BroadwayRadio Podcast Summary

Episode: This Week on Broadway for April 20, 2025: John Proctor is the Villain
Host: BroadwayRadio
Release Date: April 20, 2025

1. Introduction and Guest Introductions

[02:06] James Marino:
James Marino welcomes listeners to the episode, introducing the guests:

• Peter Felicia: Playwright, journalist, historian
• Jenna Tessa Fox: Theater writer and contributor
• Michael Portantier: Theater reviewer and photographer
• Mason Moore: Contributor and commentator

2. Show Tune of the Week: "Marathon" from Jacques Brell

[02:35] Peter Felicia:
Peter introduces the show's tune, "Marathon," linking it to the historical first Boston Marathon in 1897. He provides context about the song's relation to the passage of time and its thematic predictions that have only partially come to fruition.

"I don't think that the Christmas spirit hasn't faded, but that John J. McDermott from New York finished in 2 hours, 55 minutes, and 10 seconds was remarkable for the first marathon." [02:39]

[03:40] James Marino:
James humorously notes,

"Nobody works in a cotton field anymore. It's all robot." [03:40]

3. In-Depth Review: "John Proctor is the Villain" at the Booth Theater

[09:14] Peter Felicia:
Peter delves into his impressions of Kimberly Belflower's play, expressing strong reactions to the portrayal of John Proctor. He highlights the validation of his own perceptions about the original The Crucible.

"I was appalled when John Proctor referred to his inamorata as a whore." [11:23]

[13:54] Mason Moore:
Mason agrees with Peter, praising the play's ability to connect historical themes with contemporary issues such as the MeToo movement. He commends the nuanced characters and Dana Taymor's sharp direction.

"Bellflower does a really beautiful job of creating some really complex, nuanced characters. They're painfully human." [13:54]

Notable Insights:

• The play sets The Crucible within a modern Georgia high school, reflecting current societal changes.
• The absence of an intermission was a point of contention among the reviewers.
• Sadie Sink's performance stands out, bringing complexity to her character.

[17:28] Mason Moore:
Mason critiques Arthur Miller’s original characterization, discussing the fictional relationship between Abigail Williams and John Proctor, and how the play could have further explored these alterations.

"I would have loved to hear some moments analyzing why Miller felt the need to demonize a woman." [17:30]

4. Review: "Smash" Musical at the Imperial Theater

[33:52] Unknown Female Singer:
A critical review of the stage adaptation of the TV series Smash. The reviewer expresses disappointment with the book and plot elements, despite acknowledging the talented cast.

"Between Smash and Boop, I really have a much lower opinion of his work." [34:55]

[41:55] James Marino:
James echoes similar frustrations, noting misaligned expectations and ineffective insider jokes that don’t resonate with the broader audience.

"If there was a show called 'The Musical That Went Wrong,' this could have been in it." [56:19]

[42:00] Mason Moore:
Mason provides a counterpoint, appreciating certain aspects of the show but ultimately criticizing the book and character development.

"I would say it's a critics' pick very much, yes." [44:15]

Notable Insights:

• The adaptation struggled to translate the television show's dynamics to the stage.
• Songs from Bombshell lacked integration with Smash's narrative.
• Despite strong performances, the overall production felt disjointed.

5. Spotlight: "Anya" One-Person Play at Lortel Theater

[63:33] Unknown Female Singer:
An enthusiastic review of Andrew Scott's one-person rendition of Uncle Vanya. The reviewer praises Scott’s ability to differentiate characters through voice modulation and physical expression.

"You would be amazed at how many times it's not difficult to follow the story and the characters because they're so, so incredibly well delineated." [63:33]

[65:26] Mason Moore:
Mason encourages listeners to attend, highlighting the unique and compelling performance despite potential challenges of a one-person show.

"It's a really phenomenal person playing every role." [65:26]

Notable Insights:

• Andrew Scott delivers a versatile and captivating performance.
• The play benefits from deep character portrayal, making it more engaging than traditional multi-cast versions.

6. Musical Performance: "Coco" by Alan J. Lerner and Andre Previn

[66:34] Peter Felicia:
Peter reflects on Coco, emphasizing its strong score and vocal performances, despite challenges with the original cast album.

"Coco had a terrific score and it's very hard to tell that from the original cast album." [66:34]

[69:49] Unknown Female Singer:
She lauds the performers and highlights a particularly moving duet between Coco and her father, underscoring the emotional depth of the production.

"Their little scene together... was so touching." [69:51]

Notable Insights:

• The musical's emotional moments resonate strongly with the audience.
• Performances by the cast, including Danielle Darier and Lenny Wolpe, are standout elements.

7. News and Announcements

Patrick Adarte’s Passing
[71:57] Unknown Female Singer:
Tribute to Patrick Adarte, acknowledging his contributions to musical theater and his memorable performances in classics like The King and I and Flower Drum Song.

"He was a phenomenal, phenomenal dancer who would have probably been a major, major star." [71:57]

Renovations of West Bank Cafe
[73:54] Unknown Female Singer:
Updates on the redesigned West Bank Cafe by David Rockwell, featuring state-of-the-art technology and new artwork from prominent artists.

"They have a lot of nice photos... great selection on the wall." [74:02]

8. Brain Teaser

[76:07] Peter Felicia:
A challenging question for listeners:

"Change one letter in the name of a currently occupied Broadway Theater. And you'll get the last name of a character in a comedy that ran on Broadway for more than a thousand performances. What's the name of the theater? What's the name of the character? What's the name of the play?" [76:07]

9. Musical Moments

[77:08] Unknown Female Singer:
A comparison between "Let Me Be Your Star" from Smash and "Bella Note" from Disney’s Lady and the Tramp, highlighting similarities in their melodies.

"You can listen to both and see if you notice the similarity that I do." [77:08]

[78:32] Peter Felicia:
Peter draws parallels with another song, illustrating his attention to musical nuances.

"There's a lot of that going on." [78:32]

10. Closing Remarks

[79:27] James Marino:
James wraps up the episode, encouraging listeners to subscribe and support the podcast through various platforms like Apple Podcasts and Patreon.

"This is James Marino saying thanks so much for listening to BroadwayRadio’s This Week on Broadway. Bye bye." [79:27]

Notable Quotes with Timestamps

• Peter Felicia [11:23]:
  "I was appalled when John Proctor referred to his inamorata as a whore."

• Mason Moore [13:54]:
  "Bellflower does a really beautiful job of creating some really complex, nuanced characters. They're painfully human."

• Unknown Female Singer [34:55]:
  "Between Smash and Boop, I really have a much lower opinion of his work."

• Unknown Female Singer [63:33]:
  "You would be amazed at how many times it's not difficult to follow the story and the characters because they're so, so incredibly well delineated."

• Unknown Female Singer [69:51]:
  "Their little scene together... was so touching."

• Unknown Female Singer [71:57]:
  "He was a phenomenal, phenomenal dancer who would have probably been a major, major star."

• Unknown Female Singer [74:02]:
  "They have a lot of nice photos... great selection on the wall."

Conclusion

This episode of BroadwayRadio offers a comprehensive review of current Broadway productions, insightful critiques from seasoned theater experts, and engaging discussions that bridge historical plays with contemporary themes. From deep dives into the motivations behind character portrayals to comparisons of musical scores, listeners gain a multifaceted understanding of the Broadway landscape as of April 2025. Additionally, the podcast honors theatrical legends and keeps the community informed about significant updates, making it an essential listen for Broadway enthusiasts.