This Week on Broadway for April 12, 2026: Cats: The Jellicle Ball

Summary

BroadwayRadio – This Week on Broadway for April 12, 2026: Cats: The Jellicle Ball

Episode Overview This episode of BroadwayRadio's "This Week on Broadway" brings together host James Marino and panelists Peter Filichia, Michael Portantiere, and Carrie Purcell to review a packed slate of recent Broadway openings. The episode’s main focus is a deep dive into "Cats: The Jellicle Ball," the acclaimed ballroom culture reimagining of the Andrew Lloyd Webber classic, now at the Broadhurst Theatre. The team also discusses "Becky Shaw," "Titanique," the latest "Death of a Salesman," "Giant," "Dog Day Afternoon," and more, providing candid critical analysis and sharing notable moments and memorable quotes throughout the show.

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Panel Introduction & Episode Context

• James Marino (Host): Kicks off the review marathon, highlights the abundance of current Broadway openings all happening within a short spring window, and congratulates the panel for keeping up with the packed schedule.
• Peter Filichia: Playwright, journalist, historian, and author of the "Day by Day Desk Calendar: A Show Tune for Today."
• Michael Portantiere: Longtime theater journalist and editor, cabaret reviewer, and director.
• Carrie Purcell: Theater/feminism/healthcare writer (NYT, Vogue, Vanity Fair), editor, and author of "From Afroben to Fun Home."

Notable quote:

“We are smack in the middle of the marathon...my hat's off to the three of you because I’m not doing it!” — James Marino (05:20)

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Cats: The Jellicle Ball (Broadhurst Theatre)

In-depth segment begins at [07:11]

Concept & Reimagining

• Michael describes initial skepticism:

  “When I first heard of the concept, I thought, that is the most ridiculous idea I've ever heard...famous last words. This is...a reimagining of Cats set in the world of ballroom culture as depicted...in Paris Is Burning.” (07:20)

• The score and lyrics remain almost entirely intact save for a minor pronoun tweak; the transformation is in the show’s context and aesthetics.

Staging & Audience Experience

• Concern about the impact of a shorter runway than the Off-Broadway production; ultimately, the energy is undiminished:

  “Certainly, the audience response was ecstatic. Audience response is greatly, greatly encouraged—some might say a little too aggressively...for this type of show, it's important for the audience to root for the various contestants.” — Michael (08:40)

• Direction by Zylon Livingston & Bill Rauch; choreography by Omari Wiles & Artrul Lyons.

• Stand-out performances:

  • Andre De Shields as Old Deuteronomy
  • Sidney James Harcourt as Rum Tum Tugger
  • Temperance Chastity Moore as Grizabella

• Michael highlights a nuanced new arc for Grizabella:

  “When Grizabella first came on, you just sort of reacted to her as if she was this...crazy, maybe homeless lady...very lighthearted. That gave her character much more of an arc than it usually has…” (11:20)

Critical Reactions

• Peter recounts Cats’ reputation as a Broadway punchline, surprised by its renewed vitality:

  “If I had to judge the top 10 audience reactions...I dare say this would be in it. The audience was just with it from the first second.” (13:00)
  Praises the “terrific work by Andrew Lloyd Webber” and production’s “wonderful costumes, lighting, and stage pictures,” though admits to still struggling with the show’s deeper meaning in this new form.

• Carrie offers a heartfelt, nostalgic take:

  “By intermission my face hurt from smiling so much...this amazing, joyful celebration of a community of people just enjoying being themselves and their extraordinary style and talent...To me, it was the ballroom community using the songs of Cats to tell their stories.” (16:05)

  • Applauds the cast, especially Junior LaBeija as Gus and Emma Sophia as Skimbleshanks.
  • Observes the transformation of Grizabella, ultimately questioning her “ascension” since “she looked amazing” at the end:

    “I thought she looked pretty good. I didn't really see why she had to ascend to the Heaviside Layer...” (18:00)

  • Hopes more people will watch "Paris Is Burning" after this show.

• Peter adds historical perspective, referencing original "Cats" reactions and opines that this revival “fills the Broadhurst with joy, style, and music. I don’t think it’ll run as long as the original, but I didn’t think it would get this far.”

• Collective Praise: Costumes, wigs, lighting, and choreography receive universal acclaim.

Memorable Quotations

• “What a celebration of joy. And I think we all need that right now.” — Carrie (18:51)
• “I never expected anything like this to happen.” — Peter (13:00)
• “I loved it on Broadway as much as I loved it off Broadway. Highly recommend it.” — Michael (11:48)

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Other Broadway Openings: Key Insights

Becky Shaw (Hayes Theater)

[20:59–33:06]

• Peter: “Group of nasty people...I didn’t really tie into it at all. But the audience really loved every snarky quip, every insult...” (23:29)
• Carrie: “Becky is not naïve; she’s a manipulator...It was very effective in showing this kind of chain of catastrophe that unfolds from one bad first date.” (24:20)
• Michael: “Very funny...can be funny to watch people be really nasty and sarcastic to each other when it’s not real life...A character study in how people push each other’s buttons and fail miserably.” (28:48)

Titanique (St. James Theatre)

[36:09–44:04]

• Carrie: “Just joyful, unapologetically joyful...It celebrates its source in every way...Deborah Cox and Melissa Barrera’s duet a highlight.” (36:09)
• Peter: “Silly, occasionally in dubious taste...But if you like really silly stuff, you’re going to have a terrific time.” (40:16)
• Special mention: Jim Parsons as Rose’s mother, Leighton Williams as the Iceberg (“River Deep, Mountain High”).

1776 (Paper Mill Playhouse)

[44:44–52:33]

• Michael: “A really solid, traditional production...praise for performances, especially Praise Oranica as the Courier—‘Mama Look Sharp’ brought me to tears.” (45:15)
• Interesting directorial/staging decisions described.

Death of a Salesman (Winter Garden Theatre)

[53:08–59:37]

• Peter: “Nathan Lane is truly magnificent...Laurie Metcalf is extraordinary. Despite the Winter Garden’s size, this play fills the stage.” (53:08)
• “An impressive, galvanizing production—expect Tony buzz for Lane and Metcalf.”

Giant (Music Box Theatre)

[59:56–66:50]

• Carrie: “Wonderfully uncomfortable...John Lithgow is fantastic as Roald Dahl, a season rich in leading men...Not fun, but vital and necessary.” (59:56)
• Michael: “Lithgow’s likability makes watching him as Dahl more complex. Play is overstuffed, best moment is Dahl’s disastrous interview at the end.” (61:53)

Dog Day Afternoon (August Wilson Theatre)

[67:08–70:51]

• Carrie: “Incredibly unnecessary adaptation...felt like a ‘cheesy 90s sitcom’. Women’s roles were reductive...The set was really good, but I do not understand why this was done.” (67:08)

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Bonus Segments

Tony Awards Host Announcement

[71:12–75:22]

• Pink announced as upcoming Tony Awards host.
• Mixed panel reaction: Skepticism whether a celebrity host will boost ratings (“I don’t think it’s going to make a scintilla of a difference in the ratings”—Peter, 72:10), nostalgia for past hosts, and discussion of the Tonys as a showcase for Broadway.

Podcast Closing Note

• Musical moment: Excerpt from the teaser video of "Cats: The Jellicle Ball" cited for its adaptation of the original orchestrations to a ballroom context. Costume and wig design publicly lauded.

