This Week on Broadway for April 5, 2026: Dog Day Afternoon

Summary

BroadwayRadio – This Week on Broadway for April 5, 2026: "Dog Day Afternoon"

Podcast: BroadwayRadio
Hosts: James Marino, Peter Filicia, Michael Portantier
Episode Date: April 5, 2026
Theme: Broadway’s latest openings, productions, notable performances, and industry news, with a deep-dive review of the new play Dog Day Afternoon.

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Episode Overview

This episode centers on Broadway’s new adaptation of Dog Day Afternoon, with critical discussion and reviews from the hosts, alongside coverage of other notable productions (Giants, Gotta Dance, Ulster American, The Wild Party, Hamnet, About Time), and a celebration of Petula Clark’s 93rd birthday. The hosts bring both industry expertise and personal anecdotes into their spirited discussions of current theatre offerings.

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Highlights and Key Segments

1. Opening & Announcements

• [01:43] James welcomes panelists Peter and Michael, recapping recent BroadwayRadio milestones:
  • Jan Simpson’s latest “All the Drama” episode on Seascape (1975 Pulitzer winner) for Patreon supporters.
  • Acknowledgement of BroadwayRadio’s 4,000th podcast episode.

Quotable:

"Unbelievable. Now, 3900 of them is Matt Tammanini, but this is 4000."
—James Marino [05:50]

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2. Show Tune for Today: "Come Follow the Band" (Barnum)

[02:24]
Peter shares background on "Come Follow the Band," its origins as a backers audition choice, and why it’s his go-to pick-me-up.

Quotable:

"If you’re down in the dumps... play 'Come Follow the Band' and you’ll feel much better."
—Peter Filicia [03:21]

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3. Review: Dog Day Afternoon at the August Wilson Theater

Peter Filicia’s Take [06:23 – 12:00]

• Memorable Moments & Stagecraft:
  • Missed iconic film moments (e.g., paying for coffee).
  • Staging criticisms: Bank’s barren exterior projection, underwhelming helicopter scene, action relegated too far upstage.
• Tone Shift:
  • Notably funnier than the film; controversial for departing from the original’s tone.
  • Credits playwright Stephen Adly Guirgis for making it his own.
• Performance Notes:
  • High praise for Jon Bernthal as Sonny (evocative of Pacino).
  • Esteban Andres Cruz Leon’s performance compared to Chris Sarandon; holds his own.
  • Jessica Hecht as the “ballsy” bank worker—divided audience response.
  • Michael Kostroff as police negotiator praised for the realism and smart writing.

Quotable:

"Even with my objections... I certainly have no objection to Jon Bernthal as Sonny... it's a galvanating performance."
—Peter Filicia [09:55]

Michael Portantier’s Take [12:01 – 16:55]

• Overall Impression:
  • "A tremendous mess," due to jarring tonal shifts between comedy and drama.
  • Story logic issues (“crooks delay escape for tellers’ bathroom break”).
• Performance Highlights:
  • Jon Bernthal compared to actor Robert Funaro (“same look and voice”).
  • Esteban Andres Cruz is a standout; some ensemble members mush-mouthed.
• Industry Scuttlebutt:
  • References rumored rift between playwright and director; speculates about the creative struggle over tone.

Quotable:

"There have been many, many plays and musicals that have very successfully combined drama... and hilarious comedy. This one fails to do that in any satisfying way."
—Michael Portantier [12:14]

• [17:37] The audience appears to enjoy the show, even if critics and theatre insiders are sharply divided.

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4. Review: Giants at the Music Box Theater

Peter’s Thoughts [20:00]

• Hailed for John Lithgow’s performance, but the play itself “never caught fire” as expected.
• Discussion of Roald Dahl’s complexities post-divorce from Patricia Neal.

Notable Quote:

"Maybe it was just talked up too much. But I wasn’t overwhelmed by this."
—Peter Filicia [20:23]

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5. Review: Gotta Dance at Stage 42

Michael Portantier [26:57]

• A love letter to legendary Broadway and film choreography.
• Hopes it will repeat the rare Stage 42 hit streak like Yiddish Fiddler.
• Highlights Jessica Lee Golden and Barton Cowperthwaite’s moving personal comeback.
• Dissected rights issues surrounding dance numbers (Nicole Fosse’s estate).

Quotable:

"It’s just fantastic... absolutely, please go see Gotta Dance."
—Michael Portantier [33:35]

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6. Review: Ulster American at Irish Rep

Peter Filicia [36:05]

• A play about egos and creative conflict in the theater.
• Praises the ensemble work and skillful handling of behind-the-scenes tension.
• Inside-baseball subject, yet engaging for a wide audience.

"It’s really, really quite good. I was tremendously impressed..."
—Peter Filicia [37:43]

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7. Brief: The Wild Party (LaChiusa) at City Center

Michael Portantier [40:47]

• A near-fully staged Encores! production.
• Standout performances: Jasmine Amy Rogers, Jordan Donica.
• Recalls the rivalry with the Lippa version and the short, underappreciated original run.

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8. Brief: Hamnet at Shakespeare Theatre Company, Washington D.C.

Peter Filicia [46:49]

• Admires the adaptation over what he saw as an “overwritten” novel.
• Points out the unique pain of a twin losing a twin.
• Some issues (adult actor as an 11-year-old) explained by casting necessity for later doubling as Hamlet.

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9. Brief: About Time (Maltby & Shire Revue) at Marjorie Dean Theater

Peter Filicia [52:38]

• Warm, insightful revue about aging, cleverly written songs, some repurposed from their earlier musicals.
• Cites cast highlights and hopes for a cast recording.
• Reminisces about Maltby and Shire’s long, varied careers.

Quotable:

“They've been doing it since the 50s and here they are and they’re still extraordinarily good.”
—Peter Filicia [57:24]

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10. Special Mention: Petula Clark's 93rd Birthday

Michael Portantier [58:53]

• Points listeners to a new in-depth video interview and recently published memoir, lauding her warmth and honesty.

