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Erika talking about Jonathan from 53:20:

"Groffsauce is like... he does the same thing [like Tina Fey] where he just treats everybody the same.

One thing that I've learned from Jonathan, and I think this is something that we [Erika and the host] can learn, because we're both very front-footed, we prove our love and kindness by being on the balls of our feet, and being like 'Yeah, oh my God!' [host: golden retriever].

Jonathan is like this very sweet, like, gorilla, who is like "come over here, sit down, I have made it nice, I'm here, I'm gonna create a nice space for us, if you need me I am over here, would you like to talk? Fantastic.”

His kindness is such a different colour than mine. Mine is yellow. And Jonathan is like this deep blue where it is so soothing and it's why I think he is able to do the show he does and then host people for like an hour after in his dressing room, because he creates like an aura that you feel comfortable in. And I think that comes with a comfort with himself of not having to prove his gratitude that you're there... his desire to make a quick connection.

He's just like, 'I am here. It is on the back of his... it's on the heels of his feet as opposed to the balls. And I just like, it's so beautiful and it's such a different energy, but it creates the same feeling of love and acceptance that I think when you do have a yellow type of kindness, you want to create, I am trying to learn that that version not only is necessary when you have a demanding job, but is equally as powerful.

[Host compares it to Elphaba and Glinda kindness, and says they are both needed.]

Erika: ..."It's so funny that what Glinda does is she becomes this sort of face, she becomes a public figure. And Jonathan is a well-known entity but he is not a public figure. Like, he is not on Instagram. He does not stage door, but you feel his love and connection based just how he acts in private.

And so I sometimes feel this thing of this tear between my public persona of whatever people attribute to me, wanting to ensure that my private persona, is, if I were to disappear, that I could rely on that my private persona could also be enough."

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From a new interview with Roshan Sethi and Karan Soni:

Congratulations to both of you on finding your ’emotional third’ in Jonathan Groff! Did you give his character a vape to nerf the Jonathan Groff effect?

R.S: [laughs] Thanks. He, I think, started vaping because of this movie. But no, we gave him the vape because it was in the script.

K.S: Yeah. He wanted to practice, so he went to the bodega before we started filming and got one. And then I think he’s okay if we say this, but he started liking it a little bit too much [laughs].

And then we were like, what have we done to this sweet, sweet man? But he quit, and he’s totally fine now.

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Jonathan, Valeria Yamin and Tom Kirdahy (posted by Tom), at the Washington concert (posted by emmaaaaaroseeeee), and at the Spring Awakening reunion rehearsals, posted by Steven Sater.

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Jonathan and Hayley with Merrily’s Vishal Vaidya after seeing Just in Time and Erika Henningsen’s video after her dance break applause made it into the show report.

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@alextimbers One month ago… Tony rehearsal and performance for @justintimebway 🩷🩷🩷🦩🦩🦩 Choreography: @realshanlew MD: @andrewresnick18

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Jonathan, Alexis Forte and Raul Castillo at the Beyoncé concert in Washington on Monday. Photos by Alexis and lemonadepapi_ on X.

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In Warren Leight and Isaac Oliver’s new Broadway musical “Just in Time,” Jonathan Groff portrays famed ’50s crooner Bobby Darin—but the Tony Award–winning actor doesn’t just perform at the audience seated cabaret-style in Circle in the Square Theatre. Just like the “Dream Lover” singer himself, Groff interacts with members of his crowd, twirling, dipping, and even offering a peck on the hand. In other words, he’s performing acts of intimacy—which is why director Alex Timbers and production enlisted intimacy director Leigh Zimmerman.

Here, 35-year stage veteran Zimmerman discusses the ways she helps empower actors physically. Whether you’re working on Broadway or in your local theme park, her advice can help you never fear the words “audience participation” again.

How did you come to work on “Just in Time,” and what do you do for the show?

“Just in Time” involves a lot of audience interaction. Having danced my whole life, I understand the power of body language and eye contact—core elements of intimacy work. The team brought me on to help navigate this immersive experience and ensure the actors felt confident. I try to avoid the word “safe,” because safety is subjective. Instead, we aim to create a brave space where everyone feels empowered to engage with the audience.

Can you walk through the specifics of how you work with the cast?

