Broadway Breakdown: "Matt in London: PADDINGTON, INTO THE WOODS, STARLIGHT EXPRESS & More"

Host: Matt Koplik
Date: January 29, 2026

Episode Overview

This special episode of Broadway Breakdown chronicles Matt Koplik's latest theater trip to London with his mother. Instead of the usual career-deep dive with a guest, Matt delivers candid reviews of the new and classic shows he saw on the West End, including Starlight Express, Christmas Carol Goes Wrong, Playboy of the Western World, Into the Woods, and Paddington the Musical. Throughout, he interjects his "foul-mouthed" analysis and theater history insight, punctuated by direct audio clips of commentary from his mom.

The episode is structured show-by-show, blending personal anecdotes, reviews, and vibrant discussions about both the productions themselves and the larger state of British and American theater.

Ad reads, lengthy intros, and outros omitted per guidelines.

Key Segments and Timestamps

| Segment | Timestamp | |-----------------------------------------------|------------| | Opening, Housekeeping & Review Shoutouts | 00:22–07:53| | Starlight Express (with Mama K) | 07:54–22:54| | Christmas Carol Goes Wrong (with Mama K) | 23:09–36:00| | Playboy of the Western World (with Mama K) | 36:03–52:49| | Into the Woods (with Mama K) | 53:11–80:05| | Paddington the Musical (with Mama K) | 80:06–88:46| | Final Thoughts & Outro | 88:47–end |

(All times approximate for key content breaks.)

1. Opening, Housekeeping & Listener Reviews (00:22–07:53)

• Matt opens the episode with signature sass:

  "Hello all you theatre lovers, both out and proud and on the DL. And welcome back to Broadway Breakdown..." (00:24)

• Announces upcoming live shows, including the Sondheim/Webber birthday event, Broadway season recap, and Tony Awards live taping.

• Reads out select listener reviews, including UK and international feedback. Notable for their praise of Matt's "intelligent, informative and entertaining" style and for highlighting "warm energy and conversational way of speaking" as a point of connection for listeners.

• Joke about food/body comments in early episodes—Matt offers anecdote about feedback from a Hinge date who disliked body talk, saying:

  "He was like, so I listened to those older episodes. I really don't like how you two discuss bodies and food, so I don't think this is gonna work out. I don't think you're a very nice person." (06:51)

2. Starlight Express (07:54–22:54)

With Mama K (Matt’s Mother)

• Why finally see it?
  "You wore me down. Not only that, but I thought we had an extra night. What the hell? We're here. Let's do it." – Mama K (08:20)

• Audience Moment:
  Heartwarming story of the young man with cerebral palsy sitting in front of them, joyfully engaging with the cast.

  "He stuck his hand out and everyone gave him a five, a high five as they skated by. It was just a really beautiful moment." – Mama K (09:21)

• Queerness and Camp:
  Matt and Mama K discuss the "gay-ification" and camp elements in this revival, including newly gender-fluid characters and lesbian relationships.

  "They kind of gayified it, which was fun. Right. Elektra was now clearly fluid. There were others who were fluid. It was very camped up... It didn't take itself seriously." (10:38)

• Comparing Past & Present
  They note this staging is smaller, more intimate, and more engaging than when they'd seen it in 2000.

Matt's Solo Review

• Physical Production
  Praises the Wembley Park Troubadour Theatre’s immersive setup:

  "It's this giant venue that they recalibrated for Starlight Express...we felt very close to the action the entire time. And I think that helps with the energy..."

• Queerness Summed Up:

  “It's Xanadu as performed by Trixie Mattel in Thorgy Thor costumes.” (16:25)

• Casting Notes
  Highlights standout:

  • Rusty (Gavin Adams)—"really fantastic, quite the dreamboat"
  • Electra—strong and fluid performance

• Weaknesses / Critique

  • Show runs a bit long (“should be 90 minutes, not a fuck ton happens”)
  • Vocals: men stronger than women, generally

• Overall Take:

  "We really were surprised by how much we liked it...it's just a purely fun time. And that is all I really have to say about it. I don't have a lot of details that I remember about the show, more just the feeling." (21:20)

3. Christmas Carol Goes Wrong (23:09–36:00)

With Mama K

• Expectations:
  Only knew Mischief’s reputation, expecting “a Noises Off kind of a situation...havoc and chaos and all of that.” (23:37)

• Personal Connection:
  Matt’s own musical is being directed by Matty Decarlo, involved with the West End run.

• Favorite Gag:

  “There's a turn of phrase early on when they're doing auditions...supposed to be 'of Christmas yet to come', and he calls it 'Christmas who's about to come.' That one really got me. I'm a child and I love a good sex pun.” (25:01)

Matt's Solo Review

• Structure / Improvements
  More character-driven and plot-layered than other "Goes Wrong" installments—more like Noises Off.

