← BroadwayRadio
BroadwayRadio
This Week on Broadway for April 6, 2025: Good Night, and Good Luck / The Picture of Dorian Gray
01:10:06
Peter Filichia, Jena Tesse Fox, James Marino, and Michael Portantiere talk about Theatre People @ Westport Country Playhouse, Good Night, and Good Luck, The Picture of Dorian Gray, and Glengarry Glen Ross George Clooney celebrates the opening of Good N...
Loading summary
Transcript164 lines
- [00:00]
Narrator
When the Moore family ditched cable Internet and switched to Zigly Fiber, they got so much more. Mr. Moore got more upload speed for next level gaming and livestreaming to the masses with reliable service. Mrs. Moore is no longer her family's IT guru, leaving her more time to stream games into overtime.
- [00:15]
Brad
Let's go.
- [00:16]
Narrator
And young Mason Moore got more done quickly uploading HD product demos and video conferencing without FreeSync.
- [00:22]
Brad
The numbers look good. Brad, you're on mute.
- [00:24]
Narrator
Switch from cable Internet to ziply fiber and get more of what you love for $65 less per month than cable@ziplyfiber.com.
- [00:30]
Oliver
Lets show Oliver how to do it.
- [00:32]
Mr. Moore
My dear.
- [00:36]
Oliver
You see Oliver, in this life one thing counts in the bank. Large amounts. I'm afraid these don't grow on trees. You've got to pick a pocket or two. You've got to pick a pocket or two. Boys, you've got to pick a pocket or two.
- [01:00]
Mr. Moore
Large amounts don't grow on trees. You have to pick a pocket or a door.
- [01:08]
Oliver
Why should we break our backs stupidly paying tax? Better get some untaxed income. Better pick a pocket or two. You've got to pick a pocket or two. Boys, you've got got to pick a pocket or two. Sing boys.
- [01:28]
Mr. Moore
Boys.
- [01:35]
Oliver
Charlie, take your hat off while you're in class.
- [01:38]
James Marino
Hello and welcome to Broadway Radios this week on Broadway for Sunday, April 6, 2025. My name is James Marino and in the broadcast today we have Peter, Felicia Genetessa, Fox 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 brighten your year has been released. Peter has columns at Masterworks, Broadway, Broadway select and many of the places. Hello, Peter.
- [02:07]
Mr. Moore
Hi.
- [02:09]
James Marino
So Peter, what do we have in today's show tune?
- [02:14]
Mr. Moore
Well, actually this April 6th in 1947 was the first time the Tony Awards were given out and David Wayne wins best featured actor in a musical. And as a result, I think a lot of that came from the fact that Burton Lane and E.Y. harburg wrote him a great song. When I'm not near the girl I love, I love the girl I'm near. So it's funny that he was best featured actor in the musical. Do you know who was best best actor in a musical? No one. They didn't give up that prize. I don't know how you can give out. They were so scattershot that year. Many people argued they're scattershot most every year. But nevertheless, Agnes Nemill won for choreography for Brigadoon and who won best director of the musical. They didn't give a prize for that. I mean, it's. Well, anyway, if you listen to When I'm not near the Girl I love, I think you'll Everything will be forgiven because it's such a great song and certainly one of the first songs I ever heard when I was getting interested in musical theater and cemented my love for it. So that's the song for today.
- [03:22]
James Marino
Okay. Also with us is Jenna Tessa Fox. Jenna has written about theater for many publications including Playbill, Broadway World Timeout and Howl Round. She's a member of the League of Professional Theater Women and the Drama Desk and is a contributor to Broadway Radio. Hello, Jenna.
- [03:41]
Brad
Good morning, James. How's it going?
- [03:43]
James Marino
Very good. Welcome back.
- [03:45]
Brad
Thank you. Thank you.
- [03:46]
James Marino
Also with us is Michael Portantier. Michael's a theater reviewer and essayist. He's the founder and editor ofcast out albumreviews.com he is also a theatrical photographer whose photos have appeared in the New York Times and other major publications. You could see his photography work@followspotphoto.com hello, Michael.
- [04:04]
Michael Portantier
Hello.