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Notable Quotes & Moments (with Timestamps)

• “My face hurt from smiling so much.” — Carrie on Cats ([16:05])
• “It was one of the best scores Andrew Lloyd Webber has written.” — Peter on Cats ([13:45])
• “By intermission, I realized I still remember most of the words, a blessing and a curse.” — Carrie ([16:08])
• “If I had to judge the top 10 audience reactions that I’ve ever experienced in a theater, I dare say this would be in it.” — Peter on Cats ([13:00])
• “Becky is not some naive lost woman; she’s a skillful manipulator.” — Carrie on Becky Shaw ([24:20])

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Timestamps for Key Segments

• [07:11] – Cats: The Jellicle Ball (main discussion)
• [20:59] – Becky Shaw
• [36:09] – Titanique
• [44:44] – 1776 at Paper Mill Playhouse
• [53:08] – Death of a Salesman
• [59:56] – Giant
• [67:08] – Dog Day Afternoon
• [71:12] – Tony Awards host (Pink) discussion
• [78:44] – Musical Moment from Cats: The Jellicle Ball

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Takeaway

This week’s episode is a celebration of the diversity and experimental vibrancy on Broadway this spring—from exuberant ballroom cats claiming the Broadhurst to the melancholic power of Death of a Salesman, the acid comedy of Becky Shaw, and the loving spoof of Titanique. The panel’s trademark warmth, wit, and candor make this essential listening for any theater lover—especially those eager to understand why “theatre marathons” are a springtime tradition on Broadway.

For full show links and more information, check the show notes at broadwayradio.com.

Transcript

[A]

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[B]

Sa. Hello and welcome to Broadway Videos this week on Broadway for Sunday, April 12, 2026. My name is James Marino and on the broadcast today we have Peter, Felicia, Michael Portantier and Carrie Purcell. Peter is a playwright, journalist and historian with a number of books. Peter's new Day by Day Desk Calendar, A show tune for today, 366 songs to brighten your year is available at finer retailers. Peter?

[C]

Yeah.

[B]

I don't know how you planned this so many years ago.

[C]

I know. Isn't that something?

[B]

When did you start planning this calendar? This is two or three years ago at least.

[C]

Sure. Yeah, something like that. Yeah. It's very funny. What James is referring to is today's song is Someone Else's Story from chess because in 1988 it was the first preview of Chess and people were very surprised, those who love the show and there at least the score. Plenty of people do and did. But they were very surprised to hear a new song, Someone Else's Story, which many people feel is now the best song in the score. Ironically enough, I returned to Chess last week and boy, Lea Michele still is doing so wonderfully by that song. I really urge you to see this performance before she leaves, which will happen in a few weeks time. So she's terrific in it. But boy, what a glorious song.

[D]

And but the cast album has just been released.

[C]

That's right. Yeah. So if you don't get to see it, make sure you hear it. So Someone Else's Story. Yep. Back in 1988. So, wow. Tempest does fugit.

[B]

Which of the recordings is your favorite?

[C]

Oh, I like the Broadway cast album very much. Very much indeed. So I miss the white cover. Yeah, I missed some of the stuff that's on the first concept album, but nevertheless, the, the Broadway sound appeals to me.

[B]

All right. Also with us is Michael Portantier. Michael has been a theater journalist for more than 50 years. He's the founding editor of CastAlbumReviews.com he is also a theatrical photographer whose photos have appeared in the New York Times and other publications. And he writes reviews of cabaret shows for NightLifeExchange.com Additionally, Michael is known as a producer and director of shows at 54 below the Laurie Beechman Theater and other venues. Hello, Michael.

[D]

Hello.

[B]

Hello. Also joining us is Carrie Purcell. Carrie is a writer and editor whose non fiction writing on theater, film, feminism and healthcare has been featured in the New York Times, Vogue, Vanity Fair, the Nation, TDF Stages, Theater Mania, and the Village Voice, among others. She has also served on the editorial staffs of Playbill and People. Her nonfiction book, From Afrobend to Fun Home, A Cultural History of Feminist Theater, which was published in 2019 by Bloomsbury and was. Carrie and I talked about it on Broadway radio a few years back as well. And we have a link to that in the show notes. Hello, Carrie.

[C]

Hello.

[B]

Hello. And also just last week, a couple of days ago, you have another feature in Vogue. Tell us about this.

[A]

Oh, thanks. This article was an interview with the married couple Eva Noblezada and Reeve Carney. And Eva originated the role of Daisy in the Great Gatsby musical and is returning to it. And Reeve will be playing Jay Gatsby. And the two also co starred in Hadestown, where they met and eventually fell in love. So I asked them about navigating being together on stage versus offstage, how they establish those boundaries, and also if they ever play a couple that gets a happy ending because they haven't done that yet.

[B]

Oh, that's, that's, that's insightful. So you have to read the article in order to find out the answer to that. We'll have a link to that in the show notes.

[A]

Thank you.

[B]

So I, you know, is everybody well rested and eating their carbs? Because we are smack in the middle of the marathon. We are, I put in the show notes where, where we have been and where we are going. So where we have been consists of March 12, Every Brilliant Thing, March 23, Giant, March 30, Dog Day Afternoon, April 6, Becky Shaw. April 7, Cat's the Jellicoe Ball, April 9, Death of a Salesman, April 12, Titanic. Those are opening nights. And we still have 1, 2, 3, 4, 5, 6, 7, 8, 9, 9 openings still left between April 15 and April 26. So, you know, I, I, my hat's off to the three of you because I'm not, I'm not doing it.

[C]

What I always say is, my father was a plumber. That was work.

[B]

All right, so let's get, you could

[D]

also say it's not the work, it's the stair.

[B]

A stretch reference.

[D]

Except I guess, I guess we usually sit in an orchestra, so that doesn't really apply.

[B]

Well, you know, some of those orchestras are very steep.

[C]

Yes, indeed.

[B]

You know, you know, we have a hill to walk up, especially at the end of the show. And everybody's piling out. We should have such problems. So, first up in our review section, Michael, Peter and Carrie got over to the Broadhouse Theater to see Cats, the Jellicoe Ball. So, Michael, why don't you get us started on Cats, the Jellicoe Ball?

[D]

Sure. Well, I paid to see the show downtown at the Perelman Arts center because a critic, we, not all critics, were invited to that. And I. This is one of those cases where I will admit when I first heard of the concept, I thought, that is the most ridiculous idea I've ever heard in my life. But, you know, famous last words. This is, as I'm sure many of our listeners know, a reimagining of Cats. A complete reimagining set in the world of ballroom culture as depicted so memorably in the film Paris Is Burning. That's a really wonderful documentary that you should catch up with if you've never seen it. And so, although none of the music or lyrics have been changed at all, I think I actually caught one word that was changed, one pronoun that was changed from I think he hay him to there. But other than that, really, it's basically the same. It's not about Cats anymore. It's about these people who are competing in a ballroom competition and showing their fabulousness in every way possible. When I heard the show was moving to Broadway and that the Runway was going to be a lot shorter, I was very skeptical about that because it seemed like such an integral part of the show. Downtown, Downtown, that the Runway extended very far. And, you know, with the audience sitting mostly on both sides of it. Now it only comes to the end of what would be the orchestra pit at the Broadhurst. And. But I have to say, from my seat in, you know, somewhere half way back in the orchestra, it seemed fine. The perspective and the sidelines and all of that. I can't say how it looks from the mezzanine, and I also can't say how it looks from the seats on stage. There are quite a few seats on stage, so I'll have to leave others to judge that. But I don't think that it was. I really feared that it might harm the show, and I don't think it did. Certainly, the audience response was ecstatic. Audience response is greatly, greatly encouraged. Some might say a little too aggressively. But it. It really is. For this particular type of show, it's very important as part of the experience for the audience to root for the various contestants. And I just, overall think it's very, very well done and extremely Entertaining. A little bit too loud for me, but not horribly so. Really well. Directed by Zylon Livingston and Bill Rauch. Choreographed by Omari Wiles and Artrul Lyons. William Waldrop, music supervision and music direction. Lots of great performances. I would single out, well, of course, Andre De Shields, my neighbor as old Deuteronomy. Sidney James Harcourt as Rum Tum Tugger. Gosh, how do I pick? Oh, my gosh, let's see. Well, Grizabella is Temperance Chastity Moore. And there's something really interesting in that character that I didn't notice. Downtown, I suppose they did it there and I just didn't notice. Grizabella's first entrance in the show doesn't make a whole lot of sense to me. Her first entrance in Act 1, where she comes on very briefly and then leaves and then she comes back at the end of the first act and then she comes back at the end of the second act. But her first entrance, I never really got it before, but here she did something really interesting. When she first came on, you just sort of reacted to her as if she was this kind of. Kind of fun, crazy, maybe homeless lady, you know, trying to be funny and. And like just very light hearted. And that gave her character, you know, much more of an arc than it usually has because usually when we see her, she's miserable from the beginning. So I think that was a really smart idea, whether it was on her idea or the directors or whoever. And I wanted to make a note of that because I full of interesting touches like that and ways to make the characters really interesting to us. So I loved it on Broadway as much as I loved it off Broadway. And I highly recommend it. And I would not be surprised if it has a run that approximates the original.