• Observations:

  • Comedy is very physical and also good with wordplay
  • British audiences are more tolerant of running jokes or catchphrases

• Critique:

  • Jokes start to wear thin as the show goes on; prefers more fully-developed Mischief shows like Comedy About Spies
  • Production value cleverly splits the difference between "West End sets" and "community theater style"

• Notable Quote:

  “Bookended with auditions in rehearsal, and then they have the epilogue where you find out...how the cast comes together and how the director redeems himself and all these other things. And it's fun. It's really nice. I would love to see another Comedy About Spies, or rather another not Goes Wrong show from them. That's just sort of me.” (34:58)

4. Playboy of the Western World (36:03–52:49)

With Mama K

• Pre-Show Knowledge:
  None, but drawn by cast (stars from Derry Girls). “I had no idea what it was, and so I came to it fresh.” (36:22)

• Cast Praise:

  • Siobhan McSweeney (“Sister Michael” from Derry Girls), enjoyable as “a major vixen MILF cougar.”
  • Less enthusiasm for Nicola Coughlan’s and lead actor’s performances.

• Set / Design:

  • “Felt like it was a little dinky to me. I don’t know how to say it exactly. Like underdone.”

• Comedy?

  • Shock at idea this is considered a comedy:

    “Never.” (40:41)

• Best Feature:
  Poster art:

  “It’s sort of a rendering of our floozy Widow Quinn...her red skirt looks like a curtain and it’s draped and she’s got her hands on her knees. It’s...both provocative and artful.” (39:54)

Matt's Solo Review

• Plot Rundown
  “A young man named Christie shows up...having claimed he murdered his father, ends up becoming the hunk of the town, but twist: his father isn’t dead.”

• Production Critique:

  • Design takes up space but feels too big for the piece, which feels “blown up for this stage and just cannot fill the space.”
  • Direction added Irish ritual and music, making it lengthy and lacking in comic energy (“there wasn’t a single laugh for the first 30 to 40 minutes”).
  • Lead performance (Eanna Hardwick): miscast/misinterpreted, too “touched” and lacking necessary charisma or progression.

• Food break

  • Local dining recommendations: Prosecco at Forza Wine Bar (cauliflower fritter & rice pudding with rhubarb).

5. Into the Woods at the Bridge Theatre (53:11–80:05)

With Mama K

• Pre-Show Attitude:
  Not typically a fairy-tale fan; only recently started to enjoy Into the Woods through past productions:

  “I went in maybe with very lowered expectations.” (54:47)

• Reaction to This Production:
  Overwhelmed, especially by Kate Fleetwood as the Witch:

  “She just mesmerized me. I mean, she was strong and sexy and all these things at the same time, and I just...she had a great, great voice.”

• Set/Design Praise:

  “They absolutely created the woods on a smallish kind of stage. ...I thought it was fabulous.” (56:31)

  • She mentions the impactful stage transformation after the "giant and the tree falls" moment

• Comic Princes:

  • Noted homoerotic energy in this production:

    “They really did [amp up] the over homoeroticism. It was really quite obvious. It was funny.” (57:20)

Matt's Solo Review

• Historical Context & Production Trends:

  • Laments tendency for directors to “take a hit of acid and go to town” with concepts for Into the Woods (61:30)
  • Praises recent Broadway revival for "just doing the show"
  • Bridge Theatre's production, directed by Jordan Fine, stands out for design creativity

• Performance Notes:

  • Kate Fleetwood (Witch):

    “She is, without a doubt, the best live performance of the Witch that I have seen and the best Witch since Bernadette Peters.”

    • “Her Witch...she’s kind of like a British Elaine Stritch in the body of Gollum.” (64:30)
    • Her “Last Midnight” interpreted as “an extension of just how over it she is.”

  • Other Cast:

    • Baker (Jamie Parker): “very sympathetic”
    • Baker’s Wife (Katy Brabin): technically strong but “over sung” and “humorless”; wishes for someone with “Joanna Gleason” sensibility
    • Cinderella (To Sima Dornford May): notable for belt, less for soprano, gave the character a refreshing awkwardness
    • Princes (Oliver Seville & Rice Whitfield): “so fucking funny...an overt, almost incest vibe...It is played up for a very intensely sexual comedy.”

• Design Observations:

  • Effective use of a deep but intimate stage and trick lighting; scenic trees strategically moved to create variety
  • “Transitions sometimes...were a little slow, especially in Act 1” (70:20)
  • Noted new harmonies (e.g., “Ask the tree and you shall have your wish” in three-part harmony)

• Overall Verdict:
  “A really memorable production for right now...If I could plop Sara Bareilles into this production and...tighten up some of the transitions and maybe ask for one more go with the Witch's transformation, I think that this would be an absolute stellar production for the ages. As it is, it's a really memorable production for right now, which is...a major compliment.” (73:15)

• Audience and Staff Praise:
  Shout-out to Bridge Theatre staff and merch team: “You were so professional, and you were so courteous, kind, and personable. And I hope they recognize your value at the Bridge...” (73:56)

6. Paddington the Musical (80:06–88:46)

With Mama K

• Prior Knowledge:

  • Knew the “sweetest, cuddliest” Paddington from movies
  • Watched the “Peru” film on the plane

• Reaction to the Show:
  “I wanted it to be the absolute high point and...I loved it. I thought was. It was great, but it’s a little. It’s like a piece of candy, you know, it’s just...very sweet.”