Quotable:

"She comes across as one of the most honest, I think and down-to-earth people that I've ever seen interviewed."
—Michael Portantier [59:19]

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Timestamps for Key Segments

| Segment | Timestamp | |---------------------------------------------|-------------| | Opening & Announcements | 01:43–06:09 | | “Come Follow the Band” discussion | 02:24–03:47 | | Dog Day Afternoon reviews | 06:16–18:04 | | Giants (John Lithgow) | 19:43–25:57 | | Gotta Dance (Stage 42) | 26:57–34:12 | | Ulster American (Irish Rep) | 35:58–40:12 | | The Wild Party (Encores!) | 40:47–45:51 | | Hamnet (Shakespeare Theatre, DC) | 46:34–52:16 | | About Time (Maltby & Shire) | 52:32–58:08 | | Petula Clark’s birthday discussion | 58:49–60:15 | | Brain Teaser & Musical Moments | 61:25–64:32 |

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Notable Quotes

• On Dog Day Afternoon’s Approach:
  "Notably funnier than the movie... a lot of people have been disappointed by this."
  —Peter Filicia [10:25]

• On Creative Tension:
  "There was a huge rift between the director and the playwright... leading to the playwright being banned from rehearsals."
  —Michael Portantier [15:43]

• On Audience Response:
  “Audience seem to really like it.”
  —Michael Portantier [17:37]

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Overall Tone & Style

• The hosts maintain a lively, bantering, insider-y tone, with sharp wit and candor about both artistic and commercial Broadway realities.
• Peter and Michael’s deep well of historical and theatrical knowledge adds context at each turn, with personal anecdotes and connections enriching every review.

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For New Listeners

This episode is ideal for both hardcore Broadway fans and casual listeners eager for in-depth insights into new and revived shows. The frank, enthusiastic interplay among James, Peter, and Michael, plus shoutouts to unsung heroes (stage managers, producers), offers a window into the ever-evolving, always-passionate Broadway scene.

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[Further Exploration]

• Listen to the episode for more details on song selections (House of Flowers, “Don’t Like Goodbyes”) and to catch the full context of the memorable moments and musical interludes.
• For show notes, subscribe links, and further resources: broadwayradio.com

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Transcript

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[Peter Filicia]

Sam.

[James Marino]

Hello and welcome to Broadway Radios this week on Broadway for Sunday, April 5, 2026. My name is James Marino and in the broadcast today we have Peter, Felicia and Michael Portantier. 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 Bright New Year is available at finer retailers. Hello Peter, welcome back from Baltimore.

[Peter Filicia]

Yeah, yeah, I had a show done there so but, but I also saw our show as you'll also hear a bit later in the in the podcast.

[James Marino]

So our show tune for today is Come Follow the Band from the Barnum Backers.

[Peter Filicia]

Yeah, yeah. I'm not talking about the original cast album, though it's marvelous on the original cast album, I think it's one of the great second act openers of all time. But here's what's interesting. When they were doing the backers audition, that's Coleman doing the music and Michael Stewart doing the lyrics. They started their backers audition with Come Follow the Band and now it is possible that at that point in time when they were making the show happen, that they had planned to open the show with Come Follow the Band. Eventually they would open it with something more obvious, which is there is a sucker bond every minute, which was a very famous statement made by P.T. barnum. So as a result, it would seem that that would be the logical number for the show. But at a backers audition you want people start writing out checks and as a result you might want to put your best song forward so that they'll get in the right mood. I don't know if that was the case, but nevertheless, I do think Come Follow the Band is a terrific song. I always recommend it. If you're down in the dumps, you really feel terrible, play Come Follow the Band and you'll feel much better.

[James Marino]

Oh well, that'll be a pick me up for today. I'm gonna go listen to that right after.

[Peter Filicia]

Why not?

[James Marino]

Exactly.

[Peter Filicia]

Won't hurt you.

[James Marino]

Also also with this is Michael Portentier. Michael's Michael has been a theater journalist for more than 50 years. He's the founder and editor of Cast Album Reviews.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 at shows at 54 below the Laurie Beachman Theater and other venues. Hello, Michael.

[Michael Portantier]

Hello.

[James Marino]

Hello. So, a little bit of Broadway radio catching up for this week. Jan Simpson's all the Drama series has been released. The newest episode has been released. It's the 1975 winner of the Pulitzer Prize for Drama. It is out for Patreon supporters, and it is Seascape. And wow, what really, really so much fun listening to this episode. And also, how time flies. It's the fifth anniversary 50th. I mean, I mean.

[Peter Filicia]

60. 60.

[James Marino]

Yeah.

[Peter Filicia]

No, 50. 50, isn't it?

[James Marino]

55th anniversary, 12 episodes. 60.

[Peter Filicia]

Oh, is that what you mean Of. I thought you meant the show itself.

[James Marino]

Oh, oh, of Seascape. Oh, yeah. Well, yeah. Seascape 75. Yeah, 20A51. Well, you know, and so really, really fun. Listen, and also I happened to notice this yesterday when I was prepping for today's show, is that I think this episode is the 4000th podcast we released on Broadway radio. 1000 podcasts.

[Peter Filicia]

My God.

[James Marino]

Unbelievable. Now, 3900 of them is Matt Tammanini, but this is 4000. So congratulations to everybody around. And again, we wouldn't exist without Matt. So thanks so much to Matt.

[Peter Filicia]

You bet.

[James Marino]

So, first up in our review section, Michael and Peter got to see the

[Peter Filicia]

new

[James Marino]

play Dog Day Afternoon. So tell us about this, Peter.

[Peter Filicia]

