Broadway Breakdown – "FOLLIES, TITANIC, Plays and An Idea" (June 27, 2024)
Host: Matt Koplik
Theme: A lively, informal solo episode in which Matt recaps four recent New York theatre experiences—Home, Here There Are Blueberries, Titanic (Encores), and Follies in concert at Carnegie Hall. He also reads new podcast reviews (including the show’s first fully written 1-star) and floats an idea for a Broadway Breakdown listener community.
Main Episode Theme
Matt recaps and critiques a recent theatre binge, with particular attention to two major musical events—the star-studded Follies concert at Carnegie Hall and Titanic at City Center Encores. In his typically snarky, candid, and deeply knowledgeable style, he interrogates not just each production but also larger trends in New York theatre, the evolving mission of Encores, and the ongoing need for theatre lovers to find community.
Key Segments and Discussion Points
1. Reading Listener Reviews [05:41]
- Five-star review: Praises the presence of ads (!) and Matt generally.
- One-star review: Critiques Matt’s digressive style and perceived condescension.
“Matt perpetually digresses to the point where you may find yourself saying get to the point. ... goes out of his way to be condescending towards shows... often in a distasteful way.”
— [06:08] - Matt reflects: He honors detailed negative feedback as a chance to grow; admits there’s a fine line between honesty and condescension in criticism.
“I don’t know how you can dislike something and not sound totally condescending. ... But we honor those who don’t like us as well as do like us, because it’s the only way we can grow.”
— [07:23–07:33] - Encourages listeners to leave more reviews (of any star rating).
2. Review: Home at Roundabout [09:39]
- Production: Revival of Samm-Art Williams' 1980 play, directed by Kenny Leon at the Todd Haynes Theatre.
- Summary: Follows Zephus Miles (played by Torrey Kittles), a farmer navigating love, war resistance, prison, city life, and return home.
- Staging: Three actors—Kittles and two versatile women (notably Stori Ayers)—playing all roles/genders.
- Matt’s Take: Not terrible, not memorable—audience turnout weak, the play feels more like a showcase than a compelling story ("slipping from my memory the longer it goes"). Style too presentational and “pontificating,” perhaps mismatch with Leon’s direction.
“It’s very much a play that is of its time. It’s not necessarily experimental, but it is very presentational and theatrical. ... It’s less about scene work than it is about monologues and just pontificating.”
— [12:34] - MVP: Stori Ayers for her versatility.
- Overall: Mildly recommended for acting; otherwise, “a miss.”
3. Review: Here There Are Blueberries at New York Theatre Workshop [15:57]
- Unique Context: Performance marred by major lighting failure due to heatwave. Audience had to wait—show performed with “basic lighting” only, company awarded free tickets to next season as thanks.
- About the Play:
- Tectonic Theater Project/Moisés Kaufman’s docudrama about Holocaust Museum curators uncovering rare Auschwitz photographs—shocking for their depiction of joyful Nazis, not victims.
- Thematically echoes The Zone of Interest (Matt compares at length).
- Style: Built from interviews, similar to The Laramie Project. More analytical than dramatic; uses projections, group narration, and a final powerful monologue from a survivor, but otherwise feels “at arm’s length.”
“Rather than it feeling like dramatic tension, a lot of the times it feels like pontificating. It feels like a company explaining things to us rather than expressing things to us.”
— [27:05] - Personal Reaction: Matt found it intellectually interesting but “dry”—his connection hampered perhaps by already knowing the stories via Zone of Interest.
- Financial note: Highest grossing production in NYTW history (due to lengthy run and less reliance on subscribers).
- Transfer: Possible Broadway transfer; Matt wishes them well but this one left him cold.
4. Review: Titanic at City Center Encores [37:38]
- Personal note: Attended with his mom, who’s been a podcast guest.
- Encore’s Evolving Identity: Matt riffs on how the mission of Encores has changed; transfer-itis has crept in, and some seasons lean toward crowd-pleasers (e.g., Into the Woods, Oliver) rather than true rarities.
“I have a pretty good authority that Encores now is trying to make one show per season transfer to Broadway... But Titanic for me... felt the most like old school encores.”
— [42:20] - This Production: Large orchestra (30 pieces), 32-person cast, minimal staging (cocktail attire, binders, almost entirely presentational).
- Strengths: Score is lush, orchestration thrilling, some beautiful voices.
- Weakness: Matt finds the script overstuffed (“Grand Hotel on a ship”)—too many characters, too little time, little emotional payoff.
“It’s 90 characters with a million plot lines and very few of them resolve... I didn’t really care about a lot of the characters because we just spend so little time with any of them.”
— [47:05] - Act 2 Problems: Stakes felt low; lack of physical staging undercut urgency of the sinking.
“It didn’t feel as urgent. ... It didn’t feel precarious, it didn’t feel rushed.”
— [48:33] - Meta-note: Warns against overhyping “fleeting” productions just to feel a part of history (“glorious, transcendent, heaven...”).
- Takeaway: Happy Encores did it “for the right reasons”—as a musical archaeological project, not just a tryout for Broadway; praises the sweeping sound and return of legit sopranos to the stage.
5. Review: Follies in Concert at Carnegie Hall (Transport Group) [55:25]
- Event: Star-laden, one-night-only concert of Follies with a 30-piece orch., full choir, and a long parade of Broadway notables—format lifted from the famed 1985 Lincoln Center concert.
