Broadway Breakdown Episode Summary
Host: Matt Koplik
Episode Title: Matt Reviews: ELF, TAMMY FAYE, SWEPT AWAY & DEATH BECOMES HER
Release Date: November 24, 2024

Introduction
In this episode of Broadway Breakdown, Matt Koplik delves into a comprehensive review of four Broadway productions: Elf, Tammy Faye, Swept Away, and Death Becomes Her. Known for his candid and spirited analysis, Matt offers listeners an in-depth exploration of each show's strengths, weaknesses, and overall impact on the Broadway landscape. The episode also touches on listener reviews and insights into Matt's own creative endeavors.

1. Elf

[Timestamp: 07:30]

Overview:
Matt begins the episode with a review of Elf, the third Broadway incarnation of the beloved holiday classic based on the 2003 film starring Will Ferrell. He discusses the show's history, previous cast performances, and offers his first-hand impressions of the latest production starring Gray Henson.

Key Points:

• Casting Excellence: Matt praises Gray Henson's portrayal of Buddy the Elf, highlighting his perfect fit for the role with his dry comedic delivery and earnest performance.
  "Gray Henson as Buddy is extraordinarily perfect casting. He really makes the musical work."
  (07:45)

• Musical Composition: The score by Matthew Sklar is lauded for its catchy tunes and clever lyrics by Chad Buguelin. Matt suggests that while the musical is delightful, it feels slightly overextended.
  "Overall, it is a well-structured musical. The songs are all in the correct places. It's Matthew Sklar on music, so it's like obviously a lot of great bops."
  (09:10)

• Production Design: Despite budget constraints, the creative use of projections and minimalistic sets effectively enhances the storytelling without making the production feel cheap.
  "The design is very nice; it just looks streamlined."
  (11:20)

• Choreography and Direction: Liam Steele's choreography receives high marks, with Matt declaring it the best of the season. Philip William McKinley's direction ensures the show's pacing remains engaging and joyful.
  "The choreography by Liam Steele was very good. It would be my number one right now for best choreography of the season."
  (13:50)

Conclusion:
Despite some pacing issues, Matt finds Elf to be a heartwarming and well-executed rendition that successfully captures the spirit of the original film. He highly recommends Gray Henson's performance and anticipates award nominations for his role.

2. Tammy Faye

[Timestamp: 22:29]

Overview:
Next, Matt tackles Tammy Faye, a musical centered on the life of Tammy Faye Bakker. Unfortunately, this production is deemed a significant flop of the season, receiving harsh criticism from both critics and audiences alike.

Key Points:

• Critical Reception: Matt underscores the show's poor reception, noting its impending closure after only 29 performances and 24 previews.
  "Tammy Faye is pretty much considered the flop of the season. It got trashed across the board from critics."
  (22:45)

• Narrative Flaws: The musical struggles with an unfocused storyline, failing to deliver a compelling portrayal of Tammy Faye's complex persona. Matt criticizes the lack of depth and character development, particularly in how Tammy Faye interacts with her husband and the gay community.
  "Tammy Faye is so passive in this entire musical. We don't get many facets of her."
  (25:30)

• Production Issues: The mismatch between the show's scale and the Palace Theater's large venue results in an underwhelming experience. Additionally, design elements fail to adequately convey Tammy Faye's iconic style, leaving the character visually bland.
  "Tammy Faye would probably work better in a smaller theater like the Music Box or the Broadhurst."
  (27:15)

• Performance Critique: While Christian Borrell's portrayal of Jim Baker is noted, Matt feels the character lacks the necessary depth and charisma to carry the narrative. Katy Braben's performance is seen as adequate but not transformative, lacking the essential traits that define Tammy Faye.
  "Katy Braben doesn't channel Tammy Faye Baker in any way. She just doesn't give any of it."
  (29:50)

Conclusion:
Matt concludes that Tammy Faye fails to capture the essence of its titular character and suffers from significant storytelling and production shortcomings. He firmly advises against seeing the show, labeling it a "nay."

3. Swept Away

[Timestamp: 40:16]

Overview:
*Mired in the aftermath of Tammy Faye, Matt moves on to Swept Away, a jukebox musical featuring the Avett Brothers' song catalog. He provides a nuanced critique, balancing praise for certain elements with disappointment in others.

Key Points:

• Musical Arrangement: The Avett Brothers' music is commended for its seamless integration and beautiful arrangements, making it the standout feature of the show.
  "The music for this show is handled incredibly well. I thought that everything sounded beautiful and made sense for the world of the show."
  (40:34)

• Storytelling and Pacing: Matt criticizes the narrative for being overly drawn out and lacking sufficient tension and character development, particularly during the shipwreck sequence and subsequent survival ordeal.
  "I found the second half of the show, the last hour, both overwritten and underdeveloped in terms of story."
  (45:20)

• Production Design: Despite narrative flaws, the production design by Rachel Hawke is praised for its clever use of space and innovative stage mechanics, such as the rotating ship deck that effectively conveys the tumultuous sea environment.
  "The design is well done. It's simple but effective, with surprises within it."
  (48:10)

• Choreography and Direction: Michael Mayer's direction brings a return to his earlier, more dynamic style, though it doesn't reach the heights of his acclaimed works. David Newman's choreography is effective but lacks the innovation seen in the best of Broadway.
  "The choreography by David Newman is very effective, particularly in the shipwreck sequence."
  (50:40)

Conclusion:
While Swept Away excels musically and boasts strong design elements, Matt feels the storytelling does not engage fully, leaving the overall experience underwhelming. He acknowledges its potential but ultimately rates it as a mixed bag.