[B]

Oh, really? Okay, Peter, what do you think?

[C]

I'm mystified by this. I still remember when Cats became a joke. Certainly mocked on Saturday Night Live where it's better than Cats, became a catchphrase to indicate sarcasm. Just the other night I decided to watch the movie of Love, Valor, Compassion. And indeed, at the beginning of. During the credits, you see the character I assume is Buzz because he's the Broadway show freak deciding which CDs to take with him on the trip in the country. And so he's going to take a Vita, he's going to take back and Mabel, he's going to take Funny Girl. When he gets to Cats, he tosses it aside. He's not going to take Cats. I mean, even that's a joke. So I. I Never expected anything like this to happen. And I have to say that if I had to judge the top 10 audience reactions that I've ever experienced in a theater, I dare say this would be in it. The audience was just with it from the first second and just had a wonderful, wonderful time. Like Michael, I'm confused by the whole thing about Cats, given the fact that it seems to be people on a Runway, but nevertheless, everybody went with it. And I certainly have to applaud the fact that these two individuals, Bill Rush especially, who I once talked to, and I. I found him astonishingly wonderful and bright. You really got to give them credit because I'm. I don't know how they came up with it, but how they did, and it certainly works. I don't think it'll run as long as the original, which was quite. Quite a roug.

[D]

But.

[C]

But I didn't think it would get this far. So I'm very surprised. And, you know, when. When we started downtown with the long Runway, most people said, okay, it's going to be in circle in the square, because that's. And. But I. I have a feeling one of the reasons they're not a circle in the square is because they can sell more tickets than the Broadhurst. And, you know, so the fact that the Runway is substantially shorter doesn't mean very much at all. A lot of great stage pictures, terr. Lighting, wonderful costumes, wow. All that is in place. No question about it. I still don't know what it means, but nevertheless, you know, the other thing, too, I think Buzz should have taken that CD with him. I think this is really very good music. It's terrific work by Andrew Lloyd Webber, Lord Andrew Lloyd Webber. And we have to be grateful for what the Lord gave us in terms of that music. I think it's really one of the best scores he's written. So there are treats in store for the people who want to go.

[B]

You know, I think about this, the discussion about Circle in the Square and the Runway and things like that. And as we saw just last year, coming on two years now, what Cabaret did at the August Wilson, they just gutted the place and made it whatever they wanted it to do. So they could, in essence, have done that at any theater. Well, yeah.

[C]

In fact, there was even talk supposition. I don't mean talk from people with the money, but there was a supposition that was going to go into the August Wilson because it had been so, well, shall we say, decimated by. By Cabaret. So, yeah, I'm surprised they didn't go there ultimately.

[B]

All right, Carrie, what did you think of Cats? The Jellicoe Ball?

[A]

Well, as a joke, when I was going into it yesterday, I said to my friend, I wonder if I'll finally know if Jellicles do. And Jellicles can, in a nod to the opening number. And I am saying with great confidence, they could and they did. I have a bit of a soft spot for Cats because it was the first Broadway show I ever saw when I was seven years old. And of course, I got the piano book and learned how to play every song. And to my. A little bit of alarm, yesterday realized I remember most of the words, each song of the show. Still a blessing and a curse at times. What really, really stayed with me was it was just so joyful. I mean, by intermission, my. My face hurt from smiling so much. I. I actually was thinking to myself, like, stop. And. But I couldn't because I was just watching this what. What to me felt like this amazing, joyful celebration of a community of people just enjoying being themselves and their extraordinary style and their extraordinary talent. To me, it was. It was the ballroom community using the songs of Cats to tell their stories. That's how I interpreted it.

[D]

Right.

[A]

And I also really enjoyed Sydney James, Harm Court. I loved Junior labeija. Forgive me if I'm mispronouncing.

[D]

That's it.

[A]

Who played Gus? I've always found the song of Gus to be kind of sad. And as someone who survived seeing the movie adaptation in 2019, I really enjoyed how much comedy this performer milked from those lyrics and the kind of scornful way that some of those lyrics were delivered. It just was a real standout of the show, to me, as was Skimbleshanks. Emma Sophia was. Was remarkable in that number. And the. The hair, Nikki, Amethyst hair, especially for Skimbleshanks, was amazing, as was Queen Jean's costumes. I. I told myself, don't really look for a plot. But there was one moment that kind of puzzled me, which was that when Grizabella sings the final verse of Memory, I thought she looked pretty good. I didn't really see why she had to ascend to the Heaviside Layer, because at that point, she had on that silver gown that the younger cat had offered to her earlier, and her makeup was done, her hair was done. I thought she looked amazing. And I was thinking, I don't think she needs to ascend. The set piece they used to depict the Ascension was really amazing, I thought, but I think she should just stay here. But I just I really. I thought it was an amazing performance technically, emotionally, but also just what a. Just what a celebration of joy. And I think we all need that right now. As much as I really appreciate politically charged theater, we all need something like this as well. And I'm really happy that more people will watch Paris Is Burning and learn about the ballroom community, and hopefully they'll get to go see this show, because I would happily see it again in a heartbeat.

[C]

You know, I've always felt, from the first time I saw. I saw her very early in the run at the Winter Garden, and I was reasonably bored by it, but I forgave it everything. When I realized what was going to happen at the end, which was that Betty Buckley was going to come back at the very end looking like a million dollars because Cats have nine lives. And that didn't happen, I went back to being bored by it. But really, I think that's. This was strangely premature to me. I agree with Carrie that. That it seemed odd that we would see her looking great. When she goes up to the heavy side layer, have her come back at the end looking great. That's what should happen.

[A]

Speaking of Betty Buckley, in case any of you haven't read it, she wrote an an op ed for the Times about seeing this production of Cats. That was really lovely.

[C]

Yeah. And how often do we use the word lovely with Betty Buckley?

[A]

I've interviewed her a few times and she's always been very nice to me.

[B]

We've had Betty on as a guest here a few times on Broadway radio as well. All right. Direct from Texas, you know, as she was on her ranch.

[C]

That's right.

[B]

So cat's the Jellicoe Ball at the Broadhurst now and forever. We'll have a link to that in the show notes. And next up, Peter, Michael and Carrie got to see Becky Shaw at the Haze. So, Peter, why don't you get us started on Becky Shaw?

