Broadway Breakdown: PROMISES, PROMISES w/ Adam Elsberry

Date: December 14, 2023
Host: Matt Koplik
Guest: Adam Elsberry

Episode Overview

This episode of "Broadway Breakdown" dives deep into PROMISES, PROMISES, the 1968 Burt Bacharach/Hal David/Neil Simon musical adaptation of Billy Wilder’s film The Apartment. Matt Koplik and returning guest Adam Elsberry dissect the show’s artistic and critical legacy, its place in Broadway history, its influences and innovations, and examine whether it stands as a problematic relic, a sharp commentary, or something in between.

Main Themes and Purpose

• Examining a "Problematic" Classic: The show’s depiction of sexual politics in the workplace, gender roles, and its treatment of both heartbreak and comedy inside the 1960s corporate world are all placed under the microscope.
• Comparing Musical and Film: Contrasts and parallels between Promises, Promises and its source material, The Apartment, and the societal shifts between their respective releases.
• Legacy, Impact, and Reinvention: Exploration of the show's theatrical innovations, its decline in production frequency, and the results/shortcomings of its major Broadway revival.
• Personal and Cultural Connections: How the themes of the show intersect with the hosts' lives and broader theater geekdom, and shout-outs to significant pop culture encounters (e.g., the film Camp).

Key Discussion Points & Insights

1. Origins and Personal Entry Points ([02:15-06:15])

• Both Matt and Adam encountered Promises, Promises in their youth (through cast albums, student performances, and, for their generation, the film Camp's "Turkey Lurkey Time" number).
  • Quote: "For a movie that ultimately made no money, [Camp] has a very big artistic legacy in the theater world. ...most of us had never seen this number before." – Matt (06:35)
• The Camp film’s influence is highlighted as key in introducing "Turkey Lurkey Time" to a new generation.

2. Historical Context and the Source (The Apartment) ([10:55–18:28])

• The Apartment (1960) is discussed as groundbreaking—winning Best Picture, written by "the greatest screenwriter" Billy Wilder, whose inspiration came from Brief Encounter.
• The film was divisive: some deemed it "immoral" (for its adultery and sexual openness); others lauded its courage and critique of office sexual politics.
  • Quote: "Because Cece Baxter is not a perfect gentleman. ...the fact that Fran herself was a sexual person who made these very messy mistakes. How dare they make this movie?" – Matt (19:07)
• Important context: The Hays Code and shifting sexual mores as the backdrop for both film and musical.

3. Women in the Workforce & Sexual Politics ([24:07–29:10])

• Discusses post-WWII shifts in gender roles; women’s increasing office presence, patriarchy, and the resulting change in sexual dynamics.
• The show’s perspective is that women in such offices "are people" with lives and heartaches, not just trope objects, and aims for honesty about consequences of office affairs.
  • Quote: "He goes, those secretaries are women, and shocker everyone—women are people." – Matt (28:13)

4. The Musical’s Creation and Innovations ([29:52–36:48])

• Originated by Neil Simon & Bob Fosse, produced by David Merrick.
• Revolutionary Sound Design: Jonathan Tunick and Bacharach’s work, plus the introduction of sound mixing and pit singers, changed how theater orchestrations sound.
  • Quote: "The way we have sound design today was pioneered by Promises, Promises." – Matt (35:55)
• Staging and Scene Transitions: Michael Bennett’s choreography and Robin Wagner’s fluid, cinematic scenic design; dance became character & plot-based, not just spectacle.

5. Critical Acclaim & Period Reception ([34:21–50:22])

• The 1968 opening brought "Hamilton-level reviews" (ex: "the kind of show where you feel more in the mood to send a congratulatory telegram than write a review." – Clive Barnes, [43:46])
• Promises, Promises seen as both a traditional musical and a harbinger of Broadway's future—current in style and modern in message.

6. Music & Choreography’s Impact ([50:47–72:04])

• The original cast album (frequently criticized for its tired singing) won a Grammy. "Every song can bop," but some lyrics are questionable.
• Turkey Lurkey Time: Considered perhaps "the greatest choreographed number in Broadway history" ([57:20–72:04]), lauded for its explosive build, character-based choreography, and enduring theatricality.
  • Quote: "He always knew what step, when done repeatedly by an ensemble, would get an applause." – Donna McKechnie, as cited by Adam ([61:53])
  • Noted that few modern Broadway shows understand how to "build" a dance number the way Bennett and Fosse could.