- [04:06]
James Marino
Hello. So some Broadway radio business. Happy birthday to all the drama. Jan Simpson's take on the Pulitzer Prize winning plays has turned four. Congratulations, Jan. And we commemorated this with a new release of her show. The current one out is Long Day's Journey into night. The 1957 winner for the Pulitzer Prize for drama is now available for Patreon members. And also we have something new over at Patreon where if you are not a Patreon member, you can actually buy the episodes. So you can get Jan's all the drama and listen to it early. If you don't want to commit to a Patreon membership, you can have a one off. So we'll have a link to that in the show notes. You can check it out. I don't think I ever knew or really remember that I knew that the Long Day's Journey into Night was so emotionally tied to O'Neill and that he demanded that it not be published for 25 years.
- [05:25]
Brad
Oh, yeah, yeah.
- [05:27]
James Marino
I, I had forgotten that. And Jan reminded, he told the story in there of how it happened and, and how Yale University Press got a hold of it because the original publisher refused to release it.
- [05:40]
Michael Portantier
And I think it was his O'Neill's wife. Yeah, yeah, yeah.
- [05:45]
James Marino
It was great, great episode. You know, great episode and Jan Simpson are synonymous. So check out all the drama so. Well, sort of close to the O'Neill center up in Connecticut is the Westport Country Playhouse where Peter got a chance to see a thing called Theater People. Peter, what is Theater People? It sounds like a magazine. Wasn't it a magazine?
- [06:16]
Mr. Moore
No, it's actually an adaptation of Frank Molnar's theater play at the Castle or the Place, the Thing it's often been called when I've seen it before. First off, let's have some full disclosure here. The reason I went is because Michael McCormick was in it and he played Antonio in my adaptation of the Merchant of Venice called shylock the Antonio vs. Antonio, which was done Monday night at the Actor's Temple. And he said, listen, I think you'd really enjoy this. And he was right. It was great fun and it reminded me a great deal of Moss Hart's Light up the Sky. And it really was one of those wonderfully old fashioned plays where the curtain goes up and you see a lavish hotel suite which indeed is where the action will take place. But it's also one of those plays that by the end of the play, when someone exits, exit, applause is given. And it's been a long time since I've seen that type of play. So what's going on? Well, Michael plays Arthur Sanders and he's married to Charlotte Sanders, wonderfully played by Isabel Keating. You may remember most from the Boy from Oz playing Judy Garland. And you'll see her soon in Coco on April 14th at 54 below. She's one of the people who will be performing Coco. So anyway, they're a married couple and they've written a play and it's based on a novel and the novel has a chance to be published. It hasn't been published yet. Simon and Schuster is very interested and they know that if it gets published and becomes a success, their play will have a better chance of success as well. However, the playwright is very much in love with a woman who hasn't really paid him that much attention. He wishes that she would. But anyway, he has written basically about his love for her. That's what the novel is about, about that unrequited love. But he's still hoping that she will give him a shot. Well, what's really happening is she happens to be in the hotel suite right next door and he hears her making love to somebody else and it so discourages him that he wants to kill himself. So how can you, the playwrights, get him out of the situation? They don't want him to die, obviously, and, and they'd rather the book be published. Though one could effectively argue the book might get more traction if indeed he criticized suicide had become more of an event, as Peter Stone used say about Elvis Presley's death. Good career move. So. So it's one of those plays where the maid comes in from time to time. The maid played by Aaron Noel Brennan. Terrific. Coming in with all sorts of acerbic comments. It's that type of play and it's set in 1948, and you feel like you're in 1948. But if you're willing to take the trip, and I'm talking about the trip to 1948 as well as the trip to Westport, you still have a week to see it and I think you'll have a lot of fun. Many, many. The audience was crazy for it, and I was delighted to be part of that audience. So all hail Paul Slade Smith, who did the adaptation, as well as Mark Shanahan, who's the head honcho out there. He really knew how to direct this type of play. So one more week for theater people at the Westport country playhouse exit 17, 50 miles away.
- [09:41]
James Marino
Okay, we'll have a link to that in the show notes. Next up. God, I can't believe this thing is opened already because there's hardly been any press for it and it's not hyped at all. So, Jenna, Michael and Peter got a chance to see this Good Night and Good Luck skit that some guy is in. I forget. Jenny, tell me, what's the name of this guy that's in the show?
- [10:12]
Brad
Oh, isn't he related to Rosemary Clooney?
- [10:15]
James Marino
Yes, Rosemary Clooney's nephew, right?
- [10:19]
Narrator
Yes.
- [10:20]
Mr. Moore
That's the way he's built.
- [10:21]
James Marino
He's Rosemary Clooney's, you know, Nepo baby. We talked about all these Nepo babies.