4. Death Becomes Her

[Timestamp: 53:53]

Overview:
Concluding the quartet of reviews, Matt examines Death Becomes Her, a Broadway adaptation of the 1992 cult classic film. He navigates through the show's visual spectacle, performances, and narrative execution.

Key Points:

• Performance Highlights: Jennifer Simard's portrayal of Helen is lauded as the show's pinnacle, with Megan Hilty's Madeline Ashton receiving equally strong but distinct commendation.
  "Jennifer Simard is the talent alien of our time. She's getting her just desserts and vehicle in this role."
  (53:55)

• Set and Costume Design: The elaborate set design by Rachel Hawke and Paul Tazewell's costumes are praised for their intentional garishness and effectiveness in portraying the film's flamboyant aesthetic.
  "The set design is elaborate without feeling overly garish, and the costumes are very strong, particularly Michelle Williams' Vegas elegant attire."
  (58:30)

• Book and Script: While the humor and certain lyrical compositions are appreciated, Matt finds the book to adhere too closely to the movie, resulting in predictability and missed opportunities for deeper storytelling.
  "The book is pretty faithful to the movie, but the overall story feels overstretched and lacks engaging tension."
  (1:02:15)

• Direction and Choreography: Chris Catelli's direction and David Newman's choreography receive mixed reviews. While the use of body doubles and visual gags adds humor, Matt believes the director could push the comedic boundaries further to elevate the show.
  "The choreography is effective, and the use of body doubles is clever, but there's potential for more inventive comedic direction."
  (1:04:50)

• Overall Entertainment Value: Despite its flaws, Death Becomes Her is recognized for being a fun and colorful production that successfully draws in audiences, though it doesn't fully achieve the depth or innovation Matt desires.
  "It is a good time and I did enjoy myself, even though I had higher expectations."
  (1:08:25)

Conclusion:
Death Becomes Her stands out for its vibrant performances and visual flair, particularly Jennifer Simard and Megan Hilty's dynamic portrayals. However, the story's execution and direction leave room for improvement. Matt recommends the show for its sheer entertainment value but notes it may not resonate as deeply as some of Broadway's more refined productions.

Listener Reviews and Feedback

[Timestamp interspersed throughout]

Matt addresses listener reviews from the Discord Channel, highlighting positive feedback and constructive criticism. He emphasizes the importance of respectful and thoughtful reviews, reminding listeners that behind every podcast is a human being deserving of considerate feedback.

Notable Listener Review Highlights:

• Positive Feedback: Fort Wayne Ben commends the podcast for its knowledge and passion, especially post-election, emphasizing the unifying power of art and creativity.
  "This podcast is exactly what we need right now. Art and creativity is what unites us."
  (05:00)

• Constructive Criticism: A listener expresses frustration with the length of reviews and the inclusion of guests who may not have fully experienced the shows, urging for more informed and concise discussions.
  "Sometimes I can't take it and I want to quit... How can these people be commenting?"
  (15:20)

Matt responds by reiterating his commitment to providing well-informed and respectful analyses, acknowledging the balance between his opinions and listener expectations.

Final Rankings

[Timestamp: 1:20:00]

Before concluding, Matt presents his updated rankings of the season's Broadway shows, incorporating both new and off-Broadway productions.

Top 5 Highlights:

1. The Hills of California
2. Oh Mary
3. Maybe Happy Ending
4. Yellowface
5. Sunset Boulevard

Middle Rankings:

• Death Becomes Her secures the 6th spot, acknowledging its strong performances and design despite narrative shortcomings.
• Swept Away ranks 14th, appreciated for its musical arrangements but hampered by storytelling issues.
• Tammy Faye lands at 20th, reflecting its status as a major flop.
• Elf is placed at 1st among the reviewed shows, highlighting its joyful execution and standout performances.

Bottom Rankings:

• Shows like Left on 10th, McNeil McNeil and the Mick Margarita, and Strategic Love Play occupy the lower tiers, deemed least impressive by Matt.

Conclusion
In this episode, Matt Koplik delivers a thorough and passionate critique of four diverse Broadway productions, offering valuable insights into each show's artistic and production merits. While celebrating standout performances and musical compositions, he doesn't shy away from pointing out significant flaws, providing a balanced perspective for theater enthusiasts. Listeners gain not only Matt's expert opinions but also an understanding of his broader views on theater production and community engagement.

For more detailed discussions and to join the conversation, listeners are encouraged to participate in the Discord Channel and engage with the podcast through reviews and ratings.

Notable Quotes:

• "Gray Henson as Buddy is extraordinarily perfect casting. He really makes the musical work."
  (07:45)

• "Tammy Faye is pretty much considered the flop of the season."
  (22:45)

• "The music for Swept Away is handled incredibly well. Everything sounds beautiful and makes sense for the world of the show."
  (40:34)

• "Jennifer Simard is the talent alien of our time. She's getting her just desserts and vehicle in this role."
  (53:55)

Tune In:
Join Matt Koplik weekly on Broadway Breakdown for more passionate and insightful discussions on Broadway's latest and greatest. Whether you're a seasoned theatergoer or new to the scene, Matt's engaging analysis and wealth of knowledge are sure to enrich your Broadway experience.