Broadway Breakdown: "Matt Reviews: LOVE LIFE & THE PICTURE OF DORIAN GRAY"
Podcast Date: March 30, 2025
Host: Matt Koplik | Co-host: [unnamed] | Special Focus: Bonus Reviews

Episode Overview

In this bonus episode, Matt Koplik delivers his signature no-holds-barred, deeply knowledgeable take on two current New York theater offerings: the City Center Encores! revival of the rarely-seen Love Life, and the technologically dazzling Broadway import of The Picture of Dorian Gray starring Sarah Snook. With his classic blend of insight, historical context, and impassioned theater geekery (plus the occasional four-letter word), Matt dissects both productions, contextualizing their places in theatrical history and offering candid analysis of their execution.

Key Sections

• [00:37] – Introduction and rationale for song choice
• [04:25] – Love Life review (City Center Encores)
• [22:49] – Transition to The Picture of Dorian Gray
• [23:10] – Dorian Gray review (Music Box Theatre)
• [41:42] – Tony Awards speculation and critical discourse
• [51:11] – Closing thoughts and farewells

Review 1: Love Life (City Center Encores!)

Background and Context ([04:25 – 05:49])

• Love Life premiered on Broadway in 1948; music by Kurt Weill, book and lyrics by Alan Jay Lerner.
• Considered the first major "concept musical," influencing Cabaret, Company, and Follies.
• New York revival stars Kate Baldwin and Brian Stokes Mitchell.
• Direct connection to Broadway history: opening at what is now the Richard Rodgers Theatre.

Quote
"Love Life...is sort of considered the first major example of what we now know as the concept musical—musicals like Cabaret & Co. and Follies & Hair, where the plot is thin. It’s more the themes and the idea of the musical."
— Matt Koplik [05:49]

Structure and Themes ([06:17 – 08:19])

• Follows a married couple (Johnny and Elizabeth Cooper) from the late 18th century to 1948 through various eras of American history; their aging is suspended as the nation changes around them.
• Recent Encores! production made small changes to structure—children perform the opening magic act.
• Functions both as a study in marriage and an allegory for American progress (or lack thereof).

Artistic Observations ([09:29 – 12:40])

• Strong musical material, complex but compelling structure.
• Production features excellent performances; staging and choreography are "competent" if not truly inventive.
• Noted for its "disjointed" book and songs that sometimes stall dramatic momentum.
• The musical’s flaws make it a perfect case study for Encores!: an archival, fascinating experiment not destined for Broadway.

Quote
"It’s a concept that doesn’t totally work...but that’s sort of the fun of Encores. You are seeing this artifact from the past...finding some merit to it, while also understanding why it’ll never be seen again."
— Matt Koplik [10:13]

On Encores! Philosophy ([12:01 – 13:40])

• Matt laments a recent shift in City Center Encores! toward "Broadway tryout" expectations.
• Calls for Encores! to celebrate hidden gems and flawed masterpieces, showcasing "expensive theater nerd expeditions."

Quote
"That’s not what it should be about. Encore’s transfers should feel like an anomaly. Sometimes you get a Love Life, where it is, okay, this has its flaws, I’m glad I saw it, but I’ll never see it again."
— Matt Koplik [12:15]

Cast and Performance Highlights ([13:40 – 16:00])

• Kate Baldwin and Brian Stokes Mitchell praised for robust vocals and comedic efforts.
• Matt notes Baldwin’s strong presence but wonders if prior generations of comic actresses (Nanette Fabray, Andrea Martin) would have found even more.
• The show contains numbers that reference later concept musicals (Pippin, Lady in the Dark, Cabaret).

Notable Moments ([17:06 – 18:55])

• The vaudeville "Economics" number, acting as satirical commentary on love and money.
• Observes the "Golden Age musical" trope of rushed resolutions, with the marriage reconciling abruptly after significant trauma.

Quote
"We don’t hold it against Lerner, we don’t hold it against Weill for this being kind of a messy mixed bag of creativity and cleverness and underdeveloped, under-baked ideas. I am glad I saw it."
— Matt Koplik [19:36]

Final Thoughts on Love Life ([21:30 – 22:49])

• The show works best as a time capsule; Matt’s mother "actually enjoyed it more than I did," others disliked it.
• Ultimately, an example of what Encores! should do: "return to form."
• Sees little about the production that would justify a Broadway transfer, but values it as a unique theatrical artifact.

Review 2: The Picture of Dorian Gray (Music Box Theatre)

Background ([23:10 – 24:10])

• Adapted and directed by Kip Williams, starring Sarah Snook (Shiv in Succession, Olivier winner for the London production).
• The production blurs lines between one-woman show and ensemble: camera operators and assistants help craft the experience.

Source Material & Thematic Overview ([24:10 – 26:50])

• Based on Oscar Wilde’s novel: the story of a beautiful young man whose portrait ages and records his sins, while he remains outwardly unchanged.
• The production acknowledges the original’s queer undertones, though with "less prominence" than the text.
• Dorian’s relationships, moral decay, and eventual downfall are summarized with Matt’s usual snark.