Well, it's been a long time since I've seen the movie. How can I prove that? I started at a drive in. I mean, what does that tell you anyway? But there are. There are things I remember from it. And one of the things I remember is a famous scene where after Sonny, played by Al Pacino in the film, has decided and has enacted a bank robbery that dealing with the police, he. They talk about delivering coffee, donuts, that type of thing, and he runs out in the street to get it and he wants to pay for it. I got it, I got it, I got it. You know, trying to seem like a nice guy, that he's going to pay for it. That's not in the script. And I'm a little surprised that that's not there. The other thing is, when he gets caught in the movie, there's a fascinating thing that happens in a car, in case you haven't seen the movie. I don't want to spoil that. And I thought, how are they Going to do this. How are they going to capture him in the car? And they don't. It's a very perfunctory capture. That surprises me that. So matter of fact, the other thing that I think is a problem here is that the stage set by David Correns is one that has gotten a great deal of attention. I had a problem with it because first off, you see the exterior of the bank and while you're facing the stage, stage right from the audience point of view, but there is nothing else on the stage. Now obviously we're in the five boroughs and I don't know where any bank is located. There is absolutely nothing else around. And what would it have taken? Have a projection of the city behind it. That, that mystified me. But my real point is when the. He wants to escape by helicopter and you hear a helicopter coming, you think, ah, now I understand why the stage is so bare. There's so little else there because the helicopter's gonna. No, it doesn't come in at all. So. So that's a bit of a disappointment. So I, I also had a bit. We do get into the bank because unfortunately it's far, far upstage is where the women tellers are. And granted there isn't that much that happens up there until the robbery, but still it was very off putting at the beginning that so much was happening up there and we weren't seeing it as well as we might have if the tellers had been placed farther downstage. So all that said, there's been a lot of controversy about this show because of course it's funnier than the movie. And a lot of people have taken issue with that thinking that it's really been even ruined because it's. It's not word for word the movie. But I give Stephen Adley Gurgis a great deal of credit for making it his own. I think it's very entertaining for its own sake, even with my objections here. But I certainly have no objection to John Bernthal as Sonny. I will grant you that there are times he seems very much like Al Pacino. I don't know if he's watched the movie or remembers the movie, but there is an analogy with Pacino. Still, it's a galvanating performance. Even Moss Bakrack, who is. Has a nice reputation too, plays Sal, his henchmen. It's not as dynamic a role, but he certainly does a good deal with it. So I can't say that the characterization of Esteban and Andres Cruz Leon, the transsexual that Sonny loves is as powerful as Chris Sarandon was in the movie, but he certainly holds his own, and that's fine. Of the people working in the bank, Jessica Hecht is very, very fine. Very. Some people have taken issue with that, too, that she's a little too, well, let's say ballsy when these guys have guns. And I think there's something to be said for that, too. But wonderful characterization I have. I can't say I remember if this is word for word or adapted, but Butterman, the.

[James Marino]

The.

[Peter Filicia]

The police person who was talking to Sonny on the phone throughout the entire show, Michael Kostroff. I think it's a very well written part because it's a very smart thing that what the police do in a situation like this, they make it sound like everything is no big deal, that there's not going to be that much of a problem if you get in, if you give up, you know, and. And of course there is, but nevertheless, it's a very smart approach to get. Buddy, buddy. And I'm looking for your best interests. And we can work. Yeah, yeah, we can work this out. You're going to prison. You know, I mean, but the thing is, that's the way they operate, and I think that's very, very skillful. So while I have to say that I know a lot of people have been disappointed by this, I do recall reviews saying, if you don't know the movie, it won't bother you as much. And again, because my memory of the movie is fuzzy, I enjoyed it.

[James Marino]

Okay, Michael, what do you think?

[Michael Portantier]

I thought it was a tremendous mess. I have never seen the movie, so I went in completely cold, which I guess is a good thing to judge it on its own merits. There have been many, many plays and musicals that have very successfully combined drama, very serious drama, with hilarious comedy. This one fails to do that in any satisfying way. There are moments when the comedy takes over and works for a few minutes. And then there are other moments. For example, late in the show, Sonny and Leon get to have a phone conversation. And things, you know, of course, have got. Have gone so, so badly. So it's an extremely emotional phone conversation between them and ends up with, I believe, Sonny, sorry, Leon's last line saying, I can't do this any more, or it's over. I think it's the line, it's over. And he. She hungs up, hangs up. And that was very, very emotional, too. But they just. The stitching together of them didn't seem to make any sense. Also, there were lots and lots of plot points, to me, that, that, that just didn't hang true at one point. They, when they, when they, when the crooks find out that there is not, in fact $300,000 in the safe at the bank, which they thought there would be, they, of course, are very, very angry and frustrated. And so at that point they think they want to, you know, they want to try to leave, they want to try to escape.

[James Marino]

And.

[Michael Portantier]

But, but they can't do it because, get this, some of the women need to go to the bathroom. So they're like, all right, we'll wait till you go to the bathroom and then we'll escape. I mean, I don't know. Does that seem. Does that seem credible? I. I don't. I don't get it. Really excellent acting. Character work by John Bernthal, who I had never seen before in anything. And it's. I am going to tell you, I was having a very odd experience watching him because he has exactly the look and voice and acting style of a friend of mine named Robert Fenero who was on the Sopranos for many years. And I. I'm sorry I didn't bring Robert to sing this to see this show. I hope he gets to see it himself. And I have to call him and see what he thinks of it. He's maybe a tiny bit pass in, in terms of age now, but otherwise he would have been great. Even Moss Bakrek's part, I thought, was fairly thankless. But other people got a chance to shine, particularly the one who played Leon. And that is, sometimes I have trouble finding. Oh, oh, here it is. Esteban Andres Cruz. I think Peter mentioned that person. Yeah, really, really excellent job. There was one woman and among the bankers who every time she screamed a line, I had absolutely no idea what she said. And I thought that maybe it was me, but my friend who I. With whom I attended said the same thing. So somebody should maybe, maybe speak to her about that because it was a little annoying. This. There has been publicity that there was a huge rift between the director and the produce, the director and the playwright, I guess, at least leading to the playwright Stephen Adley Grgis being banned from rehearsals for a certain period. So I wonder how. I mean, it would have been interesting to be a fly on the wall to see exactly what happened. Maybe one issue is that possibly that Rupert Gould wanted to make the evening more comic than. Than Stephen Adley Gurgis intended because, well, I mean, his other shows certainly had a lot of comedy in them too, but they ultimately, I think, were Far more serious than this one. But that's just sheer speculation on my part. Obviously, something. There was some major, major creative difference. People don't get banned from rehearsals very often. It must have been something huge. Perhaps, you know, as. As the months and years go by, we'll hear more scuttlebutt about that.

[James Marino]

It's interesting because I don't know anything about this specific incident, but the way that Broadway works in the contracts, the writers really have a lot of control.

[Michael Portantier]

Oh, yes.

[James Marino]

Writers can shut the whole thing down.

[Michael Portantier]

Yeah, yeah.

[James Marino]

So, you know, you usually tread very carefully around a writer, but, yeah, I'm sure that the stories will come out good and bad as this goes on. So. Dog Day Afternoon is playing at the August Wilson Theater. It's scheduled through June 28th. And we'll have a link to that

[Michael Portantier]

in the show notes we should mention. Audience seem to really like it.

[Peter Filicia]

I do, too. When were you there, Michael?

[Michael Portantier]

I was there with the night you. When you were there. I saw you in Lindic, saw you and Linda come in and then saw an empty seat next to you.

