Broadway Breakdown: Ranking All 42 Broadway Shows This Season (42-23)
Release Date: May 15, 2025
Introduction
In this impassioned and unfiltered episode of Broadway Breakdown, host Matt Koplik embarks on the monumental task of ranking all 42 Broadway shows from the 2024-2025 season. True to his reputation as the most opinionated and foul-mouthed theatre geek, Matt dives deep into each production, offering candid critiques, insightful analysis, and, unsurprisingly, a colorful vocabulary. This episode serves both seasoned Broadway aficionados and newcomers looking to navigate the bustling Broadway landscape.
Rankings Overview (42-23)
The following sections encapsulate Matt's thoughts on each show, highlighting strengths, weaknesses, and memorable moments.
42. Left on 10th
Description:
A Broadway play based on Delia Ephron's true story of finding love in later life amidst a cancer diagnosis.
Matt's Analysis:
Matt criticizes the adaptation, stating, "Delia Ephron knows how to write articles, maybe even books, but she does not know how to write for the stage." He highlights the slender support from performances by Kate McCullidge and Peter Francis James but laments the overall execution.
Notable Quotes:
- "This is truly one of the worst things I've ever seen on Broadway anywhere." [20:15]
- "It's lazy and incompetent." [20:42]
41. McNeil
Description:
Starring Oscar winner Robert Downey Jr., McNeil is a play centered around an author's obsession with AI.
Matt's Analysis:
Despite a strong design and presence, Matt finds the narrative lacking. He remarks, "It's a bad play," and expresses frustration over the high-profile production not meeting expectations.
Notable Quotes:
- "He becomes obsessed with AI and that's really all I can tell you." [25:10]
- "This is not a show with any kind of lasting impression." [26:05]
40. Tammy Faye
Description:
A musical based on the life of Tammy Faye Bakker, co-written by Elton John and Jake Shears.
Matt's Analysis:
Matt criticizes the musical's attempt to blend satire with heartfelt moments, stating, "Elton John is a good composer, but I would argue he's not a good musical theater composer." He points out miscasting and a lack of genuine storytelling.
Notable Quotes:
- "It's like uncooked fish and chips, telling you it's a hot dog with ketchup." [27:30]
- "It just sits there like uncooked fish and chips." [28:05]
39. Redwood
Description:
A new musical starring Tony winner Idina Menzel, revolving around a lesbian New York art gallery owner finding solace in a redwood tree after her son's overdose.
Matt's Analysis:
While appreciating the set design and some performances, Matt finds the narrative disjointed. He critiques the overreliance on projections and feels the characters lack depth.
Notable Quotes:
- "Redwood is deadwood as far as I'm concerned." [29:50]
- "It just sort of feels like Tina Landau had an idea of wanting to use screens and." [30:20]
38. Last Five Years
Description:
A revival directed by Whitney White, focusing on the tumultuous relationship between Jamie and Kathy.
Matt's Analysis:
Matt acknowledges Adrienne Warren's strong performance but criticizes the lack of nuanced character development. He feels the production is locked into a rigid narrative without room for interpretation.
Notable Quotes:
- "She owns the room in a way that Nick really can't." [32:10]
- "It's the rehearsal dynamics that don't work." [32:45]
37. Romeo and Juliet
Description:
A modern revival directed by Sam Gold, starring Kit Connor and Rachel Zegler, aiming for a Gen Z interpretation of Shakespeare's classic.
Matt's Analysis:
While praising Kit Connor's performance and the innovative lighting, Matt finds the overall production confusing and underwhelming, especially criticizing Rachel Zegler's portrayal.
Notable Quotes:
- "Rachel Zegler has an incredible voice, but the acting doesn't match." [34:25]
- "This was a giant miss for me." [35:00]
36. Home
Description:
A revival of the 1980 Tony-nominated play, directed by Kenny Leon, focusing on Cephas Miles' struggles in a big tech company.
Matt's Analysis:
Matt finds the production dull and unmemorable, despite strong performances from supporting actors Brittany Inge and Story Ayers. He suggests the size of the theater doesn't suit the play's intimate nature.
Notable Quotes:
- "It was very hard for it to land with everyone in the theater." [36:40]
- "This is a show meant for a black box where the furthest row is like row seven." [37:05]
35. Smoosh
Description:
Adapted from the TV show Smash, Smoosh is a satirical take on Broadway productions and the drama behind the scenes.
Matt's Analysis:
Despite commendable performances and strong musical numbers, Matt criticizes the script for lacking humor and coherence. He feels the show fails to deliver on its satirical promise.
Notable Quotes:
- "Brooks Ashmanskas is a pro, but the script just isn't funny." [39:30]
- "It's a giant miss with moments that are fun." [40:45]
34. All In
Description:
Based on Simon Rich's collection of love stories, performed by a rotating cast including John Mulaney and Fred Armisen.
Matt's Analysis:
Matt appreciates John Mulaney's performance but feels the show lacks depth and sufficient humor. He criticizes the underutilization of stars like Renee Elise Goldsberry and Fred Armisen.
