story continues. She is grateful for the opportunity to conquer her fear of singing during the making of “Up Here” and gain more awareness of how to use it. In fact, she even campaigned for her next role during production – in Thomas Kail’s Broadway revival of “Sweeney Todd: The Demon Barber of Fleet Street.”
She shared that, “Katie Finneran, who plays my mom, and I would constantly make audition tapes for all the different characters and literally beg him to put me in it. We would stage entire scenes of me singing and it was driving him completely insane, which was the goal.”
Moreover, she revealed how this role as Lindsay was impactful for her personal growth. She shared: “That was one of the most rewarding things about this job. When I’m singing, I’m bearing my soul — and I came to understand it was a tool.”
“Up Here” has been receiving positive reviews since its release, with many praising Whitman’s performance as well as the series’ unique blend of genres. The show is a must-watch for fans of romantic comedies and musicals alike. Here’s how you could watch the show Up Here on Hulu, if you reside outside the US.
Mae Whitman’s journey from “Parenthood” to “Up Here” has been a remarkable one. Her willingness to step out of her comfort zone and take on new challenges is an inspiration to us all. “Up Here” is a testament to her talent and a must-watch for anyone who loves a good romantic comedy with a musical twist.
