Broadway Breakdown: "New Shows, Old Problems, Same Broadway"

Host: Matt Koplik | Guest: Rob Schneider

Release Date: November 16, 2023

Main Theme

This episode serves as a passionate, unfiltered temperature check on the 2023-2024 Broadway season. Host Matt Koplik and guest Rob Schneider (of "Behind the Curtain: Broadway's Living Legends") dissect the current slate of shows, reflect on recurring Broadway problems, and debate what makes a show worthwhile in an era of standing ovations and risk-averse productions. The duo's caustic humor and deep love for theater fuel conversation about honesty, critical disappointment, and the hope for something truly special onstage.

Key Discussion Points & Insights

1. The State of the 2023-2024 Broadway Season

[06:48–17:09]

• Three buzzy “off-Broadway-with-Broadway-aspirations” titles:
  • Here We Are, The Great Gatsby, Hell’s Kitchen.
• All these shows are currently sold out; speculation about whether they'll transfer to Broadway.
• Hell’s Kitchen—consensus it’s going to Broadway; Alicia Keys musical, Michael Greif directing.
• Widespread trend: Every single major New York/regional show takes Broadway into consideration.
  • Matt: “No show Off-Broadway, regional, whatever, does not have Broadway in the back of its brain.” (08:03)

2. Audience Response and the devaluation of Standing Ovations

[13:00–16:00]

• Standing ovations now happen at every show, making them meaningless as an indicator of artistic quality.
  • Matt: “A standing ovation now is customary... not standing is the equivalent of old school booing.” (13:37)
• True test: Audience energy and attention during the show, not just curtain call enthusiasm.

3. The Critical Eye vs. Supportive Fandom

[44:34–48:20]

• Both hosts bemoan the loss of honest, tough criticism within the Broadway community and the rise of everyone “rooting politely” without demanding better.
  • Matt: “No one is holding anyone accountable on Broadway right now... we don’t have that Arthur Laurents, Elaine Stritch bone right now, ... to point them in the face and say: do better!” (44:34–45:19)
• Disconnect between online/fan positivity and honest appraisals:
  • Rob: “You go on social media—'show was great, oh my god, wonderful'—but then privately, ‘worst piece of shit I ever saw in my life.’” (45:19–45:27)
• Dangers of enabling weak work: If everyone raves about everything, audiences become confused, tickets stop selling, and mediocrity persists.

4. Trends: Jukebox & Adaptation Fatigue

[15:19–16:29]

• Debate over “hybrid jukebox musicals” (e.g., Hell’s Kitchen, Clueless).
  • Matt: “As long as the product is good, I don’t care about anything.” (15:29)
  • The real problem is when non-musical writers and pop stars approach theater without grasping the dramaturgical demands.

5. Authenticity vs. Formula in New Musicals

[27:15–28:24, 54:55–56:20]

• Gutenberg!: Fun because of actors' chemistry, but the score isn’t as sharp as the book; general consensus that many new musicals try to “manufacture” an event instead of being daring or specific.
• Back to the Future called “the laziest adaptation” in years (44:34); the issue isn’t being “bad” but not trying for art or originality: “Just fucking try.”

Broadway Season Breakdown: New Shows, Upcoming Transfers, Predictions

[53:30–90:04]

Major New Musicals (and Transfers):

• Hell’s Kitchen – Predicted transfer to Broadway (likely at the Barrymore); mixed artistic prospects.
• The Great Gatsby (Paper Mill) – Unlikely to transfer after tepid reviews; despite hype and sellouts.
• Here We Are – Not expected to transfer.
• Operation Mincemeat – British original musical, highly praised and rumored to transfer.
• Harmony – Unlikely to run long; predicted to close by Spring unless bolstered by major investment.
• Lempicka – Critically acclaimed, high anticipation for Broadway debut.
• The Outsiders, The Notebook, Water for Elephants, Suffs, How to Dance in Ohio – All likely Tony contenders.

Anticipated Revivals:

• Mike Bartlett’s Cock (not mentioned in this episode)
• Merrily We Roll Along – Jonathan Groff's leading-actor Tony is "his to lose."
• Cabaret (with Eddie Redmayne) – divisive opinions, some hopeful for a fresh take, others skeptical of continued “razzle-dazzle, shock-value” revivals.
• Tommy (Nederlander Theatre) – strong advance word, box office should be solid.

Standouts Among Play Revivals:

• Pearly Victorious (Kenny Leon director); likely to take Best Revival of a Play.
• Doubt (with Tyne Daly and Liev Schreiber) – solid nomination prospects.
• Uncle Vanya (“Heidi Schreck" version) – curiosity but limited buzz.