7. Plot, Characters, and Gender Dynamics ([73:39–101:04])

• Detailed synopsis, with close analysis on plot changes between film and musical (e.g., adjusting Fran’s character from elevator operator to cafeteria worker).
• Character discussions: Jerry Orbach (Chuck), Jill O'Hara (Fran), Edward Winter (Sheldrake).
• Margie McDougal: An expanded, Tony-winning role acting as comic relief and gender/sexual agency foil; examined through different productions and performances.
• Ms. Olsen: The original secretary/“ex-mistress,” whose final act of exposure is given more punch by Simon.

8. Depression, Heartbreak, & Fran’s Attempted Suicide ([118:01–125:41])

• Poignant discussion on the realism and emotional authenticity of Fran’s experience, her heartbreak and suicide attempt, and how the story ultimately respects her humanity rather than punishing her for sexual missteps.
  • Quote: "It's only a reflection of yourself if you keep letting it happen. What the person does to you is not because of you – that is on them." – Matt ([124:48])

9. The 2010 Broadway Revival ([128:32–148:31])

• Rob Ashford's production, starring Sean Hayes, Kristin Chenoweth, Tony Goldwyn, and Katie Finneran, gets a searching critique:
  • Moving the setting to 1962 for a "Mad Men" vibe considered a mistake.
  • Ashford's choreography criticized for lacking character-driven storytelling.
  • Hayes and Chenoweth regarded as ultimately miscast due to age and energy; Finneran’s Margie McDougal notably steals the show (and wins the Tony).
  • Quote: "It wasn't the kind of disaster where you put your head in your hands and go, 'what were we thinking?' No, it was more just like constant missed opportunity after missed opportunity." – Matt ([143:22])

10. Is the Show Problematic Today? ([160:10–164:39])

• Adam: "It's not problematic. I think...it definitely doesn't glamorize cheating ...I think anybody who's supposed to look bad in the show looks bad, and people who are supposed to be the good people come out on top." ([160:28])
• Matt: "It's mostly a product of its time. ...the characters in this show still are far more complex than some of the female roles we have today, especially written by men." ([161:36])
• Both hosts agree it’s not sexist nor a "celebration" of office misogyny, but rather, a nuanced look at flawed people in a difficult context that leans more pointed (and progressive) than many give it credit for.

Notable Quotes & Memorable Moments

• "[Turkey Lurkey Time] might actually be the greatest choreographed number in Broadway history." – Matt (57:20)
• "'For a show that was touted, you know, 42 years prior to be nothing but heat and energy. It's like, how did we get that back?' ... And Hayes was honestly a little too old. ... I didn't need Jerry Lewis as Chuck Baxter." – Matt (143:35–144:34)
• "You want a relationship, you don't want a love story that would make a good movie. Because like, all the best stories in romcoms ... they're messy, toxic. That's what makes them good." – Matt (155:54)
• "Female characters that exist there are strong. They're—they have their own mind." – Adam (161:02)

Timestamps for Important Segments

• Intro & Personal Connections: [00:00–06:15]
• The Apartment & Film Reception: [10:55–18:28]
• Shifting Sexual Politics / Gender Roles: [24:07–29:10]
• Musical’s Creation and Innovations: [29:52–36:48]
• Critical Reception & Notable Season: [34:21–50:22]
• Deep Dive: Turkey Lurkey Time: [56:55–72:04]
• Plot & Character Analysis: [73:39–101:04]
• Fran’s Heartbreak & Suicide Attempt: [118:01–125:41]
• Revival Critique: [128:32–148:31]
• “Is It Problematic?” Discussion: [160:10–164:39]

Final Thoughts

Promises, Promises stands as a fascinating product of its era—boldly modern in its day, creatively influential, and layered rather than simply problematic. The hosts ultimately urge any future productions to keep it rooted in its 1968 context, play up its pathos and period, and always, always let the show’s innovative spirit and complicated humanity come first.

Closing Quote:
"[The story] ultimately respects [Fran’s] humanity rather than punishing her for sexual missteps. ...It’s not so much that nothing matters anymore. ...it’s that you can’t see the good anymore. ...the thoughts that live in your head are the ones that are the meanest." – Matt (122:43–123:40)

Outro:
– Jill O’Hara’s “Knowing When to Leave” (167:07).

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