[Peter Filicia]

That's right.

[James Marino]

I'm gonna ask the Linda litmus test. Second act, yay or nay?

[Michael Portantier]

I'm here to give it to you.

[Peter Filicia]

Yeah. The guilty is charged.

[Michael Portantier]

That one. That one wasn't hard to predict. I told my friend. But when I saw you come in, you came in right at the. Right at the last minute.

[Peter Filicia]

That's right.

[Michael Portantier]

You have trouble getting in because of security or something. Yeah, yeah, yeah.

[Peter Filicia]

Linda's also notorious for showing up two seconds before 8:00 clock knowing it's not going to start till 8:07. So she granted.

[Michael Portantier]

Yeah.

[Peter Filicia]

So yes, she comes late and leaves early. That's her policy. So.

[Michael Portantier]

Yeah, yeah. So you sat down and I said to my friend, you see those two people on the aisle? One of them will not be there.

[Peter Filicia]

How funny. Wow.

[Michael Portantier]

And he's like, how did you know that?

[James Marino]

I said, michael, you can make a lot of money on the betting markets.

[Peter Filicia]

That's right. Yes, of course. Because everybody's interested in this. Yeah, right.

[James Marino]

Peter, I thought that maybe you couldn't get in because there was a big helicopter outside that couldn't get into the theater, you know.

[Michael Portantier]

Oh, yes.

[James Marino]

All right. If only Nick Heitner had directed it.

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[James Marino]

Anyway, so we talked about Giants last week, but Peter was in Baltimore last week. So, Peter, you were over at the Music Box Theater to see John Lithgow in Giants. So tell us what you thought about it.

[Peter Filicia]

Well, this is a play that really had tremendous reputation coming from England. And when I was there last year, I remembered that people were saying, wow, wow, you know, you gotta see it. As it turned out, I didn't go knowing it was coming here figuring, okay, I can wait. And people talking about the once in a lifetime performance that John Lithgow was giving and all that goes with that. Maybe it was just talked up too much. But I wasn't overwhelmed by this. I think the play gets off to a terribly slow start. And there's a famous expression called the moment of alignment. When you really know what a play is about, when it really clicks in. I mean, I'm going to use the Odd Couple as an example. When Felix is upset that Oscar comes home late after he's making dinner. Well, you couldn't have called and you realized that, well, the whole thing is now it's a marriage like husband and wife. And that's what the play is about. And I was looking for a moment of alignment for a long time. It took really quite a bit of time before the whole thing kicked in about antisemitism. So Mark Rosenblatt, who obviously is no stranger to antisemitism, is some somebody who is really pretty laissez faire about what he has to write about now. It is amazing to see John Lithgow play a character who is clueless about how much trouble he's getting himself into, that he's just digging a bigger and bigger, bigger hole for himself. So that really is very impressive to watch because you expect him to come around and finally say, yes, I've been wrong. And I'm not going to say whether or not he does, but boy, the trajectory he's on strikes me as a very, very strange one. So it's a terrific cast, no question about that. I was very, very impressed by people making their Broadway debut. Aya Cash's Jesse Stone was really quite wonderful and Rachel Sterling as Felicity. Lissy Crossland I thought was quite good, as well as Elliot Levy, Tom, these very, very fine performers. But it never caught fire in the way I expected it to. Very interesting set because indeed you expect that it's going to be a set that looks pretty handsome. Roald Dahl, after all, the author who Wrote many children's books and many adult books, too, and even had a TV series on in the 60s for a while. He was the host of a series called Way out, which preceded the Twilight Zone on Friday nights. But most people, of course, know him from Charlie and the Chocolate Factory and, indeed, Matilda. But he certainly had a lot of other things on his mind as well. And if you ever run into me at the theater, talk to me about his play called the Honeys. Too much to go into now. But anyway, Roald Dahl, you would think, with his great reputation, would certainly know what trouble he's getting into. And I guess that's the power of the play, or it's supposed to be that he. Just, as smart as he is, as talented as he is, he just doesn't get it. But anyway, I'm sorry, I was talking about the set by Bob Crowley. The thing is that you expect that Roald Dahl, having money and power, would have this wonderfully terrific, ornate place where he's living, but the idea of doing this when his place is in tatters because they're renovating is. Is a valid choice. Now, I. I imagine it came from the fact that this actually was happening in his house when, indeed, all this anti. Semitism of his came through. But still, we didn't have to have a set that looked like it was kind of crazy and furniture shoved off to the side and all that kind of stuff. The things we've all gone through when we all renovated, you know, and so I thought that was certainly a choice. That's unexpected, and I like that. But I guess it was also unexpected of me that this guy just didn't come around in the way I expected him to.

[Michael Portantier]

I have a question, Peter. Yeah, I. According to what I just researched, because I thought I knew most of this, actress Patricia Neal was married to roald Dahl for 30 years, sharing a passionate yet tumultuous life marked by immense tragedy and fame. They had five children, but faced the death of their daughter Olivia, and severe injuries to their son, Theo. Dahl notoriously pushed Neil through a grueling rehabilitation after her 1965 strokes, though they divorced in 1983. I looked at the cast list, and there's no Patricia Neal.

[Peter Filicia]

Right. She's. This is after their relationship. So, yeah, that was a notorious thing. There's even a book called Pat and Rowalt that deals with this in no uncertain terms because, you know, people just assumed they were married so long, and especially after she did have her stroke, that. That. Indeed. Wow. Wasn't he wonderful to stand by her and all this kind of. It was more complicated than that, but he really was a terrible husband as well.

[Michael Portantier]

Oh, but so. So the. The action of the play takes place after 1983.

[Peter Filicia]

She is alluded to very, very quickly, early on.

[Michael Portantier]

Okay.

[Peter Filicia]

Because again, Linda got there late, so I didn't get to see who was going to be playing what characters. I thought. I assumed we were going to see Patricia Neal. I just. One would think that one would. Because, of course, she's a very famous actress, an Oscar winner, and so. But no, this takes place after it happens.

[James Marino]

Okay. So Giant is at the Music Box Theater. It is scheduled through June 28th. And we'll have a link to that in the show notes. Michael, you were over at Stage 42 to see the transfer of Gotta Dance, which transferred from the York. And we will say, for the record, we have a recording of this, that Michael predicted this on November 30, 2025. So, Michael, tell us about the revisit of Got a Dance.