- [10:27]
Brad
Right? Right.
- [10:28]
James Marino
You know, so Good Night and Good Luck is playing at the Winter garden theater through June 8th. And Jenna, Michael and Peter have gotten a chance to see it. So, Jenna, why don't you get us started on goodnight and good luck. Sure.
- [10:41]
Brad
Thanks. Yeah. I was so excited to hear that this fantastic 2005 movie about journalist Edward R. Murrow was coming to the stage. It feels like such a perfect time to have that story be retold again for a new generation and for a different audience. And George Clooney and Grant Heslove wrote the movie 20 years ago. Clooney directed it. They were both Oscar nominated for the screenplay. So, you know, no lack of talent here. And this time, Clooney himself is Taking on the lead. He played a supporting part 20 years ago in the movie. So there's a lot going for this play. And maybe that's why the disappointment of this production just really hit so hard. It could have been such a great screen to stage transfer of a really timely story, but it ultimately just feels like a really weak copy of a great work. To the best of my knowledge, Clooney has never written a play before. Heslov's bio explicitly says that this is his first play. And I think to me, that's the real problem with this production, because what works on the screen doesn't always work on the stage. Clooney and Heslov's screenplay is excellent. Again, they both got Oscar nominations for it, but neither one of them seems to know how to write a compelling script that works on, on the stage. And I think it would have been so much better if they had partnered with an established playwright. And I hate to say it, but the fact that they didn't kind of makes the whole production seem like less of a timely warning that really needs to be heard and more like a vanity project that they wanted to keep exactly the same. And it's a shame because right now, newspapers, TV newsrooms, they are disappearing or caving into threats and intimidation. So a story about a news anchor who fought the powers that be and spoke out against governmental abuse is really needed right now. And part of me also wonders if having the play on Broadway could be preaching to the choir just a little bit. But on the other hand, given the ticket prices, yeah, maybe these audiences really do need to be reminded about how brave Edward R. Murrow was. Essentially, the play is just a film transferred to a different medium. There's not a lot new here. Just like the film, the play follows Edward R. Murrow, the journalist with CBS and his efforts to publicly criticize Senator Joe McCarthy and McCarthy's Red Scare anti Communist witch hunt. And just like the film, the play incorporates a lot of archival video footage of the very real McCarthy. It's a cool gimmick, especially when Clooney at one point conducts an interview to a pre recorded, you know, long, long pre recorded clip of Liberace. He does like a little puff piece interview that he clearly, you know, feels is beneath him as he's trying to take on these, you know, big, meaty stories. But it's great because he's conducting an interview with someone, you know, from seven. Yeah. Closing it on 70 years ago. So that's, it's a cute moment, but, you know, we saw these Exact same clips in the movie. They even keep the device of having a singer perform jazz numbers in between scenes in the film. That was Diane Reeves. The really excellent Georgia Hears does that on stage for this production. Having music in between scenes is hardly a new device. But instead of just having a song act as a breather in between each moment, the script has hers, who is credited just as Ella. I think we're supposed to think she's Ella Fitzgerald. And her live musicians as characters who chat among themselves in their own right. They're talking about their schedules, they're talking about their everyday lives before and after they perform the songs. Turns those little moments into scenes that I was waiting to see connected to the main story. And bit of a spoiler. They're not connected to the story. There is no reason to have dialogue around these songs. And it just felt so confusing as I was waiting for any of the main characters to come in and start a conversation with them. It doesn't happen. That said, Hears is really excellent. Her songs are a highlight of the show. I'm kind of hoping for a cast recording of her performing. She's that good. She's great. I would not mind a cast recording of Georgia Hears singing these classic jazz standards. Big cheers to Brian Carter, Daniel Kluger and Kimberly Wirtz for their work on the music. I had to look up their names to see who did that because the music is great. David Cromer. No slouch as a director, but his direction on this, I thought, really missed the mark. At least at the performance I saw. It felt like there was not a lot of energy to indicate the chaos of a TV newsroom. And there also wasn't a lot of tension to indicate the danger that these characters are in as they're taking on a powerful politician. Clooney is making his Broadway debut as he mentions in his very funny bio. I won't share what the bio says because just it's. It's amusing to read. He's at his best when he's interacting with the camera. And that makes sense. Obviously. He's a very accomplished film and TV actor. He knows how to convey emotion to a lens. But his very trademark, aloof, suave. It. Suavite. I'm not sure