[C]

Yeah, well, this mystified me as well, because maybe second to Cats, the audience was astonishingly responsive. Responsive to this. And I didn't find it funny at all. But I. I tend to like shows with nice people, and there. There aren't too many nice people in Becky's shop. And basically we. Basically, Becky Shaw is. Is somebody who's hoping for love and acceptance on what will be a blind date. And I am telling you from the outset, the moment that her blind date looks at her, I mean, would. Would you start off a blind date by saying, what you're wearing makes you birthday cake? I mean, really, what a Start. And yet she, she's looking for love and she really wants this to happen. And he just cannot get rid of her. And I suppose that's supposed to be funny, but I, I didn't find it funny at all. I felt very bad for, for her throughout. Ironically enough, you would never think that she's the title character of the play because she doesn't show up for a while and so much happens before this gentleman. He's not a gentleman at all. But anyway, this guy I'm. Has essentially a sister. He was, he was quasi adopted, I get the impression, by this family. And, and he has feelings for her and there may be complications there as well. Lauren Patton, by the way, plays his sister. And it's very nice to see her in a dramatic role because she was so great in Jagged Little Pill. And of course the Tony people agreed. So. And let's not forget Linda Eamond, who plays the mother, uh, who certainly is tart as well. So a group of nasty people pretty much here. And so I, I didn't really tie into it at all. But I'm telling you, the audience really loved every snarky quip, every insult, every put down. They, they really went with it. So if, if that's the type of thing you like, I think you'll have a good time. Oh, by the way, let me mention, because it really is something, the guy who plays this nasty part making his Broadway debut, Alden Ehrenreich, he really does it well. He knows exactly what he's supposed to do here. And there's also another Broadway dude, Patrick Ball. And I'm going to be very interested to see if the other seven judges of the Theater World Awards are going to be as enthusiastic about these two guys as I was.

[B]

Peter, did you see the off Broadway in 2008?

[C]

Yep, yep, I sure did. And I have to say that when I went to this one, it rubbed me even more the wrong way than it originally did. But that's the intention. I mean, really, it's a very good production. Trip Cullman did a very good job of doing what the play wants it to do by Gia Joe and Frito, but it's just not my taste.

[B]

Okay, Carrie, what did you think of this?

[A]

I had a very different experience. I did not see it in its off Broadway production, but I think a few of my life experiences caused me to react to this show in a very different way. First, I just want to note that Becky Shaw is widely considered to be a bit of a tribute to Becky Sharp. The Social Climber of the novel Vanity Fair. And with this show, I didn't necessarily think she was looking for love, or at least not. Maybe her definition of love is different, but I felt like she was. I didn't think that she was this kind of naive, lost woman looking for a man to necessarily save her romantically. I think that she had a lot more going on in her mind. I thought she was a very skillful manipulator and that she knew what she was doing the entire show. And I credit that to Madeleine Brewer's performance. She can communicate a lot just with a glint of her eyes or the way that she positions her face. And with regards to the relationship, if you can even call it that, between Becky and the man that she's fixed up with, I kept sadly thinking of the book the Game Penetrating the Secret Society of Pickup Artists, which is a deeply misogynistic approach to dating in which you insult women enough that they'll eventually sleep with you because they feel so badly about themselves frequently. It's frequently referred to as negging. And I've definitely experienced that myself in my romantic or lack of romantic dating life. So a lot of. When a lot of people were laughing at those scenes, I was trying not to. Not to groan as a response to what he was doing. Not the production at all, because I thought the cast, the set, the costumes, I thought everything was truly excellent. But the birthday cake comment about the pink ruffled, tiered dress that she's wearing on this first date, the minute he said that, I was like, okay, I know this guy. I've been on dates with this guy. It's very calculating. It's very dehumanizing. And that's, you know, he. That actor did it well. I really. I felt my shoulders tensing at times during some of his interactions with her. And it was also interesting to me to see. To see how she was persistently pursuing interaction. I'm reluctant to use the word relationship relationship with him just thinking about gender roles, because I have experienced. And women I know have experienced men basically being that uncomfortably persistent in. In pursuit of a relationship. And it was really interesting to watch it, to watch it from the audience and, you know, to. To the. I'm probably going to mispronounce his name as well, Alden Ehrenreich. To credit his performance, I did at times feel some sympathy for his frustration and his confusion, even though I didn't condone how he was treating her. And it was also just, I think, a really well paced piece of writing. It didn't feel like the length that it is, about two and a half hours. And I thought it was very effective in showing this kind of chain of catastrophe that unfolds from one bad first date. And I think that it's probably going to provoke some uncomfortable conversations in romantic couples who go see it and also probably make people much more reluctant to fix their friends up. But I, I love the, the conclusion of the first act when Becky's about to go out with this guy, even though he's been nothing but rude to her. And how she delivers the line, oh, I'm going to have fun. And she had, Madeline Brewer had her physical presence with that one line before the lights went out made me realize, oh, there's a lot more to this woman than we're giving her credit for.

[B]

Okay, Michael, what's your thoughts on Becky Shaw?

[D]

Well, I also had not seen the Off Broadway production, so I went in completely cold, really knowing very little about it. And I think I thought of Peter at one point because he always makes the point of how he loves to watch characters being nice to each other. Well, this show is not for that. And I would say it's interesting to note that things start getting very complicated and weird even before the blind date because of this very unusual relationship between the characters played by Alden Ehrenreich and Lauren Patton. As Peter alluded, we are told that Alden Eren Reich's character Max had been virtually adopted by Susanna's family when he, when his mother died. Isn't that right? Yeah, many years earlier, you know, when he was young. So they, they have had a, supposedly a brother, sister relationship. But then, but then we find out that, you know, there's, there's, there's a huge sexual attraction there also. And then that happens and then it seems like it's sort of forgotten. So we get onto the blind date 8 subplot. And there's a lot, a lot, a lot of plot in this play, considering how relatively small the cast size is and, you know, in the number of characters. I found it very, very, very funny. Very different reaction to what Peter had, but, but only in the sense of, you know, watching. It can be funny to watch people be really nasty and sarcastic to each other when it's not real life. That's my feeling. You know, you have that distance and you're able to enjoy it in a way that you certainly wouldn't if it was actually happening in front of you in, you know, day to day existence. So. And Alden Ehrenreich was incredible at that. It reminded Me a little bit of the character pale in burnness, although he deserves a higher social class, you know. And Linda Emmon, how wonderful to see her back on stage. Always, always great to see her on stage. She's got a lot of bomb mo and little caustic pronouncements. People have compared the character to Lady Bracknell, a modern day Lady Bracknell. I could certainly see that everyone is wonderful. Patrick Ball, I guess he's arguably maybe the most likable a character in the thing. Although he, his character is portrayed as. His neurosis is maybe that he's got a savior complex and he's attracted to damaged, quote, unquote, damaged women, you know, to fix them or help them. So, you know, I mean, that's not maybe the worst thing in the world, but it is a, you know, it's a little complicated. And Lauren Patton's character, I guess she's not so nasty, but she, she certainly seems like she portrays herself as a victim lot. So they've all got their stuff, their baggage, as we say. And Gina, John Frito seems to be able to write very, very well for all of them. I don't think I had trouble discerning if there's any overall point to the play. I think of it more as a character study and seeing how people can push each other's buttons and try to navigate relationships and, and fail miserably. So. But I, I really, really enjoyed it for the humor of it and I think on the evidence of the audience response, I think many other people do feel so. Yeah.

[C]

Oh yeah, yeah. I, I was intrigued at the beginning to find out that, that these two were somewhat like siblings. And it reminded me of Sweet Smell of Success, the musical, because in the original novel novella, J.J. hunziger's sister was a late baby to his father and mother. But in the musical, she's his half sister, the product of his father's second marriage. So now I'm not saying that lusting for your half sister instead of your full blooded sister is only half as bad, but I do think the choice to make two characters, half siblings, more interesting because Lord knows that in this era where there are plenty of children whose parents have endured multiple marriages, I've heard many half siblings tell me their complicated feelings for their half brothers and sisters. So this was a musical that brought up the subject, and so I was reminded of that while watching this. So I think that's a very interesting complication that we don't hear very much about.

[A]

Wouldn't Half Sibling imply that they shared one biological parent.

[D]

Yeah. In this case, they. Yeah, they're not siblings.