- Hosted/narrated by Ted Chapin (author, Everything Was Possible) and Kurt Peterson (original Young Ben).
- Ted and Kurt gave some historical context, though Matt wanted “more juicy backstage facts” instead of synopses most of the audience already knew.
- Performance Highlights:
- Christine Ebersole - “In Buddy’s Eyes”
“Pouring buttered perfection all over the song. Just that woman’s voice is caramel and it's... effortless.”
— [59:12] - Kate Baldwin - “Losing My Mind” (very high key, simple & torchy)
“It was simple, it was direct, it was dropped in. ... The best version... is when you play it like the torch song that it is, and you let the song do the work.”
— [1:01:34] - Jennifer Holliday - “I’m Still Here” (nearly 9 minutes—very slow)
“She did give it the Jennifer Holliday oomph. ... She kind of sang it as written, which I was really surprised by.”
— [1:03:41] - Who's That Woman:
- Led by Karen Ziemba. Company included Michelle Pawk, Marcia Sappinton, others—original Michael Bennett choreography.
“Those women fucking crushed it. ... Truly the first real standing ovation of the night. Very much deserved.”
— [1:10:10] - Other Moments:
- Mark Kudisch in “Don’t Look at Me”
- Tom Sesma, Stephen Bogardus, Carolee Carmello, Barbara Walsh (mini Falsettos reunion) in “Waiting for the Girls Upstairs”—Barbara flubs her solo, but Carolee belts her line in full chest voice to great effect.
- Michael Berresse - “The Right Girl” (valiant effort with limited staging)
- Alexander Gemignani, Gray Henson - “The Road You Didn’t Take”
- Kimberly Akimbo cast - “You’re Gonna Love Tomorrow”
- Santino Fontana - “Buddy's Blues”
- Alexandra Billings - “Story of Lucy and Jessie” (full twirl diva energy; “don’t come for me unless I twirl for you”)
- Nikki Renée Daniels and Norm Lewis - “Too Many Mornings” (gorgeous vocals)
- Kurt Peterson - “Live, Laugh, Love”
- Christine Ebersole - “In Buddy’s Eyes”
- Fun Moment: Audience member recognizes Matt outside; he urges listeners to always say hello.
- Overall Verdict: A delightful, slightly messy, but memorable evening; not “legendary,” but will be fondly recalled by attendees.
6. Podcast Community Ideas & Listener Feedback [1:15:20]
- Matt astounded and grateful for international listeners reaching out; wants to create more community for theatre fans ("Broadway Breakdown Uncultured Group")
- Floats Reddit, group chat, Q&A or live “call-in” episodes.
“You reach out to me...about how you don’t have really anyone in your regular life who is into theater. ... I think getting to know some of you...would be really nice, really sweet.”
— [1:18:40] - Solicits listener suggestions for how to build this community.
Notable Quotes & Memorable Moments
On the critical feedback he receives:
“We honor the people who don’t like us as well as do like us, because it’s the only way we can grow.”
— Matt Koplik [07:28]
On the dryness of Here There Are Blueberries:
“Rather than feeling like dramatic tension, a lot of the time it feels like pontificating. ... It feels like a company explaining things to us rather than expressing things to us.”
— [27:08]
On Encores’ purpose:
“...the beauty of Encores is when they do a really good job with an incredibly flawed show, you have the best time and also know this isn’t going to go anywhere.”
— [42:59]
On audience hype and fleeting events:
“Everyone wants to be at the Public during Hamilton. ... A lot of things are wonderful, wonderful, wonderful things that don’t move anywhere. ... I think that’s just as special, if not more so, because you’re one of a fewer number of people that got to see it.”
— [50:56]
On Ebersole as Sally in Follies:
“She definitely shares some mental waves with Sally Durant Plummer. ... It’s right in her vocal wheelhouse and I know she can act the thing. ... It’s a shame we never got her to do that.”
— [59:50]
On Jennifer Holliday’s “I’m Still Here”:
“It was, however, almost nine minutes long. ... That is four extra minutes. That is how slow she took it. ... She did give it the Jennifer Holliday oomph.”
— [1:03:36]
On recognizing podcast listeners:
“If you see me at a show, if you see me at a restaurant or wherever, by all means, say something. ... Whoever really gets recognized facially for a podcast, you know?”
— [1:15:14]
Timestamps for Major Segments
| Section | Timestamp | |-----------------------------------|---------------| | Listener Reviews | 05:41 | | Home Review | 09:39 | | Here There Are Blueberries Review | 15:57 | | Titanic (Encores) Review | 37:38 | | Follies at Carnegie Hall Review | 55:25 | | Podcast Community Ideas | 1:15:20 |
Tone & Language
Matt’s delivery is fast, profanity-laced, deeply informed, candid, and mischievous; he toggles between affectionate theatre nerd, jaded New Yorker, and teacher-by-example. The episode fluctuates between storytelling, personal anecdotes, inside baseball, and sharp-edged but loving critique.
Final Thoughts
A quintessential Matt Koplik episode—overstuffed, highly opinionated, but above all deeply invested in Broadway’s past, present, and future. Whether offering tough love to a new play, pushing for more community among theatre fans, or standing in awe of a roomful of Broadway legends, Matt’s affection for the art form is always palpable.
(Look out for the next episode, featuring an interview with Ben West about his new American musical theatre history book.)