Staging and Multimedia Approach ([29:28 – 33:53])

• Multimedia is foundational: a large moving LED screen, live and pre-recorded video, and Snook playing upwards of 26 characters.
• Technological and logistical feats: quick-changes, live projection, overlapping scenes—sometimes filmed live, sometimes cleverly pre-recorded.

Quote
"It is an impressive feat of technology, creativity and talent—how this all blended together."
— Matt Koplik [31:23]

Artistic Merits and Critiques ([32:18 – 36:10])

• Most critics are positive; mixed review from Jesse Green in the NYT (Matt agrees with some core points).
• Matt’s view: "impressed almost consistently...engaged most of the time...never really moved."
• Performance is astonishing but the show can be "cold," with removed emotional engagement.

Quote
"The impressiveness of the feat...not necessarily an engagement with the story or even character."
— Matt Koplik [32:56]

• Observes that the production’s "sardonic attitude" leaves certain tragic elements (e.g., Sybil Vane) without proper emotional heft.

Impact and Experimentation ([38:02 – 41:42])

• Sees the production as pushing theatrical boundaries for multimedia, but warns against overuse or losing the "live" element.
• Experiment is often more successful than not; any failings are "learning curves" rather than outright failures.

Quote
"This is an experiment, and there’s so much success that comes out of this experiment."
— Matt Koplik [38:05]

Tony Season Predictions ([41:42 – 44:36])

• Sarah Snook is "going to win the Tony for Best Actress."
• Direction, sound, lighting, costume, design nominations are likely.
• Unclear if it will make the Best Play cut ("hard dirt to be nominated for director when you don’t have a play nomination").
• The production’s legacy will be about the spirited debate it prompts regarding the definition of theater.

Notable Quotes on Structure and Audience Experience ([44:32– 47:15])

• On technology: "I think Dorian Gray does do a lot of [giving you the unexpected]... eventually, though, it gets to a point of such over-saturation that you kind of hit a plateau with it."
• On emotional connection: "There’s not a lot of humanity to it...and ultimately, it is a story about one man’s descent out of humanity into vulgarity and debauchery."
  — [39:18, 39:20]

Final Recommendations and Reflections ([47:14 – 50:34])

• Matt ranks Dorian Gray in his "top five or six" plays of the season—"impressed, recommend, but not a 10 out of 10."
• Offers comparisons to recent Broadway plays, highlighting that works relying more on live interaction (e.g., English, Hills of California) moved him more.

Meta-Theatrical Moments and Personal Anecdotes ([45:35, 47:38])

• Matt describes a personal theater geek's delight: clocking a Barbara Harris/Apple Tree reference, being the only one in the theater to audibly react.

Larger Themes and Memorable Takeaways

On Theater Criticism and Disagreement:

• Matt encourages deep engagement, even with reviewers you don’t totally trust: "You don’t have to agree with someone to find merit in what they have to say." [49:19]

On Theater’s Mission:

• "Ultimately what we keep coming back to theater for...is not just to be wowed, but to be engaged." [50:08]

Summary Table

| Timestamp | Segment | Highlights | |--------------|-------------------------------------------|----------------------------------------------------------------------------------| | 00:37 | Opening/Introduction | Eric Cartman’s "Poker Face" for joy, shout-outs to reviews, general gratitude | | 04:25–22:49 | Love Life Review | Show’s concept musical legacy, mixed effectiveness, Encores! philosophy, casting | | 23:10–41:42 | Dorian Gray Review | Multimedia overload, Sarah Snook’s achievements, emotional "coldness" critique | | 41:42–45:32 | Tony Speculation & Media Criticism | Thoughts on Snook’s Tony chances, director, tech categories, Jesse Green’s reviews| | 45:35–47:38 | Easter Egg Anecdotes & Recommendations | Apple Tree reference, overall ranking | | 47:38–50:34 | Comparative Reflections | Comparing dramatic/theatrical engagement vs technical impressiveness | | 51:11–52:27 | Closing | Podcast housekeeping, thanks, Barbara Harris outro |

Notable Quotes (with Timestamps)

• "Love Life...is sort of considered the first major example of what we now know as the concept musical." [05:49] — Matt Koplik
• "It’s a concept that doesn’t totally work...but that’s sort of the fun of Encores." [10:13]
• "The impressiveness of the feat...not necessarily an engagement with the story or even character." [32:56]
• "This is an experiment, and there’s so much success that comes out of this experiment." [38:05]
• "Ultimately what we keep coming back to theater for...is not just to be wowed, but to be engaged." [50:08]

Conclusion

Matt’s reviews reaffirm his complex blend of tough love and passion for theater. He values the archival, the experimental, and the chance to witness something that’s maybe more influential than outright successful. Both productions, in their own ways, sparked debate about theater’s purpose—Love Life as a flawed but foundational experiment, Picture of Dorian Gray as a breathtaking demonstration of the latest in theatrical technology, sometimes at the expense of emotional resonance.
Even if you can’t agree with every take, Matt’s energetic style, historical awareness, and willingness to speak frankly set this podcast apart.

For more theater nerd deep-dive reviews, ratings, and rants, follow Matt on Instagram (@mykoplik) and check out the Discord link in the episode description.