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Stranger Things Play Writer Reveals Secrets While Juggling Season 5!

BBG News

It’s not shocking that after the success of Stranger Things, which first appeared on Netflix in 2016, there is now a prequel. However, this spin-off takes an unexpected turn – instead of being a TV series or film, it’s a Broadway play named Stranger Things: The First Shadow. This production serves as the origin story for Henry Creel, better recognized as Vecna (played by Jamie Campbell Bower), a significant antagonist introduced in Season 4. Similar to Millie Bobby Brown’s character Eleven, Henry was born with psychic and telekinetic powers that were exploited through cruel experiments by Dr. Brenner (portrayed by Matthew Modine). Unlike Eleven, however, Henry chose to utilize his link to the Upside Down for malevolent purposes rather than good. The First Shadow provides a compassionate background story for Henry before he transformed into a villain.

The story is set in 1959 Hawkins, Ind., where we meet young Henry, who attends high school with characters like Joyce Byers and Jim Hopper, familiar faces from a cherished series. Similar to a season from the beloved show, this play offers a prolonged mystery, sprinkled with humor, teenage turmoil, and an exploration of nerd culture. As the townsfolk of Hawkins grapple with the mysterious deaths in their midst, they try to uncover the truth.

Initially, Kate Trefry, who had no prior playwriting experience, was chosen by the creators of ‘Stranger Things’ – the Duffer twin brothers – for their stage production titled ‘First Shadow’, as they felt it was essential to maintain a similar tone and adhere to the series’ mythology. Since only someone from within the ‘Stranger Things’ writing team could seamlessly merge the TV show’s world with live theatre, Trefry, who collaborated on a storyline with the Duffers and veteran playwright Jack Thorne (known for works like ‘Adolescence’, ‘Harry Potter and the Cursed Child’, and ‘Enola Holmes’), was assigned to pen the script for ‘First Shadow’ while also co-writing the fifth and final season of the popular Netflix series. The intention behind this production is to provide an immersive experience that enriches the storyline of the show’s final season, set to debut in three installments this fall and winter, without disclosing significant spoilers.

Following its London debut in December 2023, the show transferred to Broadway in April 2025. Louis McCartney, who portrayed Creel in both productions, received a nomination for Outstanding Lead Actor in a Play. The production was also recognized with several Tony Awards nominations and a unique honor for its breathtaking special effects. We spoke with Trefry about managing the shifting landscape of Season 5—which was still being finalized—and the unexpected demand for those demogorgon stuffed toys.

In the creation process of a work similar to “Harry Potter and the Cursed Child,” your collaborator Jack Thorne was penning a prequel based on an already-written script. This brings up the question: what obstacles did he face when composing a prequel for a show that is still unfolding? It seems that everything was in a state of flux, even as the play was being penned.

Attempting to construct a history for an entity whose destiny remained unfulfilled was quite difficult and presented a distinct writing conundrum. This task required crafting something that harmonized with all events from Seasons 1-4, while simultaneously augmenting Season 5 – without disclosing any details of Season 5. Additionally, understanding Season 5 didn’t necessitate viewing the play; it was more like finding a minuscule keyhole through which to fit the story.

In the span of that period, I juggled between working on Season 5 and a stage production simultaneously. My intention was to strike a balance and ensure both projects received equal attention in an effort to make them equally satisfying. However, I may have overextended myself as my focus was solely on these tasks, leaving little room for anything else.

How did you become the writer of the play?

It seemed rather unconventional for them to pick an individual without any background in playwriting since I’ve primarily worked on television productions. However, the aim was to create a play that mirrored our TV show, and the most effective approach to achieve this was by having someone who writes for the show contribute to the play’s development.

It’s unlikely for an outsider to grasp the intricate details of this show’s mythology, characters, or the rapid changes that occurred even within a day towards the end of Season 5, as I was deeply involved in both settings.

Did you run into any problems with Season 5 changing?

In our production, there’s a secret element that we discreetly incorporated. If you have a keen eye, you might spot it. Rest assured, it remains an integral part of the performance.

In which season does Vecna first appear as the main antagonist in the series? At what point in time did the writers decide that Vecna’s background was significant enough to be the focus of an entire play?

In our discussions, various contrasting theories about him emerged. There was much discussion: Is he more like the character Michael Myers—essentially evil at his core? Or perhaps more akin to Damien from The Omen—a seemingly innocent child secretly influenced by sinister forces we don’t yet comprehend? Who is pulling the strings, and who is being manipulated?

In our writers’ room, we frequently engaged in discussions about the nature of the main antagonist. So, it became straightforward for us to decide on crafting a whole narrative aimed at resolving this very question.

The crowd attending First Shadow wasn’t your usual Broadway audience. They cheered and screamed every time a hidden reference, or “easter egg,” was spotted. Many people were even trying to record the play. Watching it felt like being at Disney World. I had recently watched Denzel Washington and Paul Mescal in their individual plays, but their performances didn’t elicit such passionate responses. So, what is it about First Shadow that stirs up such an enthusiastic reaction?