  • Noted outstanding puppetry and mystery of how the bear’s face moves
  • Immediate standing ovation from the audience, but not excessively effusive throughout—markedly more reserved than an American crowd
  • On marketability: it works because it’s “motivated by kindness and goodness...motivates you to do some good in the world and be better to other people. Even if it’s...a simple story for all ages that can still be very magnificent in its own right.” (82:51)

• Paddington as UK Cultural Hero:

  • Observes that Paddington is a “national hero” in the UK: "To a lesser extent here...Almost like Doctor Who—sizable and passionate fan base, but not universal."
  • Matt and Mom trade ideas about American equivalents (e.g., Cat in the Hat, Wizard of Oz, but nothing quite the same.)

• Fun Detail:
  Matt recounts buying Paddington merch (sweatshirt, cap, magnet), with Mama K critiquing his “body dysmorphia” over sizing.

• Airport Encounter:
  Both met a fellow Paddington enthusiast at JFK, wearing a Paddington-blue toggle coat, who joined in the fandom joy.

Matt's Solo Review

• Went in Blind:
  “[I] didn't want to know anything about the music. I didn't want to know anything about the plot...I did my best to forget all about [the bear design]...”

• Plot Summary:

  • Essentially the first Paddington movie: bear emigrates from Peru, is adopted by Browns, chased by the villainous Millicent Clyde (played, in the musical, with “the right amount of whimsy...and menace” by Victoria Hamilton-Barrett).

• Production & Score:

  • Score by Tom Fletcher (of McFly): “wall to wall bops...really impressive...Pop music. Loud, exciting, brash...”
  • Blends projected media and physical sets for “visceral” and candy-coated effect, reminiscent of the films

• Bear Puppetry:
  “Mind blowing...an intricately mechanical face that is manipulated by the actor who sings Paddington and performs all his dialogue.”

• Critical Praise:

  • “This is a show that really is trying to go for the highest caliber of full family entertainment.”
  • Acknowledges it could be trimmed by 5-10 minutes for tightness, especially if it transfers to the US

• Universal Appeal:

  • Noted that, like the movies, it “does not cheapen Paddington to go for the lowest common denominator...they want both parent and child to like it, and that is where it succeeds so brilliantly.”

• Casting Shout-outs:

  • James Hamid (Paddington)
  • Victoria Hamilton-Barrett (Millicent Clyde): “a phenomenal actress...smoky belt...this role was tailor made for Jennifer Simard, but [Hamilton-Barrett] is SO special.”
  • Amy Booth-Steel (Lady Sloane): “knows how to steal the spotlight...without being rude to her castmates...the way she says 'Are you a member?' is just so funny.”

• Favorite Line:

  “Boss, is this bear endangered?”—“It is. Now.” (From Millicent, directly quoted line from the movies as well as the musical.)

• Emotional Impact:

  • For Matt, this was the highlight: “Paddington for me was such a delightful, heartwarming and confirming show. I wanted it to be good and it was good. I want to see it again.” (87:20)

7. Memorable Quotes

• On the new Starlight Express:

  “She gay. Starlet Express is quite gay. Partly, it is the attitude of this production...it’s Xanadu as performed by Trixie Mattel in Thorgy Thor costumes.” – Matt (16:25)

• On Christmas Carol Goes Wrong (sex pun):

  “Supposed to be ‘of Christmas yet to come’, and he calls it ‘Christmas who’s about to come.’ That one really got me. I’m a child and I love a good sex pun.” – Matt (25:01)

• On Into the Woods’ Witch:

  “She is, without a doubt, the best live performance of the Witch that I have seen and the best Witch since Bernadette Peters.” – Matt on Kate Fleetwood (64:30)

• On Paddington’s significance:

  “If you are in London, if you have the opportunity to absolutely see it...it’s such a delightful evening...they really took the time to think it through and make it the best it could be. And I want more people to think that as they go forward, creating works—especially for children.” (88:40)

8. Overall Episode Takeaways

• Matt in London episodes are unique for their blend of honest in-person reactions, critical analysis of both creative choices and audience dynamics, and personal theatergoing anecdotes.
• This episode was more conversation-based, with much airtime given to Matt’s mother for another viewpoint.
• The London theater scene is portrayed as lively, experimental, more reserved in audience response, and, in shows like Paddington, deeply tied to British cultural identity.
• Matt's approach: opinionated, humorous, honest ("least famous and most opinionated of all the Broadway podcast hosts"), and unafraid to cuss or call out mediocrity.
• Into the Woods and Paddington received highest praise, with Paddington the surprise personal favorite for Matt.

9. Additional Recommendations

• Dining Tip: “If you’re ever going to The National, make sure you get a nice fried cauliflower fritter at Forza Wine Bar.”
• Live Show Alert: Sondheim & Webber Birthday Threesome at Green Room 42, March 6th (see link in show notes).

For Further Engagement

• Join Matt on Instagram (@MattCopley), Substack, or the podcast’s Discord for follow-up questions/discussion.

This summary captures the flow, major discussion points, flavor, and notable lines of the episode, organized for easy reference and clarity. Advertisements, intro theme, and non-content sections were omitted per instruction.