Lena Dunham and Carly Rae Jepsen are teaming up for a stage adaptation of 10 Things I Hate About You, with the production aiming for a Broadway debut in 2027. The project pairs the Girls creator with the pop sensation, though specifics on their exact roles - whether Dunham will direct, write the book, or serve as a producer, and what Jepsen’s contributions will be - remain under wraps. What’s clear is that the beloved 1999 teen comedy is getting a theatrical makeover, a move that has already generated considerable buzz in theater circles.
The original film, a modern retelling of Shakespeare’s The Taming of the Shrew, starred Julia Stiles and Heath Ledger and became a touchstone for a generation. Set in a Seattle high school, it followed the misadventures of two sisters navigating romance, rebellion, and the tricky economics of teenage dating. Its blend of sharp dialogue, memorable set pieces, and a soundtrack that defined the era made it a cult classic. For Dunham, whose work has always centered on complex, often messy young women, the story’s focus on a prickly, bookish protagonist finding unexpected connection feels like a natural fit. Jepsen, meanwhile, has proven her knack for crafting infectious, emotionally resonant pop - think "Call Me Maybe" and "Run Away with Me" - which could translate into a score that captures both the film’s caustic wit and its swooning romantic core.
Details about the creative team, casting, or even the theater are still pending, but the announcement alone signals a busy pre-production phase ahead. Broadway has seen a wave of film-to-stage adaptations in recent years, from Back to the Future to The Notebook, but 10 Things occupies a slightly different lane - it’s not a blockbuster spectacle, nor a weepy drama. Instead, it’s a sharp, character-driven comedy that hinges on chemistry and timing. Whether that translates to the stage will depend heavily on who steps into the lead roles, particularly those of Kat and Patrick, made iconic by Stiles and Ledger. The challenge will be to honor the source material while giving audiences a reason to buy a ticket beyond nostalgia.
Dunham’s involvement is particularly intriguing given her history with genre reinvention. She built her reputation on deconstructing romantic tropes, often with an unflinching eye for awkwardness and emotional honesty. Her directorial work on Tiny Furniture and her HBO series showed a willingness to let scenes breathe, to find humor in discomfort. That sensibility could serve a story that’s as much about the friction between two people as it is about the fireworks. Jepsen, for her part, has rarely ventured into writing for the stage, but she’s no stranger to narrative in her music - her albums often tell cohesive stories about longing, heartbreak, and self-discovery. The collaboration is unexpected, which might be exactly why it works.
The timeline, with a 2027 opening, leaves room for workshops, readings, and the inevitable rewrites that come with any new musical. Industry insiders will be watching to see if this becomes a platform for breakout performances from young actors, given the film’s history of launching careers. For now, the announcement is enough to set expectations high. Fans of the movie have been asking for a sequel or revival for years, and while a stage version isn’t that, it offers a fresh reinterpretation of a story that still resonates. The question hanging over the production is a simple one: can lightning strike twice? The original film was lightning in a bottle - a perfect cast, a sharp script, a moment in pop culture that aligned. Recreating that on stage, in a different medium, with a different creative voice, is a tall order. But if anyone is going to take a swing at it, the pairing of Dunham’s indie credibility and Jepsen’s mainstream pop appeal is as bold a bet as any.
More information is expected in the coming months, likely including details about the creative process and early casting whispers. Until then, the project remains a tantalizing prospect - a chance to revisit characters we thought we knew, but through a new lens. For Dunham, it’s another step in a career that has never shied away from risk. For Jepsen, it’s a chance to stretch her artistry beyond the recording studio. And for audiences, it’s a reason to look forward to 2027 with a little more anticipation.
Source: Deadline