[C]

Yeah. But the same type of thing is going on here. I agree that it's not exactly the same, but I was reminded of Sweet Smell of Success while watching this.

[B]

So Becky Shaw at the Hayes Theater. It's scheduled through June 14th. We did have so much. Three Broadway debuts in the lead roles of people who are. You conceivably can say that they're stars. They're not George Clooney, Denzel Washington level stars, but they're all of them come from hot shows and have some awards and things like that. Interesting to see second stage sort of going through this in right now. So did you notice that there was a different type of audience, the three of you? Did you notice that the audience was typical theater? It's hard because you're in reviewer type audiences. So you.

[D]

Right.

[B]

You know, when we go to shows, we see the same hundred people, you know, but. So did you notice anything that there was, you know, super fans there for Patrick?

[C]

Oh, no idea.

[D]

Yeah, me neither. It's hard to. It's hard to tell.

[B]

Yeah.

[C]

That entrance of Pl.

[B]

Yeah. So again, it's running through June 14th. It's scheduled to run through June 14th, and we'll have a link to that in the show notes. Carrie and Peter were over just one theater over at the St. James to see the transfer of Titanique. Carrie, why don't you get us started on Titanique?

[A]

Yeah, I want to set up a second Residency on West 44th street during April of each year. I had a great time. Like I said about Cats, it was just joyful, unapologetically joyful. This show knows exactly what it is and what the audience is there to see, and it celebrates it in every way. I did see it off Broadway a few summers ago, and I did wonder how that humor would translate to a much, much bigger venue. But it does the job. This is a parody of the movie Titanic, pondering what if actually Celine Dion was there and she's the heroine of the story and everyone is playing everyone. Like there's people playing the characters of the movie in really silly parodies, but none of it is cruel or mean humor. It's all just taking characteristics and amplifying them to the nth degree. Like, one of the cast changes is that Jim Parsons is now playing Rose's mother and the character is kind of. Kind of mean, kind of nasty for some reason, with taxidermied birds on. On his head. Excuse me, but none of the. None of the things that she says would take you out of the silliness of the show. None of them make you think like, oh, she, she's really awful to her daughter. Because all of it is just. It's just humor to such a high level that you just go along with whatever happens. There are another few cast changes that were. That I wanted to note. Deborah Cox is in the cast playing Molly Brown, and she sings the Celine Dion Barbra Streisand duet Tell him with Melissa Barrera, who plays Rose. And that was one of my favorite moments of the show. It was just beautiful. It was a really moving moment while still being quite silly. And the actual iceberg itself is played by Leighton Williams, a la Tina Turner, in a fantastic costume and sings the song River Deep Mountain High. And saying this out loud, I'm wondering how. I'm realizing how it sounds. But watching it happen, it just, it makes sense. It fits into the show. It is stunning vocals, everyone in the cast sounds amazing. There's great chemistry on stage. They're all in the same show. They all know what they're doing and how they're interacting with each other. And of course, Marla Mendel, who's one of the co creators, plays Celine Dion as this, as this very loving narrator, but also quite a diva. There are duets where she'll insert herself in between the two people singing and join them and out sing them. And Constantine Rasuli plays Jack and the director Ty Blue. The three of them created this show and I would love to have have been in that room when they came up with the idea. Afterwards, a friend, I took a friend who's a composer with me and I was saying, how do you think this came up? Like, do you think they were just all drinking heavily and one of them said this without even realizing that what they were saying. And now several years later, it's this very popular Broadway show. And I don't know how, but I'm glad it's here. I was 12 years old when Titanic was in movie theaters and. And I saw it twice in the theaters. I know some people saw it like, you know, 20, 30 times. And I liked it. Then I cried, but I hadn't. I don't think I've seen it in full since then, but I think this is a great, a great parody of it. And again, it's just seeing something that is so joyfully, unapologetically silly is a wonderful, wonderful escape to experience right now.

[B]

Now it's just the show you cannot sink. So Peter, Peter.

[C]

I have a partial answer to Carrie's question about how it started, because for years I was at the University of Cincinnati Conservatory of Music, where Marlar went to school, and she was very famous there for doing Celine Dion imitations. So that I'm sure that's what got the ball rolling, that she was really felt that she was very good at that. I think she is magnificent in this. Not because I just have a tiny history with her, but the fact is she really knows how to work the crowd. I mean, she really takes center stage. A masterful performance. It really is something she's so comfortable in doing what she's doing that I was really tremendously impressed by it. Sure. Notice how many times the word silly came up during Carrie's review. Indeed, it reminded me of a Hasty Pudding show that is done at Harvard and in fact, that's very famous for drag. And indeed, here's Jim Parsons playing a woman. I'm amazed he took the part. He's the big star. He must really believe in the show. Just wants to have a lark or whatever it is. But this has to be the tiniest role that Jim Parsons has had since he's become a star. So. But that he wanted to do it is really quite amazing to me because he really is, at the very beginning of the show, an ensemble member. I mean, he just comes out with the rest of them in an ensemble number and you think, wait a minute, isn't that Jim Parsons? I mean, I knew going in it was, but it's. It's really very surprising to me. Yeah, Very, very silly. Occasionally in dubious taste. Not everybody will enjoy some of the more sexual referen, and there are quite a few of them. But, but all things considered, if. If you like really silly stuff and you do check your brains at the door, you are going to have a terrific time at this. But wow. I. I think Marla's really running for a best actress Tony.

[A]

I think that Jim really just loves doing theater. I mean, I was always impressed that during his time off from the Big Bang Theory, he would come and do, you know, an act of God or star in Harvey and like with the. With the boys in the band, like, he knows how to be part of an ensemble. I think he's just a big old theater dork.

[C]

Yes, indeed. And God love him for doing it. But this. This has to be the tiniest part he's had since he's become a star.

[A]

I think maybe the birds on the hat make up for it.

[C]

You know, I watched the Titanic movie just before I went to see the show, and I can't say I quite get the birds thing thing. So I didn't. I don't know what that is. But. But anyway, he does make occasional illusions to assume that's all that has to happen. But I was very glad I watched the movie, you know, because to know exactly what they were spoofing here, there and everywhere, so. But it was a joy and it really is quite a good movie.

[A]

Have you never seen the movie before?

[C]

Oh, I had, but I always, with something like this, I always bone up on things. So I it's one thing to watch a movie at night, and that's certainly a good experience, but I love when I have a reason to watch a movie. And so I'm going to watch the Rocky Horror show movie before I go. I know it well, but I'm going to watch it again anyway.

[B]

Any chance, did you think that Leighton Williams as the iceberg might get a nomination? Because I want to see what Leighton wears on the red carpet if Layton were to get a nomination.

[C]

It's a very good performance. Very good indeed.

[B]

And Broadway debut so titanic at the St. James, scheduled through July 12, 2026. We'll have a link in the show notes and insofar as Jim Parson, from Our Town to Our Boat, there it is. So, Michael, you jumped on I'm guessing you jumped on Jersey Transit and headed out to Paper Mill playhouse to see 1776. So tell us about this.

[D]

Yes. And parenthetically, let me state that this was the second time in two weeks that New Jersey Transit has screwed me over.

[C]

Oh, no.

[D]

Yes. Because when I was coming home from Easter, there was a train that was a half hour late due to quote, unquote, staffing issues.

[C]

Oh, my God.

[D]

And then yesterday there was a train that was canceled because of supposedly mechanical difficulties. So not too happy with them right now.

[C]

Who can blame you?

