For Isa Briones, the transition from the sterile, high-stakes corridors of a fictional emergency room to the velvet curtains of Broadway is more than a career pivot—it is a homecoming. The actress, currently known to television audiences as the sharp-tongued resident Dr. Trinity Santos on the HBO Max drama “The Pitt,” officially joined the cast of the jukebox musical “Just in Time” on April 1.
Stepping into the role of Connie Francis, Briones takes on the mantle of one of the most influential pop voices of the 1950s. The production, which chronicles the meteoric rise and complex personal life of Bobby Darin, is currently playing at the Circle in the Square Theatre. In a performance that demands both vocal precision and emotional vulnerability, Isa Briones belts ‘Who’s Sorry Now?’ from ‘Just in Time,’ reviving the 1957 hit that originally propelled Francis to international stardom.
The role is a demanding one, requiring Briones to perform eight shows a week opposite “Glee” alumnus Matthew Morrison, who portrays Darin. Briones succeeds Sarah Hyland in the role, which was originated by Gracie Lawrence, whose performance earned a Tony nomination for best featured actress in a musical.
The Emotional Weight of a 1950s Classic
While “Who’s Sorry Now?” is often remembered as a polished piece of mid-century pop, Briones approaches the song as a vehicle for raw narrative release. Within the context of the musical, the number serves as a pivotal emotional beat, arriving after a “really tragic moment” in which Francis is forced to part ways with a loved one under the oppressive control of her father.
“It’s this tragedy of circumstance and the time she lived in and and it’s saying goodbye when you really don’t want to,” Briones said. “It’s such a powerful release in in the show.”
This interpretation moves the song beyond simple nostalgia, framing it as a cry of frustration and loss. The vocal demands are significant, requiring a balance of the era’s signature melodic sweetness and a modern, powerhouse delivery.
Bridging the Generational Gap
As a performer navigating both the legacy of the 1950s and the trends of the 2020s, Briones views her role as a bridge. She notes that while the stories of Bobby Darin and Connie Francis may experience distant to Gen Z audiences, the music often finds its way back to them through digital discovery. Briones pointed to the recent resurgence of Francis’ tracks like “Pretty Little Baby” and “Stupid Cupid” on TikTok as evidence that the melodies remain timeless, even if the historical context is lost.
However, Briones is careful to distinguish her approach from that of a tribute act. “We’re not impersonators,” she said. “We are just telling stories from then, now, and as best as we can and with our own flaires.”
This philosophy of “storytelling over imitation” allows Briones to bring her own sensibilities to the stage, ensuring that the production feels like a living piece of theater rather than a museum exhibit of the mid-century music scene.
From ‘The Pitt’ to the Proscenium
The duality of Briones’ current schedule is stark. On one hand, she is immersed in the upbeat, rhythmic world of a jukebox musical; on the other, she is filming the grueling realities of “The Pitt.” In the HBO Max series, Briones portrays Dr. Santos, a resident whose brash and competitive nature often puts her at odds with her colleagues. The character has faced a tumultuous trajectory, from accusing a senior resident of drug theft in the first season to navigating the emotional wreckage of a Fourth of July shift in the second.
Briones admitted that the shift in tone is a welcome relief, noting that the musical is “such a gift, especially when I’m usually doing ‘The Pitt,’ which is a lot more traumatizing material.”
Despite the differences in genre, Briones finds a surprising kinship between the two mediums. She describes the filming process of “The Pitt” as being akin to performing a series of “mini-plays,” where long, multi-page scenes are rehearsed extensively before the cameras roll, mirroring the discipline of a theatrical rehearsal process.
A Legacy of Stagecraft
Theater is not merely a side project for Briones; it is her heritage. The daughter of veteran Broadway actor Jon Jon Briones, she grew up with the stage as a primary influence. “Theater is just kind of where I come from. Theater feels like home,” she said. “I think anytime I do TV for a long stretch of time I always feel the pull to go back to my roots.”
Her resume reflects a steady climb through the ranks of professional theater. Before her Broadway debut as Eurydice in “Hadestown” in 2024, Briones honed her craft in a Los Angeles production of “Next to Normal” and spent time on the road as Peggy Schuyler and Maria Reynolds in the U.S. National tour of “Hamilton.”
This extensive background allowed her to integrate into the cast of “Just in Time” with remarkable speed. Briones recalled that her colleagues noted how quickly she seemed to locate her joy on stage, appearing comfortable and “having fun” after her very first performance.
| Project | Role | Medium/Venue | Year/Period |
|---|---|---|---|
| The Pitt | Dr. Trinity Santos | HBO Max | 2025–Present |
| Just in Time | Connie Francis | Circle in the Square Theatre | Joined April 1 |
| Hadestown | Eurydice | Broadway | 2024 |
| Hamilton (Tour) | Peggy Schuyler/Maria Reynolds | U.S. National Tour | Prior to 2024 |
| Next to Normal | Cast Member | Los Angeles Production | Early Career |
The timing of her Broadway run is particularly tight, as it coincides with the climax of her television work. Briones’ performances in “Just in Time” are taking place just as “The Pitt” prepares to air its Season 2 finale on April 16.
As the production continues its run at the Circle in the Square Theatre, Briones remains focused on the intersection of history and performance, bringing a contemporary energy to the timeless voice of Connie Francis.
Share your thoughts on the evolution of jukebox musicals or your favorite Connie Francis tracks in the comments below.