Notable & Memorable Quotes

• Matt (on Broadway’s risk-aversion):
  “We have talented people... intelligent people... but we don’t have that Arthur Laurents, Elaine Stritch bone. ...We’re all just holding hands going, ‘kumbaya, so happy for you!’...it’s hard to make a show, but you should want it to be great.” (44:34–45:19)

• Rob (on the culture of positivity):
  “You go on [Instagram]—‘wonderful show’—but then privately, ‘worst piece of shit I ever saw in my life.’” (45:27)

• Matt (on standing ovations):
  “A standing ovation now is customary...and a not standing is the equivalent of old school booing.” (13:37)

• Matt (on audience luxury):
  “People pay far too much money to sit in an uncomfortable chair where they can’t smoke, drink, cop a feel, to be not watching something that challenges them.” (47:01) – paraphrasing Elizabeth Ashley

• Rob (on the need for challenging plays):
  “Give me a play that says: This is why Donald Trump was the best president ever. Challenge me!” (97:54)

• Matt (on passion deficit):
  “Where’s the person who moved to New York with $10 and a dream, with a side hustle to be on that stage?... Where’s the passion?” (119:04)

Predictions/Tony Buzz

Best Musical (Predictions)
Consensus among hosts for likely nominees:

• The Notebook
• The Outsiders
• Suffs
• Water for Elephants
• Lempicka
• (possible 6th slot: Operation Mincemeat or How to Dance in Ohio)

Best Leading Actor in a Musical

• Jonathan Groff (“Merrily We Roll Along”) widely seen as the frontrunner.
• Also strong: Chip Zien (Harmony), Brian D’Arcy James (Days of Wine and Roses), Eddie Redmayne (Cabaret), potential unnamed leads from The Notebook and Outsiders.

Best Leading Actress in a Musical

• Marianne Plunkett (The Notebook), Kelly O’Hara (Days of Wine and Roses), Eden Espinosa (Lempicka), Gayle Rankin (Cabaret), and possibly Lindsay Mendez (Merrily).

Ongoing Broadway Problems

[Throughout]

• Artistic cowardice: too many adaptations, bio/jukebox shows, lack of daring new writing.
• “Star casting” in roles that don’t fit (e.g., Little Shop’s Seymour allegedly being cast as “Calvin Klein models”).
• Mediocre shows given raves by industry insiders, leading to audience disappointment and box office stagnation.
• Workshops/full-scale productions rushed to Broadway before they're ready; reluctance to delay/replace for the sake of improvement.

Notable, Candid Exchanges & Memorable Sections

• The “Daddy Issues” Origin Story & Running Jokes:

  • Matt and Rob recount the scarring experience of meeting around the flop play "Daddy Issues" (03:29–06:46), using irreverent analogies and deadpan delivery.
  • Ongoing banter about Jennifer Simard, Shoshana Bean, and micro-celebrity politics.

• The “Honesty and Accountability” Manifesto:

  • The episode closes with a call to make this the "year of honesty" in show-going and in feedback.
    • Rob: “Let’s make this the year of honesty and accountability!” (126:33–126:35)

Timestamps for Important Segments

• Dissecting Off-Broadway Contenders & Transfer Potential: [07:06–17:09]
• What Makes a Standing Ovation Meaningless: [13:00–16:00]
• Hell’s Kitchen & Problematic Jukebox Musicals: [12:13–16:29]
• State of Broadway Criticism/Accountability: [44:34–48:20, 126:33–127:02]
• Best Musical—Prediction Segment: [85:48–92:40, 120:12–122:43]
• What Broadway Needs Now—Final Manifesto: [119:04–121:14, 126:33–127:34]

Episode Tone and Language

The hosts speak in a sharp, profane, but affectionate register, channeling classic gay wit, deep theater nerdery, and the insider candor of an offstage Broadway bar. Both delight in “calling it like they see it,” liberally critique “safe” production choices, and demonstrate encyclopedic knowledge of musical theater. Matt’s lightning-quick asides and Rob’s darkly comic deadpan create a lively, rant-filled—but loving—portrait of two passionate theater queens longing for Broadway to dare more and settle less.

Closing Remarks

Matt and Rob sign off by challenging listeners and the community to be more honest and demanding, as both audience and creators. They hope for a season where "something truly excites"—and vow, in the meantime, to remain both supportive and unflinchingly honest.
“I want energy. I want excitement. I want something to make it feel real.” – Matt (128:19)

For more, visit: bwaybreakdown.substack.com
Instagram: @koplik (Matt) | @robwschneider (Rob)
Hear Matt sing: 54 Below, December 7, 2023