It’s quite amusing, indeed, that you mention it. The actress portraying Eleven, as you may know, is making her Broadway debut at such a young age – she’s only nine years old. However, unlike typical Broadway performances, when she appears on stage for just a few minutes, the audience stands up and begins to clap and cheer, which is quite unusual for a debut performance.

The event attracts a predominantly young and inexperienced audience, with about 65% of attendees having no prior experience attending a play or Broadway show.

Wow.

For the first time, people are experiencing this medium through a beloved TV show or IP, and their reaction seems to be a mix of pure astonishment and sheer delight at seeing live performance. If you’ve grown accustomed to viewing content on your computer, stepping into a theater for the first time can be an overwhelming experience – action unfolds before your eyes, leaving you bewildered as to how it’s being done because we have this incredibly skilled special effects team working their magic. This intense, primal feeling of being part of something so immersive and captivating is a big part of the appeal.

As a devoted movie enthusiast, let me share my thoughts: It’s been quite a wait, hasn’t it? We’ve had setbacks with Season 5 of “Stranger Things”, initially due to COVID and later the writers’ strike. It feels like an endless journey. Yet, the anticipation is palpable as we prepare to revisit that captivating world again after such a long hiatus.

I’ve attended this show numerous times in London and New York, whether it was a midweek matinee or weekend night, the experience is consistently chaotic yet delightful. What makes it even more special is witnessing families, including children, parents, and grandparents, who might be experiencing theater for the first time with Stranger Things as their introduction. It’s truly an extraordinary way to pass on a love for theater to a new generation.

It appeared that they were offering Demogorgon stuffed toys. I’m not sure if I’d feel comfortable cuddling up with it while sleeping.

My kids have one pet cat called Prancer, but due to an unfortunate incident with Henry Creel, the poor creature’s bones were broken during play.)

Oh!

It’s quite twisted.

I was unaware that the series had such a youthful audience. As the characters have grown, so too has the level of fear in the show. When creating Season 5, what age group were you targeting? Is it similar to the one we had when the series initially started? Also, does this demographic match the one for which the play was written?

Since I was developing the play alongside Season 5, I combined their respective audiences, for better or worse. In essence, you can think of Season 1 as being similar to ‘The Goonies’. As we progressed through the seasons, both our characters and audience have grown older, entering high school years. Consequently, the show and play share a tone that might be described as dark PG-13, reminiscent of the 80s.

During a pivotal time in many people’s lives, freshman and sophomore years of high school mark significant identity development. As such, if a story is being crafted around someone’s transformation into an antagonistic character, traversing the substantial emotional hurdles that arise during puberty, it would be more fitting to portray these characters as 15-year-olds rather than younger children for narrative authenticity and resonance.

I too believe that many overlook the capabilities of children. As a parent to a six-year-old, I find her maturity and understanding to be reminiscent of a teenager’s. While I wouldn’t recommend taking a six-year-old to a show, I have observed them attending such events. I personally believe that age 10, 11, or 12 is the optimal time for children to engage with content, even if the material is targeted towards older teens aged 14, 15, or 16.

My toddler is only interested in older kids.

My three-year-old often mimics the behaviors of the six-year-old, making it seem as if I have not one but two teenagers at home. Now, they both address me casually as “Bruh.

I didn’t realize that “bruh” was still part of the cultural vernacular. 

Their generation is bringing it back.

I’m currently pregnant with our second child, and during the first scene of the play—which features flashing lights, fog, loud music, and a dramatic set piece depicting a World War II ship—my baby was very active inside me. When did you decide to start the play with such a daring stunt, which could resemble something seen on TV?

Right from the get-go, I was unfamiliar with writing plays as it was a new venture for me. And they advised, “Skip the playwriting. You’re not ready for that. Focus on creating the show instead.” Each season of this show commences with an opening scene (often referred to as a cold open) that presents a supernatural aspect. This is followed by delving into the ordinary, everyday world. We then unravel the connection between these two realms.

For years, the concept of recreating the Philadelphia Experiment [a legendary event from World War II where the military supposedly made a ship vanish from radar and travel to another dimension] has been a topic of discussion in our writers’ room. This intriguing theory was always at the forefront of our minds. When they challenged me by saying, “Write whatever you desire, and we’ll find ways to stage it – though we might not, we’ll certainly attempt to make it feel like a TV show,” I was immediately intrigued. My response was, “Alright, how about a real battleship on stage that vanishes and travels to another dimension? You asked for something unusual. Here you go!

And it’s Stranger Things so we want people in awe.

The final scene concludes with a mini Netflix “Watch Next” icon appearing on stage, which perfectly aligns with Netflix’s signature style. Could it be that Netflix is considering this production as a prototype for future stage shows?

In other words, absolutely no conditions or anticipations were involved. I enjoyed a great deal of freedom in shaping the narrative as I wished, with minimal intervention from the studio. Any interference from them was practically non-existent; they simply approved my decisions without imposing any constraints.

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2025-07-01 19:07

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