[D]

But you should figure out a way to get there because this is a really solid, very wonderful production of 1776, directed by Mark Hoby, Musical Stadium by Nancy Renee Braun. Not too many people in it whom I am familiar with. The ones I am familiar with are John Tracy Egan, who plays Benjamin Franklin. And he was really wonderful and gave a very different interpretation of the role than I think I have ever seen before. And the friend that I went with, we both agreed he was very deadpan pan. I think that's a good term for it. His, his humor was more deadpan rather than, you know, more outward and more jolly. It wasn't. I don't think it was the best choice and not the choice I would have made, but it did work and he certainly got all of the laughs. And it was interesting to see someone play the role in a way that I had never seen before. I also, and familiar with Edward Watts, who played John Dickinson. Edward Watts had done well. He was the lead in Seven Brides for Seven Brothers when they did that at Paper Mill years ago. And he played the title role in It's a Bird, It's a Planet Superman, of course. So now he's John Dickinson and let's see, James Moy is John Hancock. But lots of new faces to me, including the fellow who played John Adams, Will Bloom. And I would say I had very mixed feelings about this performance. But ultimately, again, I appreciated that it was. That it was very different from what I'd seen before. He came across as a younger Adams. He also has, as he revealed in the more lyrical sections of the score, which Adams doesn't have many of those. It's really the two duets with Abigail. He had a beautiful voice and so I never heard till then. And the. Well, that, that other, you know, that other section that he sings with her, I've never heard them sung so beautifully. Especially because Abigail was Elena's shadow, another person with whom I am familiar. And she has a very, very beautiful voice. So it was wonderful to see and hear her as Abigail. Although the strangest thing I have seen lately. I don't know if this was her decision or the musical directors or the directors, or if something very strange happened at the show that I saw. But there's that great moment towards the end of the show when Adams and Abigail are having a, you know, a telepathic moment together, you know, their last one in the show. And all through the show, show, Adams has been haranguing Abigail to send him saltpeter to have the, you know, to have the women get together and send salt Peter so that can make gunpowder. And she keeps delaying, delaying. And finally the salt Peter arrives and she has this incredible moment where she sings, compliments of the Concord Ladies Coffee Club. And it just built and there's a full orchestra and at. At Paper Mills. So it, it, it, it sounded phenomenal from that standpoint. And Elena Shadow has a great voice and it built and it built. And she said, I am as I ever was and ever shall be Yours, yours, yours. And then he said, abigail, what's in those kegs? And she said, salt Peter. John. I, I said, why did you do that? I wish I could tell the them to stop. I don't know. Very strange. But other Than that. It was quite a traditional production. And, oh, they did something interesting. They had these two huge walls that could sort of close in front of the stage within a stage that represented the Continental Congress. And they did. So for the scenes that don't take place there, the scene with Richard Henry Lee and the scenes with Abigail. Some of the scenes with Abigail. So that was a very smart thing on the part of scenic designer Kevin Rupnick. And back to Will Bloom as John Adams. I don't know if it was him or the director, but he did make a decision which, again, I don't think was good. He was. He sort of was a little too foppish in some places. And he also did this thing where he would imitate other people in an annoying way. Like. So, for example, there's that line where Adam says to Franklin, the history won't talk about me. It'll all be about you. Franklin did this, Franklin did that. Franklin did some other damn thing. Well, here he goes. Franklin did this, Franklin did that. That. Franklin did some other damn thing. And I thought, well, no, I don't think he would do that. So those are my choices, I guess, not his, but really wonderful across the board. Oh, and they made whoever made a really. I think, was a really, really great decision. The only obvious person of color in the show is the curry. And so when he comes on. Every time he comes on, it's like a lightning bolt because he's obviously so different, you know, from everyone else on stage. And of course, then we can't help thinking of him when there was all that discussion of slavery and, you know, trying to remove the slavery cause from the. From the Declaration, which ultimately does not happen. And when he sang, sang Mama Looks Sharp, which here is done as the end of Act 1, there was an intermission in this production. I. I literally had tears in my eyes. It was just the beauty of his voice, but also his acting. And his name is Praise Oranica, so remember that name. Really, really solid production. As Peter and I discussed earlier, there. There are Many productions of 1776 happening very soon in various places because this is the 250th anniversary of the country. So if it turns out that this is the one that it makes sense for you to see and is most convenient for you, I do not think you will be disappointed.

[B]

All right, 1776 at Paper Mill through May 2nd. We'll have a link to the show. Notes. 250 years. It's been a good run.

[C]

It has.

[B]

All right, so let's Turn the conversation to happier times. Peter, you saw Death of a Salesman at the Winter Garden Theater. So tell us what you thought of this product production

[C]

where if somebody came to see this play and had no knowledge of who Nathan Lane is, I would think that this person would think that Nathan Lane has always, in every outing that he has ever been in, a dramatic actor. Needless to say, we saw Nathan Lane early in his career in funnier roles. Even when he was playing the Queen's son in Merlin way back when, a show that ran a long time. Even though the reviews were bad, it took a while for the even be reviewed. As he used to say, merlin, the musical that wouldn't disappear. But, I mean, you know, a funny thing happened the way the Forum, you know, the producers, all that stuff. People have often come to enjoy Nathan Lane and expect they're going to have a. A terrific, funny time when they see him. But boy, in the years that have followed, needless to say, when he played Roy Cohn, though, there's a lot of humor in that character. This is a. A truly, needless to say, serious play. You don't need me to tell you that, but I'm telling you, he rises to the occasion. He is truly magnificent. A wonderful, wonderful Willy Loman. But Laurie Metcalf is really extraordinary too, as Linda. So they are really quite wonderful. Now, the thing is that there they are at the Winter Garden Theater and there was a lot of consternation about that when that started, because after all, the Winter Garden is one of the biggest theaters on Broadway. It has an astonishingly wide section where the audience sits. But boy, even though they don't use the entire stage, and they do not, believe me, use the entire stage. Stage. The fact remains that this play fills the stage. It really is something it that how it really feels very much at home at this enormous theater. Yes, there is no question that as Biff, Christopher Abbott is wonderful. But the real surprise is here's another Broadway debut. Ben Allers, A H L E R S is happening Happy. This is my 12th death of a Salesman on stage. And I've never seen this character be so engrossing. You really pay attention when he is. Is talking. God knows he has one of the most sad lines for the audience. Point of view not from him. At the end of the show, one of the last lines he has when he denies that his father is his father. Father has always been a chilling moment, but up until then, he really makes a tremendous impression. So it's quite a good production. And you really, again, have to credit Joe Mantello for not being afraid to take a lot of chances in the way that it looks, he had to approve the set design. And there is no question that this is a very different set set from the one that you usually see, especially the famous Joe Malzina set, which everybody adored way back when. But Chloe Lamford has made it very impressionistic. I mean, there's a car on stage at all times. You look like you're in a warehouse much of the time, and it doesn't matter. I'm not saying it's the ideal setting for the show, but the point is that the production is so galvanizing that you even forget that those things are on the stage. No attempt is made whatsoever to make the restaurant look like a restaurant or anything like that. No, it basically on a beer stage. But it's amazing, as I say, how it fills it. So a terrific revival, Just terrific. And, boy, is there going to be a consternation on who to vote for so many awards this year, because I'll do a quick preview and say that I've seen fear of 13 too, and boy, Adrien Brody is quite wonderful. But I won't be surprised if Nathan Lane gets yet another Tony. And I fully expect Laurie Metcalfe, who has become one of our most valuable players, needless to say. And here she is, the second show in the season that she's done. And I'm very sorry that we didn't get to see her mother and who's Afraid of Virginia Woolf with the pandemic interrupting that run. So. But boy, at the end of the play, the scene that she has, the famous scene that she has, is very different from what you've seen before, but she certainly makes it work. So if you really have four wonderful people playing these four roles, you know that you're going to be in tremendously good shape. So I really was tremendously impressed and very glad to see it again under such wonderful circumstances.