[Michael Portantier]

Well, I probably said. What exactly did I say? Did I say it would move to Broadway? Because it's not Broadway.

[James Marino]

I Not sure, but I think that you said it. It's. It's this.

[Michael Portantier]

Have another life.

[James Marino]

He's gonna have another life. Yeah.

[Michael Portantier]

Well, that was indeed true. Ricky Kane Larimer is the producer behind this transfer to stage 42, formerly known as Little Schubert. This is the theater we've discussed many times before. There seem to be reasons why it almost never has a hit having to do with having to pay union costs at a much higher rate than other Off Broadway theaters. Among other things. The only really big hit that we know that ran for quite a while, there was the Yiddish Fiddler and then I think maybe one other show, but for the most part, it's been dark more than light more than lit, dark more than lit since its inception. So we hope, I hope, hope, hope that this maybe will be another show to break that curse like Fiddler did, because it's just fantastic. It's a. A compendium of some of the greatest dance numbers ever created for musicals, musical stage productions and musical films. With choreography by Bob Abian, Michael Bennett, Stanley Donen, Bob Fosse, Gene Kelly, Ron Lewis, Joey McNeely, Jerome Robbins, Randy Skinner, Susan Stroman, Lynn Taylor Corbett, Christopher Wheeldon and Billy Wilson. And with a really fantastic cast. Keely Byrne, Brandon Burks, Anthony Canarella, Barton Cowperthwaite, Diane Doyle, Sarah Esty, Jessica Lee golden, who steals the entire production, which is quite something to say because everyone is so amazing. In it, R.J. higton, Libby Lloyd, Kate Lusain, Drew Menard, Colin Newberg, Melody Rose, Samantha Siegel, Ahmad Simmons, Landon Winslow, Blake Zelesnikar, all amazing. And Barton also I wanted to call attention to because this fellow almost died. He had brain cancer. He made a brilliant impression in the Golden Apple and it was done at the Encores production some years ago. As in the role of Paris, the dancing but non singing role of Paris. I came out of nowhere. As far as I was concerned, everyone just loved him in it. And then it seemed he wasn't around for a while and it turns out it's because he had brain cancer. So it has been treated. And I actually just ran into him yesterday on his way to the theater and we talked a little bit about that and he said I seem to be very, very healthy right now, so best, best wishes to him. And as I mentioned, Jessica Lee golden, she really gets to shine in this show in several numbers that, that showcase her, including the act from City. I'm sorry, City Lights from the act. Eliza Minnelli show the act. That's the one substitution from this show to this show from the one that was done at the York Theater. This is a transfer from New York Theater at the York. Jessica and company did. I'm a brass band from Sweet Charity. But I'm told, and this is hearsay, but it's from three or four different sources that Nicole Fosse, the daughter of Bob Fosse and Gwen Verde, right. Who. Who now controls large parts of the estate, wouldn't let it happen. She wanted too much money. To which I say, you know, what's wrong with you? You know, I mean, how many people do you think are interested in in these things anymore? And these people really love it and they would do it well and they're great dancers. And you know, I mean, I think it's very, very foolish to make that decision. That's just me. My opinion. So. But on the other hand, and. And you know, City Lights from the act is not a great number. But on the other hand, when are you ever going to get to see City Lights again? You know, so from a historic standpoint, I think it's a really great thing. Everyone else is just fantastic. Some of the number highlights are all I need is the girl from Gypsy, Broadway Melody from Singing in the Rain, the Contact Suite, the Girl in the Yellow Dress. Yeah. Featuring Barton and Libby Lloyd. But then we have songs like Love Potion Number Nine from Smokey Joe's Cafe, Teach Me how to Shimmy also from Smokey Joe's Taffe the Moses supposes from singing in the rain. Of course they probably couldn't felt they couldn't do the show without doing the Manson Trio from Pippin. So that is here. And then the end of Act 1, which is an appropriate ending to Act 1 because it's so fabulous, is cool from west side Story. It's really a chock full program. It's about 2 hours and 15, 20 minutes the entire show with one intermission. And in act two you get to see and here Swing Brothers Swing, sweet Georgia Brown, Mr. Monotony. I love piano and American in Paris. If the music in the Mirror, as I mentioned just Jessica Lee golden just tears down the house. And the finale is one from chorus light and very appropriately. I just. I absolutely love this show. Hardly anything I can think to say against it. The orchestra sometimes sounded a little thin and other times sounded fantastic. So I guess that just depends on the orchestrations of each show and you know, whether or not they adapted them very well. But it does have a full orchestra and the projections are very, very, very high level of professionalism and the lighting and sound as well. So and, and after saying all that, I'm sure that, you know, tickets are likely. You're likely to find tickets for considerably lower price than a Broadway musical you might want to see. So absolutely, please go see Gotta Dance.

[James Marino]

This is the second time that Michael has said that. Must go see Gotta Dance.

[Peter Filicia]

I'd like to say two things here. One, I have seen the subsequent production of the act done by children in Hackerstown, New Jersey and I will never forget the name Mary Beth Fritzky playing Eliza Matali role. She was terrific. She later won a lot of money on Wheel of Fortune. I'm told one of those shows I may have the wrong. The other thing is I will always know how old Nicole Fosse is because indeed when Hotspot was trying out in Philadelphia, they were in terrible trouble. This was a musical that juju Holiday was in. Martin Charnaman, later of Annie, wrote the lyrics. Mary Harry Rogers wrote the music. Weinstock and Gilbert, who were the first people to work on how to Succeed wrote the book. But they were in terrible trouble. So they called in Bob Fosse who said, yeah, I'll take over. And he went there and then Gwen Vernon went into a labor and he said I've got to go back to New York and be with Gwen. She's delivering our baby. So I'll always know how old Nicole Fosse is.

[James Marino]

All right, so gotta dance. Over at stage 42. We'll have a link to that in the show. Notes

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[James Marino]

Peter, you were over at Irish Rep to see Ulster American, so tell us about this.

