I saw Not Ready for Prime Time at the Saturday matinee on December 6, 2025, and I really loved it. As a longtime Saturday Night Live junkie, this play hit exactly where it should. It dramatizes the chaotic, stressful, and deeply funny early days of SNL in 1975, when a group of young comedians and one very determined producer were trying to invent something that did not yet have a roadmap. I was pulled into that world almost immediately.
The set was phenomenal, and it deserves to be credited properly. Scenic designers Justin Swader and Christopher Swader created a space that felt lived in, flexible, and constantly in motion. Offices, rehearsal areas, hallways, and the stage itself flowed into one another naturally. It felt busy, cramped, and always one step away from falling apart, which is exactly the energy this story needs. The set did a huge amount of storytelling work on its own, and it never once felt like a backdrop.
The cast was stunning across the board. I want to start with the standouts, though everyone here earned their moment. Evan Rubin as Gilda Radner was extraordinary. She captured Gilda’s warmth, vulnerability, and unmistakable comedic spark without turning it into an impression. It felt like watching a fully realized person. Ryan Crout as John Belushi brought raw energy and volatility to the role, never sanding down the darker edges. His Belushi felt electric and dangerous in the way he should. Ian Bouillon as Lorne Michaels anchored the entire production. Calm, pressured, stubborn, and visionary all at once, he gave the chaos structure and purpose.
The rest of the ensemble was just as strong. Jared Grimes as Garrett Morris brought grounded authority and quiet depth to every scene. Caitlin Houlahan as Jane Curtin was sharp, smart, and steady, cutting cleanly through the noise around her. Kristian Lugo as Dan Aykroyd had excellent timing and restless intelligence. Woodrow Proctor as Chevy Chase balanced charm and ego in a way that was both funny and frustrating. Nate Janis as Bill Murray delivered an easy confidence that felt effortless. Taylor Richardson as Laraine Newman was joyful, expressive, and consistently engaging.
What I appreciated most was how human everyone felt. These were not legends yet. They were insecure, competitive, funny, petty, inspired, and deeply flawed. The play does not shy away from egos, tension, or exhaustion, and that honesty is what makes it work. You see how brilliance and dysfunction existed side by side from the very beginning.
I found this play far more engaging than the recent film about the same era. This version pulled me fully into the world and made me care about the stakes. I cared whether the show would survive the night. I cared about these people succeeding and failing in real time.
I bought a magnet, which I was genuinely happy to see they even had. I was not expecting that. I am very glad I caught this production right before it closed. For anyone who loves SNL, comedy history, or watching creative chaos turn into something lasting, this was a deeply satisfying night at the theater.