[A]

I saw Nathan on a Stephen Colbert show recently, and it's the most serious I've ever seen him in any interview of anything I've seen in my life that he talks about this role and his history with it and how apparently decades ago, Joe Mantello said to him, we're going to do Death of a Salesman one day and you're going to be Willie. It was. It was fascinating to. To see that side of him because, I mean, I still remember, gosh, years ago, he was. He was on Letterman and talk. He was saying he was in the Twilight movies and it was called Eclipse because you can't look at it directly. He paused and took a sip from his mug and just enjoyed the theater erupting in laughter. I haven't seen Salesman yet, but I can't wait.

[C]

My question becomes, since you say he, Joe Mantello said, someday we'll do it, did he indicate. Indicate at that moment in time? Did he say g, Joe? I don't know. Wow, what a great idea. Did that come up at all?

[A]

I don't want to ever misquote Nathan Lane. I. I think he expressed some, like, some surprise that role is, you know.

[C]

Yeah.

[A]

King Lear or something.

[C]

Sure, sure.

[A]

I would say just look up the interview on YouTube.

[C]

Okay, very good answer. Very good answer.

[B]

All right. Death of a Salesman at Winter Garden is scheduled through August n 2026. And we'll have a link to that in the show notes. Carrie and Michael were over at the Music Box Theater to see Giant. So, Carrie, why don't you give us your Giant take?

[A]

It was the most wonderfully uncomfortable I've been in a long time. I try to separate the person from the actor when I see them in a show. But John Lithgow has, you know, he's just such a beloved personality. I grew up seeing him on Third Rock from the sun. When I was in college, a friend and I came here from Boston to see the Dirty Rotten Scoundrels musical. And watching someone who I consider to be this, like, you know, kindly funny man say some pretty terrible things was a. It was an exercise for me as an audience member, as I'm sure it was for him as an actor. I think that he'll also be in the running for Best Actor. Tony. I've also seen fear of 13 and will, you know, will die of surprise if Adrien Brody isn't nominated as well. It's really been a season of riches for us with leading men. The play is. It takes place in one afternoon in which, following Rhod Dahl having written a book review that expressed some pretty anti Semitic beliefs, beliefs and people trying to convince him to issue an apology. It's extremely timely, extremely relevant. I wish it wasn't. And extremely well acted. Everyone on stage is just fantastic. Like I said, it's very uncomfortable at times, but it's also a show that I hope acting classes will come see it, that there'll be some kind of educational opportunity offered to students. It's one that I would hope everyone would get to see. Despite it not exactly being like a fun night out on Broadway. It's not fun, but I think it's vital and necessary.

[B]

All right, Michael, what about you?

[D]

Well, to go back to. To Harry's first statement, I think actually the fact that Lithgow is so beloved, I think really works to the advantage of this play because then it makes it even more fascinating to watch him play this character who, you know, I mean, was undeniably very talented, but from many reports, just. Just not a really good human being. You know, not only in terms of the anti. Semitism, but from what we've read and heard about how he treated his wife, Patricia Neal, when she was his wife, who, by the way, is only mentioned in passing very briefly. The action of this play is supposed to have taken place long after their marriage ended. But, yeah, I think that brings a complexity to the experience. And to watch him play this guy who outwardly might seem just delightful and fun and stuff, but then we get these little glimpses of what's underneath. And that's interesting too, because even the things we know that he wrote that are so popular, you know, primarily children's literature and works, I don't have to point out that there's a tremendous amount of darkness in all of those. You know, I mean, just look at Willy Wonka or Charlie and the Chocolate Factory, whatever the original title was. You know, this is pretty dark stuff in there. And. Yeah, so. So he is a fascinating character to me, although I thought the performance of Lithgow was brilliant. I. I did not love the play. I thought it was overstuffed and too long. And I thought there was a lot of. I was going to say exposition in Act 1, but it isn't even really exposition so much as all of this filthy. I felt like we kept delaying, you know, confrontations about what he had said. And then finally at the end of Act 1, there's. There's one confrontation about it with one of the other characters. But to me, the. The absolute meat of the play and the brilliant part was the very ending where he's been, you know, Dahl has been avoiding doing an interview about what he said, and finally he gives in and he tries to treat it as we hear. You know, we. We see him on the phone and we hear the interviewer on the other end. We don't see the interviewer, but Dahl tries to, you know, very good humoredly and try. Try to be very polite and try to explain what he meant, and he just makes it worse and worse and worse until he says a lie line that has the entire audience gasp. An anti Semitic line that. That just is beyond the pale and, and it's great because you hear the interviewer, you know, almost have the same reaction. You know, he even says to him at one point, are you, would you like me to call you back? He tries to give him an out because he can hear that he's digging himself deeper into a hole. But Doll keeps going. And I thought that was the, absolutely the best part of the play. I think it would have been far better if about 15 or 20 minutes had been cut from it and it had been done without an intermission, because I also think it would have been better in real time, which a lot of it is as it is now, but, but, but not all of it. So I, I, I was disappointed in that and surprised ultimately that it won. It did so well in the Olivier Awards. It won Best New Play in addition to Best Actor for Lithgow as Doll, and also a Best Supporting Actor for Elliot Levy, who's come to Broadway in the role of his, of Lithgow's publisher. And I, I, that did not strike me as a, as a role that would win an award. So I don't know if that was just about affection for Elliot Lee. Tv Anyway, so that, that's my, that's my reaction. I was disappointed that the play itself wasn't better. And I do think it would have been greatly improved if, if, as I said, it had been edited in the way that I suggested.

[B]

Okay, so Giant is at the Music Box theater scheduled through June 20th, 28th, and we'll have a link to that in the show notes. Finally this morning, Carrie, you were at the August Wilson to see Dog Day Afternoon. Tell us what you thought of this.

[A]

I'd also like to be in the room hearing the conversation in which people decided that movie should be adapted for the stage, because I think it was incredibly unnecessary. I do not think that seeing it on stage offered anything new or unique that the movie did not offer or, and I also don't think it honors the movie. I felt like I was watching a cheesy 90s sitcom. There was a lot of laughter at jokes that I did not find funny at all. And I was deeply uncomfortable with how many characters were portrayed. I don't know if that was due to the direction or, or notes in the script, but, oh, gosh, where do I start? It's not a musical. But I half expected the young women who worked at the bank that is held up to start singing, pick a Little, talk a little, because they were just presented as these high pitched, nasally women with one defining characteristic and nothing Else, like one of them's the sexy one, one of them's the naive one. It was, I was just rolling my eyes the entire time thinking those actors deserve best. Daughter Jessica Hecht plays their boss, like the head teller. And I love Jessica Hecht, but I was really disgusted when her character became like a giggly, flirty girl because this guy who's holding her at gunpoint tells her, you know, you, you could be a good looking dame if you drop the sourpuss act or something to that effect. That's not meant to be a direct line, but I remember the word sourpuss. I was just thinking with, with that actress playing this role that I don't believe this at all. She's. She's too smart. And yeah, the portrayal of women, I realize that's not the point of the show. The point of the show is these men and what they did and why they did it, which does inspire some interesting thoughts about right and wrong and, you know, if morality can be absolute in terms of a good guy or a bad guy. But I, I just was so annoyed by how the women were portrayed. And then I was. Oh, and also the, the performance of the person who plays Sunny, the bank robber's first wife. She's marched on stage to basically park, embark a petulant tirade, and then marched off. I also found that portrayal very, just very reductive, not dramatically enhancing the play at all. An annoying distraction. And. And then the way that Sunny's second chosen life partner, a trans person, is, is performed had me kind of confused. I. I don't want to ever presume to speak for a community that I'm not a part of, but I was, I was just confused by the choices that were made. I. It wasn't clear to me who this person was or what their motivations were. I think that everyone in that cast deserved a better script and, you know, possibly some different direction. The lines that people were laughing at I did not find funny at all. And I didn't think this story is a comedy in any way, shape or form. I will say so. At intermission, several of the. My fellow critics were there as well. And I never want to speak poorly of a show in the theater or near it. So one of them asked me, intermission, what do you think? And I just said, the set's really good and the set is really good. I was impressed by the set, but I do not understand why this was, why this was adapted. And I don't understand why it was performed the way in which it was

[B]

all right, so Dog Day Afternoon at the August Wilson Theater is scheduled through June28. Have a link to that in the show notes. I do want to wrap up, but we can't wrap up without mentioning Pink is hosting the Tony Awards.