[Peter Filicia]

Well, it's interesting. We've been talking earlier about what may have gone on at Dog Day Afternoon between director and writer, and that's the crux of David Ireland's play, Ultra Ulster American. So Matthew Broderick plays a big star who is going to appear in a play, and Geraldine Hughes plays the playwright, who, of course comes to the meeting to meet him and is so in awe that she cannot believe her good fortune that indeed, such a big star would deign to be in her little play. And Max Baker plays the director who's going to stage the play. And this is the first meeting where everybody's going to get along, along splendidly. Well, needless to say, there wouldn't be much of a play if everybody did get along splendidly. And it's really quite wonderful to see the way David Ireland has handled his playwright because indeed, it doesn't take long for her to stand up for herself and say, no, I'm not going to make that change. No, that's crazy. No, I won't do that. And poor Max Baker playing the director, the peacemaker, doing the best he can to save the perfect thing to ameliorate the situation, to make people happy, trying to please both. It's pretty skillful, it really is, and it will hold your interest. I dare say that this play will tremendously surprise you by the time it ends. I can't imagine that anybody would think what happens does happen, but it could happen. And I don't put it above tempestuous people. And certainly there's a, there's a this is a tempest in the teapot, because after all, we're at Irish Rep, which is not a big stage, a very handsome set, by the way, tremendously effective. And but what's really, really fine is the fact that these three people are a tremendous ensemble. And we, we talk a lot about ensemble awards at various organizations. And this should be a contender because really, the way they play off each other, people are ready to leave at any moment. That's it. I'm Going kind of. No, no, come back. I mean it. It's really, really quite good. I was tremendously impressed by this and I was delighted to see an audience respond because after all, this is inside, basebally type stuff. You know, the meetings of three professionals in the. In the theatrical world. Not something people can automatically relate to, so. But they did, and I was very glad they went with the ride. And it's quite a ride over there at Irish Ride Trip.

[Michael Portantier]

Peter, did you notice the theatrical posters on the wall?

[Peter Filicia]

I saw a Camelot. You did too, huh?

[Michael Portantier]

Yes, I did, yes.

[Peter Filicia]

But that amazed me, you know that. Because it really was the original Camelot poster. So it wasn't like we're in the director's house and he. That wasn't Mossart's house, you know, so. So I. So I guess he's very. Said maybe it was the first show he saw. Who knows? So that's entirely possible, too. But were there others? Oh, that's the only one I noticed. And I wasn't even an angle where I should have even noticed that, per se, but, yes. Were there others?

[Michael Portantier]

I think there were others, but they were harder to read in terms of the angle, so I just focused on that one.

[Peter Filicia]

Yeah, yeah, yeah.

[Michael Portantier]

Also, when I. When I talked about this show, I said that it occurred to me that I had the feeling that it might have worked better if the Matthew Bardock role were played by someone somewhat younger and more leading. Manish did that.

[Peter Filicia]

No, no, but I see your point. Yeah, yeah, sure. Yeah, that's right. With a chiseled chin and all that kind of stuff.

[Michael Portantier]

Well, because he's supposed to be a big star, you know, I mean, you. Jackman. You know, you Jackman would have.

[Peter Filicia]

Yeah, I think maybe that's an excellent point. Excellent point.

[Michael Portantier]

Thanks. Thanks.

[James Marino]

All right. Right. Ulster American is scheduled through May 10th. Was that correct? Yes, May 10th at Irish RIP. We'll have a link to that in the show notes. Michael, we've. You were on a boat and then otherwise engaged, but finally caught up with the last final performance of the Wild Party at City center, the Michael John Lachiusa version that we've talked about a few times. So what was your thoughts about this production?

[Michael Portantier]

Well, first of all, thank you for pronouncing his name properly.

[Peter Filicia]

We know Michael does well with those Italian names. Go on.

[Michael Portantier]

I was so glad that I didn't miss this show because of my cruise. I think there was a real buzz about it even before I got there. And since it was the last performance, it was quite electric. The audience was so into it and into wanting to love it and having every reason to because it was so, so very well done. Directed by Lillianne Brown, choreography by Katie Spellman. I'm sorry, my, My Playbill has folded up a little bit. Featuring the Encores Orchestra with guest music director Daryl Waters and a phenomenal cast. Shalani Aladdin, Curtis Bannister, Wesley J. Joseph, Anthony Byrd, Kyrie Quarter Jordan, donica Claiborne Elder, K.J. hippensteel, Andrew Kober, Leslie Margarita Evan, Tyrone Martin, Betsy Morgan, Megan Murphy, Tonya Pinkins, Jasmin Amy Rogers, Maya Rowe and Adrienne Warren. I mean, just that last, those last four or five names I read know kind of amazing. I think everyone really wanted to be in this. I think this show has gained luster over the years since its disappointing Broadway. Brian that that crazy season went in two separate musicals based on the Wild Party opened, one on Broadway, this one and one off Broadway, the one with music and lyrics by Andrew Lipper. And there was like team Lipa, Team Lachiusa, you know, and as you know, as is of course nobody, you don't have to choose between them. You can love both, you can hate both, you can have mixed feelings about both and any of these things are options. But at least they got people talking, right? So that's one positive way to look at it. This production, let me say first of all was all but fully staged. They even had lots of furniture on the set, which I don't think I've seen furniture in. I've seen very little furniture in any previous Encores production. You know, the more elaborate ones will have maybe some drops and, and a couple of props. But this was, this looked like almost really like a recreation of the apartment where the party is supposed to be taking place with, with walls and furniture and of course costumes. So quite different from High Spirits, which was the previous Encore production and went back to their original style of much more concert version with, with music stands in some cases and, and scripts enhanced and, and very little very excuse terms of sets and costumes and other production values. So I'm sure there are several reasons why there was such a different approach to these two. But it certainly was wonderful to have pretty much a full production of the Wild Party so people could appreciate it because it did have such a short run originally on Broadway. And absolutely the highlights of the show were. Well, it's hard to pick the highlights highlights. But that said Jasmine, Amy Rogers is, she is just the real thing. I, I, she has it. I can't. She just sparkles something emanates from her that in that she connects with the audience completely, even in a case like this where her character is not 100% sympathetic, you know, so that's a really amazing achievement. But also Jordan Donica, I mean he was absolutely fine in My Fair lady and Camelot. I, I don't think anyone dreamed that he could give such a powerful performance as Burrs in this. Oh, I also had seen him in Damn Yankees and there again, you know, great work. But it's just like this is a whole nother level every these, these people should be very, very proud of their performances because of the, you know, the first of all the short rehearsal time, but also stretching themselves and just really giving 100% to what I think really is an underappreciated piece of musical theater that may come to be more appreciated now because of this production.