Notable Quotes:
- "It's not really a play. It's not for me." [42:10]
- "It's a collection of short stories that were only semi-funny." [42:55]
33. Othello
Description:
A revival starring Denzel Washington and Jake Gyllenhaal, directed by Kenny Leon, reimagining Shakespeare's tragedy.
Matt's Analysis:
Despite strong performances from Jake Gyllenhaal as Iago and Andrew Burnap as Cassio, Matt criticizes Denzel Washington's portrayal of Othello as lacking and the overall production as rudderless.
Notable Quotes:
- "This is not a show with any kind of lasting impression." [44:30]
- "Andrew Burnap's performance as Cassio is the best in the show." [45:15]
32. Glengarry Glen Ross
Description:
A revival of David Mamet's Pulitzer-winning play, focusing on real estate salesmen in a struggling firm.
Matt's Analysis:
Matt acknowledges Bill Burr's standout performance but finds the direction underwhelming. He criticizes the high ticket prices and the lack of a fresh take on the material.
Notable Quotes:
- "Bill Burr nails his role completely." [47:20]
- "It's a very dry first act and becomes a lukewarm second." [47:55]
31. The Roommate
Description:
A two-hander starring Patti LuPone and Mia Farrow, exploring the complexities of a roommate relationship that evolves into something more.
Matt's Analysis:
While praising the strong performances from supporting actresses Brittany Inge and Story Ayers, Matt feels the main characters lack depth and the direction misses opportunities for greater comedic engagement.
Notable Quotes:
- "It's a budding friendship that tries to blossom into something more complex." [49:10]
- "The set was too slick and lacked physicality needed for comedy." [50:30]
30. Our Town
Description:
Kenny Leon's revival of Thornton Wilder's classic, emphasizing inclusive casting with an ensemble portraying multiple productions of Our Town.
Matt's Analysis:
Matt appreciates the effort to modernize and diversify but finds the casting choices clashing and the production lacking cohesion. He believes the intimate nature of the play doesn't align with the grandiose set and diverse acting styles.
Notable Quotes:
- "Every actor was in a different production of Our Town, creating a clashing ensemble." [52:15]
- "It's a brilliant play, but this production doesn't capture its essence." [53:00]
29. A Wonderful World: The Louis Armstrong Musical
Description:
A jukebox musical celebrating the life and music of Louis Armstrong, co-conceived by James Monroe Iglehart.
Matt's Analysis:
While recognizing the strong performances from Darlesia Circe and Jenny Harney Fleming, Matt criticizes the book for being clichéd and the overall narrative for lacking depth. He feels the musical fails to capture Armstrong's creative genius.
Notable Quotes:
- "The set design was rather ugly with unnecessary suitcases cluttering the stage." [55:30]
- "The book is so bad that it drags down the entire show." [56:10]
28. Swept Away
Description:
A musical directed by Michael Mayer, featuring music by the Avett Brothers, centered around sailors stranded at sea facing moral dilemmas.
Matt's Analysis:
Despite beautiful set design and commendable performances from Stark Sands, Matt finds the script dull and unengaging. He criticizes the lack of connection between narrative and musical elements.
Notable Quotes:
- "The book by John Logan is so bad that it knocks down the show significantly." [58:45]
- "Swept Away is a 90-minute musical about sailors that just doesn't connect." [59:30]
27. Good Night and Good Luck
Description:
Adapted from the film directed by George Clooney, this play delves into Edward R. Murrow's fight against McCarthyism.
Matt's Analysis:
Matt appreciates the strong performances, especially from Clark Gregg as Don Hollenbeck, and the effective use of multimedia to portray televised sequences. However, he finds the production somewhat dry and feels it didn't fully challenge or surprise the audience.
Notable Quotes:
- "Clooney's speeches are intelligent and brutally honest." [61:10]
- "It's a dry show 80% of the time." [62:05]
Listener Reviews
Before delving into the rankings, Matt shares glowing feedback from listeners Nadine from Poughkeepsie and the duo Sam, Love your hard work, Matt, respectively. These reviews highlight the podcast's ability to educate and entertain, expanding listeners' theatrical horizons and providing insightful critiques.
Notable Listener Quotes:
- "The amount of laughter and joy that I've gotten from this podcast is unparalleled." — Nadine [04:30]
- "Hip Darren. Broadway Lovers need Matt Koplik's honest, informed, and enthusiastic criticisms." — Sam and Friends [06:45]
Conclusion
Matt Koplik's Broadway Breakdown offers a no-holds-barred ranking of the current Broadway season's offerings. From the dismal performances of Left on 10th to the nuanced critiques of Good Night and Good Luck, Matt provides a comprehensive and candid assessment of each show. His blend of personal opinion, theatrical insight, and unfiltered commentary makes this episode a must-listen for anyone seeking an honest take on Broadway's latest ventures.
Note: Due to the extensive nature of the podcast episode, the summary focuses on the initial half of the rankings (42-23) as detailed in the provided transcript. Future summaries will continue with the remaining rankings in subsequent episodes.