[D]

Yes.

[B]

So I thought that there was some sort of unwritten rule, maybe written rule that you had to be a Tony, had been on Broadway, won or been nominated for a Tony Award. Do I have this role wrong?

[D]

Well, if it's unwritten, it's hard to say.

[B]

Well, I'm saying, do you guys. Have you guys heard this before? I mean, or just.

[C]

I can't say that I have. I, I certainly see your point. But yeah, obviously we know the reason why this is happening, but I, I don't think it's going to make a scintilla of a difference in the ratings. As I always give an example. If they said the Bernadette Peters was going to host the Heavy Metal Awards, if there is such a thing, I wouldn't watch the show. Show. I don't think you can expect people who are, who are in a different world in terms of music to, to tune into an award show just to see the occasional ramblings of a host. After all, it would be one thing if a host actually was on stage at all time. But obviously there are presenters, so how much does a host really do? So as a result, I don't think anybody is going to come to the Tonys this year that hasn't

[B]

Michael, Carrie, any thoughts?

[D]

Similar thoughts to, to Peter.

[A]

I hope she'll bring in more, more viewers. I mean, I've said many times the Tony Awards are, you know, along with honoring excellence, they're, they're commercials for shows. And when seeing especially musicals now, I find myself wondering like, oh, are they going to do that number at the Tonys or are they going to come back? Combine those two. One of the reasons I really, really adore Daniel Radcliffe is even when he hasn't been nominated, he's always performed at the Tonys because you know that people are going to tune in to see Harry Potter dance. Like back when he was in how to Succeed in Business without really Trying, he wasn't nominated, but he did A Brotherhood of Man, a very long, long number. And I remember there was one, like one moment where you could just see joy across his face, like he wasn't in character for a moment. He's like, yeah, I'm just doing this. But I love that even though he wasn't nominated for many of his performances up until Merrily he would always show up and present or perform because he knows the power that he has to make people tune in.

[D]

And wouldn't he have been a fantastic host? Oh, wouldn't he have been? And hasn't that happened before when someone who was nominated was also the host? Exactly.

[A]

So I guess 2004, high kick in with the Rockettes, Right?

[D]

Thank you very much. So I. I wonder if that even occurred to them or if they asked him and he said no. But I don't know then.

[B]

Well, I don't know either.

[A]

I read in an interview that he had planned on, like, taking some time off from acting to enjoy being a dad, but that every brilliant thing just spoke to him so deeply thought, I

[D]

have to do this.

[A]

I have to do this show. I mean, we could. We could dreamcast Tony Award hosts until the Tony Awards start. I hope this has the effect that the people who make the decisions want. I will be pleasantly surprised if it does.

[B]

All right, so, I mean, I'm a fan of Pink's music, and I, you know, I think that, you know, if she sat and did Mr. President at the Tony Awards, I'd be pretty happy.

[D]

Final thought, you know, I mean, it. It will be. It's impossible to tell however the ratings turned out, how much of that is due to Pink or not, because, of course, some people might turn in just to see if Adrien Brody wins, you know, over John Lithgow. You know, so we. We can't ask each person why they're watching the show.

[B]

No.

[A]

All right.

[C]

How long it would take if indeed we asked people why they weren't watching the show. Have.

[A]

Have all of you seen Rachel Bloom, who created and started Crazy Ex Girlfriend, the video that she made years ago, singing, who titled no one will watch the effing Tony Awards with me.

[B]

Yes. Yeah.

[A]

She's knocking on various people's doors, asking them if they'll watch the Tonys. It's. If you haven't seen it, it's on.

[C]

I know what you're talking about.

[A]

So funny.

[B]

Yeah, Rachel Bloom is great. All right.

[A]

So that she should host the Tonys.

[B]

Yeah, she's funny. So that wraps it up for this week. Before we get on to our brain teaser, our musical moment, I want to remind everybody that you can subscribe to these broadcasts by going to the front page of broadwayradio.com there's a subscribe link. That way each and every time there's a new episode of this week on Broadway, it can be automatically downloaded to Apple podcasts for you. Of course, you don't have to listen to us in Apple podcasts as many ways to get us us. One way is Patreon P A T R E O n dot com broadwayradio. You can support all of Broadway radio shows as well as get us a little bit early and a few extra bonuses. Contact information for Peter from Michael for carrying for me can be found in the show [e-mail] as well as links to some of the things we've talked about today. So Peter, do you have an answer to last week's Brain Tease?

[C]

You know, I gotta say, I thought this one was really hard and yet I think we set a record for most people answering really, if you haven't taken your morning shower and you need some time, you can do it. While I name all the people who answered this question, which was three musicals opened in three successive years that referenced an all male organization. The musical that opened in the first of these years mentioned it in its leading ladies opening solo. The musical that opened the second year actually showed a meeting of that organization. 5. Finally, the one that opened in the third year mentioned the organization in this 11 o' clock number. Now really, doesn't this sound complicated? We're talking about the Shriners Rose and Gypsy which opened in 1959, sang all the Shriners I Said hello to and her first number of some people in 1960, Bye Bye Birdie actually had a Shriners ballet. And in 1961, how to succeed Brotherhood of Man Finch mentions that I may join the Shriners. Juliet Green was first followed by by Sean Logan, Tony Janicki, Steve Bell, All Whitty, Ian James, Tweety, Steven Sokola, Nikki Jubin, Jack Leshner, Lee Korn, Arthur Robinson, Josh Israel, Jeff Valenga, who said thanks for sending an easy one. I mean, you know, so Avery Clements, Deb Poppel, Kathy Jones, Hal Morgan, Fred Abramowitz, J. Aubrey Jones, Ingrid Gammerman, Brian Nagel, Brigadier Nude and John Conti. Wow, I'm exhausted. This week's question what do these Broadway revivals have in common? Finion's Rainbow in 1960, Hair in 1977, A Touch of the Poet in 1977, Chicago in 1996 and Joe Turner's Come and Gone in 2026.

[B]

If you have an answer for us, email us at triple [e-mail] we'll let you know if you're on the right track. So Michael, what do we have in this week's musical moments?

[D]

Well, we began our podcast today with our thoughts on Cat's the Jellicle Ball, and I would say we're. We're all thumbs up on it. So we thought we would feature some music from that. This is music from a teaser video that you can find on YouTube, and it'll give you. There's no vocal music in the two selections where we're using as our opener and our closer, but it does give you a little hint of how well the music has been adapted from the original orchestrations and arrangements to something that more fits the ballroom culture milieu that is the basis of this production. So please enjoy these brief moments. And we're including the video as well, so you can get an idea of what it looks like. I don't know if any of us mentioned the costumes for Cats, the Jellicoe Ball, which are phenomenal. The wigs. I think someone did mention the wigs. Yeah, you did. Yeah. Thanks. But yes, both. Both of those production elements are just absolutely, absolutely amazing.

[B]

I. I think. I feel like in just seeing all the. All the videos surrounding Catch the Jellicoe ball that. That the 80s original production of Cats was, you know, focused on the music where the cat's. The Jellicoe Ball is so much a visual experience. So you really have to see. You really have to see this video. So on behalf of Michael Portantier, Peter Felicia, and Carrie Purcell, this is James Marino saying thanks so much for listening to Broadway videos this week on Broadway. Bye, bye.

[D]

Bye.