[James Marino]

All right, so the Wild Party at City center played for two weeks, but it closed last Sunday. We'll have a link back to City center center in the show. Notes

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[James Marino]

Peter when you were last week down in Baltimore, you were over at the Shakespeare Theatre company in Washington D.C. to see a production of Hamnet. So tell us about this.

[Peter Filicia]

This is based on a book that has gotten much attention and has become a movie as well. I haven't seen the film. I have read the book and I have to say that while I was reading the book, I said, you know, I think this is going to be better as a play because I think frankly the book is overwritten, the descriptions go on forever. And I found myself very tempted to just read the first line of a paragraph and say, okay, is anything going to happen in this paragraph? No, I'll move on. So I found the book A Slug and that's a minority opinion. This book has been very, very acclaim named but I just wasn't ready for so much description. So the one thing I did like, and needless to say, it was very smart of the person adapting the book. Lolita, Czech Repati Taking Maggie o' Farrell's

[James Marino]

book

[Peter Filicia]

was a perception that there is no term for a twin who loses a twin. For example, if you're a husband, you lose your wife, you're a widower if you're a woman who loses a husband, you're a widow. But what are you? If indeed you're a twin and the twin dies, your twin dies. There's no term for that. And I thought that was a terrific perception. So anyway, we're back in Shakespeare's time and this is where Shakespeare is married to Agnes. Agnes is actually Anne Hathaway. And there. There's a reason I'm not going to give why she's not called Dan. But anyway, so she's a little older, as was the case in real life. And they do have kids. They have three, the twins, Judith and Hamnet, and indeed Susanna. And, you know, they're having their issues. And William's gonna go to London because after all, his family has been in the glove business. And maybe they can do some business in London. That'll be good, you know. So the theater comes in and so that's what goes on. One of the strangest things in the book which involves mystical realism is the fact that Judith is terribly ill with the plague and it looks like she's going to die. And Hamnet makes the decision that he will die instead. Well, I don't. That makes no sense to me on a certain level, but I guess that's where mystical realism comes in. But magical realism, that's what I'm looking for. So dies. And of course, this is traumatic for Agnes, who's home with her children while Will is in London and. And the fact that he is going to eventually write a play. I'm told that Hamnet and Hamlet are, in those days, was like an interchangeable thing that people would call Hamnet Hamlet as easily as they would call Hamlet Hamnet. So anyway, she's a little upset that's going to be a play that he's exploiting this. And, well, the ending becomes quite moving, as you might not expect, considering what it's been leading up to. But it's an effective ending and it certainly holds water. Camibo Jacobs, excellent as Agnes. Rory Alexander, terrific as William. Now, there's a problem with Hamnet. Not that a Johnny KB isn't a fine actor. No. But the thing is, Hamlet is supposed to be 11 years old when he does guys. And this is an adult actor. And you're thinking, why don't they have a kid? Well, because indeed he is going to play Hamlet later in the show. So that's the reason for that. So that answers that. So, all things considered, Erica Wyman, that's W H Y M A N directed very nicely. It goes by by quite well, again, I don't know what to say for people who are fans of the novel who, who really love the novel. I don't know if you're going to like this as much, but if you really were disappointed by the novel as I was, I think you might enjoy this much more and eventually I will see the film and see what I feel about that too. But I'm no fan of Reader's Digest condensed books, but I would have preferred reading a Reader's Digest condensed book of Ham Hamnet. And I'm very, very grateful to enjoy it much more at the Shakespeare Theater in Washington.

[James Marino]

All right, so Hamnet is at the Shakespeare Theater in Washington. And we will have a link to that in the show notes. It says it must close April 12th. So that's about a week from now. I'm always con. I'm always wondering about when theaters say must close.

[Peter Filicia]

I know.

[James Marino]

So, yeah, I'm sure if it were doing Wicked or Hamilton numbers, then must stay open notice.

[Peter Filicia]

Anyway, Ragtime just extended again, you know, so.

[James Marino]

Yeah. Yeah. I sort of expected Reg time too.

[Peter Filicia]

Yeah. And we knew that operation, that those closing dates weren't really going to be the closing dates.

[James Marino]

Yeah. All right. So, Peter, it's about time.

[Peter Filicia]

It is about time to talk about about time. The Malpichire Music Review that's, I'm sorry to say, closing today at the Marjorie Dean Theater, a theater you may not know. It's on 64th street, very close to Central Park West, a very small intimate space. What I want to say from first is that this is a review about aging and how tough it is to get older. So there's a. A certain target audience for this show and needless to say, I belong to it. So I certainly related to a great deal of material. But what I really want to point out is that I saw this at Good Speed's Chester Theater some a couple of years ago maybe. And so I can say for sure that one number wasn't in it that somebody accused of being a long ago trunk song. No. So Lynn Winter, stellar, who has a history with Richard Maltby and David Shire, who wrote the score she was in Closer than Ever many years ago, went out to lunch, dinner, whatever with Richard Maltby and said and was talking about the fact when she was auditioning for Madame Morrible that she wasn't getting the part. And then she went to see Fun Home and it drove her crazy because after all, Home was playing in the same building that Wicked is playing. So it's a very Funny song. And Winter Stella does it well, as you might expect. But somebody said, well, if this is a song about fun home, you can imagine how long ago this was written. No, it's a new song that's been added since Goodspeed, so. So I do want to make that clear. Also with a history with Maltby and Shire is Daniel Jenkins, who was in Big Big way back when. It's hard to believe that that's literally 30 years ago. So. So here he is, grown up. Needless to say, he's not Josh Baskin anymore. But speaking of Big, there is a recycled song from BIG that was not in the final production because there's a song called Little Susan Lawrence, and that's the name of the character of the woman who's in Big who falls in love with Big, Josh Baskin. So, yes, there are trunk songs in here. Also a trunk song that ends the first act. A marvelous melody, terrific lyric called To Be Alive. And this one came from Love Match, their 1968 musical about Queen Victoria. And I've mentioned this in the past, but if you know the song, I think I may want to remember today. In Starting here, starting now, there's a lyric, oh, Albert, my, how you've grown. That's Prince Albert, actually, because that was written for Love Match as well. However, most of the songs, needless to say, are new and deal with this topic. Topic that. You know the famous expression old age is not for sissies. Certainly this is indicated in many more times. But. But also, there are. There's a clever song called Smart People that has rhymes that you expect that turn out not to be rhymes you expect. In fact, they're not rhymes at all. And I don't mean that they're slant rhymes. I mean they go in a different direction. So it may remind you of a song in Funny Girl, in fact, that has the same type of thing,