Once hired, I went through the script and created a spreadsheet of moments that might need support. Unlike traditional scenes with clear intimacy direction—like kisses, embraces, and slaps—this show also involved the cast moving through the audience, the aisles, exiting and entering among them. So I sat in rehearsal, imagining the audience experience. I noticed things like chair placement, table spacing, and what happens when a prop is on someone’s table. Eye contact is powerful. That’s an intimate moment. And in this immersive setting, it becomes even more crucial. We worked on how to physically cue the audience: “May I take your hand?” without saying a word. Sometimes people say no—and that’s OK. Jonathan is great at adapting. He’ll just say, “Great, I’ll sing to you instead.”

Did you work with Jonathan on a playbook for “Just in Time”?

Yes and no. Jonathan is a great example—he’s very open, but he still has his own boundaries. He reads the audience in the moment and decides what he’s comfortable with that day. Some actors can take on a lot of interaction, others prefer less. That’s why I always encourage actors to check in with themselves over time. If the interaction starts to feel like a burden—or if it energizes them—that matters. I check in with Jonathan all the time, and he’s like, “I love this.”

What is the No. 1 piece of advice you’d give actors when it comes to intimacy direction?

Intimacy work is about more than physicality. It’s emotional. It’s about checking in with yourself: “Does this still feel right?” If it doesn’t, speak up. That’s not being needy—that’s being responsible. Creative teams can’t read your mind. We want to help you perform at your peak. So take stock, and advocate for what you need.

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'Just in Time' swing John Treacy Egan talking about Jonathan:

John Treacy Egan from 24.00:

"And Jonathan Groff, he's really something man. He is the nicest person. He is genuinely warm and friendly and just a lovely, lovely guy.

I say to everybody, he's tireless, he could... from the first rehearsal to the last performance of the night, he maintains the same energy. I think he's so happy doing it, and he loves what he does, he loves the piece and he is so lovely to everybody in the cast.

It's a really, really lovely cast to work with and a lovely company to work with. So I'm feeling very privileged to be a part of it and it's a really good time...

I'm so happy that it's so successful, especially because, you know, for Jonathan, he deserves it. I mean, he's a really lovely person. He gives you, he gives so much, and he is tireless. That is not just smoke. That's the truth. He really is very special."

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Three favourite musicals with Jonathan, Erika and Gracie.

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erika and groff arghh

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Recent photos.

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Instagram video from dwwardstl.

What are you doing there Jonathan? Stop but also don't stop

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It’s so smart that Jonathan Groff enters as himself and explains that he will be playing Bobby Darin.

I agree, and it gives him—and the rest of us [in the cast], quite frankly—carte blanche not to have to imitate someone. I am a dear friend and superfan of Jonathan, who played my son years ago in a Craig Lucas play. I just adore that boy, so when he was putting this together and asked me to be involved, it was hard to say no. He makes every one of us on stage better.

How so?

He is so honest and so present with every audience, and he invites the rest of us to do the same. That’s a gift. Objectively speaking, what Jonathan is doing in this show is on another level. When a part meets an actor who is at the top of their game and allows them to bring everything they have to the stage, it’s extraordinary to witness every night.

As a veteran of Merrily We Roll Along [Pawk played Franklin’s second wife Gussie in a 1994 off-Broadway revival], you must appreciate how Jonathan’s performance as Franklin changed people’s minds about that show.

Yes, that entire production! It’s always interesting to revisit a show you know so intimately. Steve [Sondheim] was very much present during our production, and I have such a special place for it because I know how dear it was to him. So, to see a deep, rich [new] production was incredible. Some people are so innately likeable, no matter how mean or dark [their character gets], you see the person underneath. Jonathan is one of those people, and so is my husband [actor John Dossett].

You also directed a ton of musicals at Wagner. Are you ever tempted to give your Broadway directors pointers?

No! [laughs] I am nowhere near the echelon of any of the directors I’ve worked with. To be honest, I just wanted to be in the room with [Just in Time director] Alex Timbers. I love that he continues to challenge himself and doesn’t want to do the same thing over and over. He is so collaborative and open, and I’m inspired by that. And, of course, Jonathan and the entire company are just incredible. I am really, really glad I said

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Mickey Jo Theatre’s very lengthy and positive detailed review of Just in Time.

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HAMILTON 10 year Anniversary Performance at the 2025 Tony Awards

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Jonathan in the recording studio and at the Tony Awards with Erika Henningsen, posted by Erika.