[Michael Portantier]

a

[Peter Filicia]

tender so End, where a guy finds out that he doesn't have much time to live and he wants to get in touch with his old girlfriends just to say goodbye and just to see how they're doing. And they're doing things that he didn't expect them to do. So one of my favorite performers, Eddie Corbich, is in this as well. I always think, you know, I. I wonder. I've never asked him about this, but I'd like to know if he ever played a lost boy in Peter Pan, because he really has the look that would have been terrific for that. But, yes, it's too late for that. If he's Obviously, if he' in about time, he's much too old to play a lost boy. But Darien Deas, Allison K. Daniel, Sally Wilford, all terrific. It's a very, very nice review. Now I understand a recording may very well happen. And the wonderful thing about reviews is that they come across very, very well on cast albums because you don't have to know the story. So because each one is a contained story, a one act play, as Arthur Lawrence used to famously say about a little one act play that Lawrence used to famous about Sondheim songs. So that applies here as well. But boy, these guys, you know, Malpe and Shire, they never really had a hit together, ironically enough for Chick Malpy was asked to do the translated lyrics to Miss Saigon and certainly had a hit there. And David Shire won an Oscar for the song from Norma Ray. It Goes As It Goes, I think it's called. So ironically enough, their success came independent of each other and yet they still work together. And these are guys who wrote a musical about Cyrano de Bergerac when they were at Yale that Dick Cabot was in and John Cunningham was in and Carrie Nye, who later married Dick Cabot was in. Bart Giamatti, the future commissioner of baseball, was in. You may know the song Autumn that Barbra Streisand sang on one of her albums that comes, comes from that show. So they've been doing it since the 50s and here they are and they're still extraordinarily good.

[James Marino]

All right, so About Time is wrapping up today. Yeah, April 5th. But as Peter mentioned, rumors of a cast recording, maybe future productions down the road are, are abound. So we'll have a link back to the About Time website in our show notes. That's the end of the reviews. But Michael, we had a very special birthday we wanted to mention and shout out here who turned 93.

[Michael Portantier]

Yeah.

[Peter Filicia]

Yes.

[Michael Portantier]

Pachula Clark, who is now 93, has recently written a memoir and I've got to get my hands on it. I don't have it yet. But in addition to that, she did an extensive interview, video interview in London with this fellow who I'm. I'm not familiar with, but he really seems to know his stuff and her career and really gets into the minutiae. And there's also lots of clips and stuff to really make you feel like you understand her career, which is really absolutely amazing. So we're going to include a link to that in the show notes so you can enjoy for yourself. I think it's about an hour long, but really she comes across as one of the most honest, I think and down to, to earth people that I've ever seen interviewed. And that is a, that, that's, those are really great qualities in an interviewee. So do check it out. And how wonderful that she is still with us. We had her on our podcast in the middle of the pandemic and we made her promise to come back, you know, when it was over. So I'll see if I can follow up on that and make that that happen.

[James Marino]

All right. And we have that YouTube video that Michael mentioned. It's embedded in the show notes. You can click on that and, and watch it right from there. So that wraps it up for today. Before we get on to our brain teaser and our musical moments, I want to remind everybody that you can subscribe to these broadcasts by going to the front page of broadwayvideo.com there's a subscribe link that way each and every time you there's a new episode of this Week on Broadway be automatically downloaded to Apple Podcast view. Of course, you don't have to listen to us in Apple podcasts as many ways to get us. One way is Patreon P A T R E O-N.com BroadwayRadio is one way that you can support all of Broadway radio shows as well as get us early and a few bonuses. I saw that Matt and Jennifer McHugh just recorded some like it popped so that'll be come coming to your ears in the Patreon feed sometime soon. Contact information for Peter from Michael and 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 teaser?

[Peter Filicia]

If the four main characters in a certain Sondheim musical were to go skiing, where would be the most apt place for them to do it? Well, there's a ski resort in Colorado called Lovely Land. Need I say more? Sean Logan, Paul Witty, Stephen Sokolov, Tony Janicki, Jack Leshner. Read Loveland. Yeah, that's his real name. Loveland. Lee Korn, Brigadoon and John Conti all got it. So good for them. This week's question. Three musicals opened in three successive years that referenced an all male organization. The musical that opened in the first of these three years mentioned it in its leading ladies opening solo. The musical that opened in the second year actually showed a meeting of that organization. Finally, the one that opened in the third year mentioned the organization in its 11 o' clock number what's the organization? What are the musicals and the songs in which we find out what the organization is, is.

[James Marino]

I think I finally got one.

[Peter Filicia]

Atta boy.

[James Marino]

If you have an answer for this, email us@trivia rodrigo.com and we'll let you know if you're the right track. So, Michael, what do we have in this week's musical moments?

[Michael Portantier]

Well, I came to our selections, I guess you would say Tangentially on the 31st last week we did have our live interview with Charles Bo Bush at the Laurie Beechman Theater at the West Bank Cafe. And it went very, very well and included, aside from the interview and multiple clips of Charleston performance, he sang two songs live, one of which was Don't Like Goodbyes from House of Flowers, the musical by Harold Arlin and Truman Capote. And the reason Charles chose that was because he had done an adapt sort of a new book for a production of House of Flowers years ago because it's one of those shows where many people feel the score is absolutely phenomenal and the book just doesn't quite work. So this was an attempt, an attempt to address that. And Charles felt he loved the song, so he sang Don't Like Goodbyes for us. And then that just got me listening to the cast album, the original cast album of House of Flowers and remembering how wonderful it was it really you. If you just listen to the album, you would say, how did this ever possibly fail? But you know, there were book problems. So our two selections from the original Broadway cast album of House of Flowers are. The opener. The opener is the overture and the closer is Don't Like Goodbyes as sung by Pearl Bailey.

[James Marino]

So on behalf of Michael Portantier and Peter Felicia, this is James Marino saying thanks so much for listening to Broadway radios this week on Broadway.

[Michael Portantier]

Bye bye bye.

[James Marino]

When you go don't lie goodbyes tears are sigh. Yes, I'm not too good at leaving time I got no taste for breathing time no, no, not me you've been my near one ever my dear one I never thought that I would find another love a different kind but it came to be now that your future is looking up forget the past and go feel your loving cup but remember, remember

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