how to pronounce that word, but you know what I'm saying on stage, that just comes across almost as timidity. And it's only when he's projected live onto a screen that we can see the steam kneel in his spine. And those are some of the strongest moments. In the show. The play also marks the acting debut of another TV star, Alana Glaser. Glaser already has a Tony Award for producing Strange Loop a few seasons back. They play one of the few women in the newsroom and also again at the performance I saw, seemed rather uncomfortable on stage. They don't have much chemistry with Carter Hudson, who plays the character's secret husband. That should be a fun role with some good laughs and get some chuckles. But Glaser is a very accomplished comedian. Just doesn't seem to know what to do with the part on the stage. It's really disappointing. Let's see. Scott Pask set, I thought, did a really nice job of conveying the scene, evoking the time and the place. It even evokes the black and white world of the TV screens of the 50s. Heather Gilbert's lighting does some good work, again conveying that black and white world. David Bengali handled the projections, which are really nicely done. As I mentioned, watching George Clooney interview Liberace is a fun moment, Brenda. Oh, please forgive me if I mispronounce his name Abandonolo. I think that's a bit abandoned. Olo's really lovely 1950s costumes. They look gorgeous, but to the best of my memory, they didn't say an awful lot about the character characters, which again, kind of disappointing. There are some genuinely moving moments in the production, especially the closing moments. Bit of a spoiler. We get this cool montage that for once was a moment not included in the film. It's something different and unique and it's chilling and it's disturbing and it's a really good example of how film can be used on stage to good effect. But that's about one minute out of 100. I wish I could recommend the play since we do need to be reminded of what it looks like when people in media are speaking truth to power. Since I can't do that, I recommend going back to see that original movie because it's a great movie and I just wish it had been a better transfer.
- [19:25]
James Marino
Okay, Michael, what did you think?
- [19:29]
Michael Portantier
Wow. Let me say at first I do agree about. I didn't quite understand how the song sequences were supposed to fit in with the rest of the show. How were they used in the film, Jenna? Were they just kind of same way?
- [19:50]
Brad
Same way. And specifically a detail that I only recently learned looking up some trivia about the film. In the movie, they are put in every 23 minutes.
- [20:00]
Mr. Moore
Wow.
- [20:02]
Brad
Which was the exact running time of See It Now.
- [20:05]
Mr. Moore
Isn't that something?
- [20:07]
Brad
So Every time there would be a break for See it now, we get a song break with Diane Reeves in the film. And there. I don't remember there being any dialogue with the singers or the musicians. It's just a moment for the audience to breathe and release some of the tension.
- [20:24]
Michael Portantier
Well, I didn't understand if what we were supposed to think they were. Are they just supposed to be people who happen to be rehearsing in the CBS studios or recording in the CBS studios at the same time? They're not supposed to be commercials, right?
- [20:42]
Mr. Moore
No.
- [20:44]
Michael Portantier
So I was a little confused about what the purpose was other than to. I mean, they cover scene changes and they did that very well. I did. Did very much admire the performance of Georgia Hears as Ella if. Whether or not she's supposed to be Ella Fitzgerald, But I didn't quite get that. So as much as I enjoyed the songs, I didn't understand the point and some reviewers seem to have interpreted it that some of the songs comment. The lyrics comment on what's happening. But I didn't even get that so much so I was kind of confused. So I do agree on that. I had a much, much more positive reaction to the play in general than you did. But you know what? I never saw the movie. And I would imagine that that makes a huge difference. I guess maybe I got the impression that perhaps George Clooney doesn't have the stage presence to do an entire role in a play and keep focus without the video. And. And maybe that's why there's so much of it. But, you know, it's. It can't really tell for sure because we. It is what it is. A great deal of his performance is projected on in large format video and also in. On large screens at the. Basically at the center of the stage, but also smaller TV monitors on either side of the proscenium. And one odd thing I noticed is there are two places on stage from which Clooney, as Murrow, tends to broadcast. One is upstage center and the other one is downstage right. And when he's downstage right, there's, you know, it's live video being broadcast to the large screens and the small screens on the side. And he's performing live, but there was always someone sitting right in front of him on a chair, one of the. One of the staff. So from where I was sitting, I could not see him live, Clooney, while he was broadcasting. And I thought that was very strange. And I asked the friend that I went with why he thought that they did that. And he said, well, maybe they just really wanted you to watch the screens. And I said, well, I suppose, but I find it cool to actually be able to shift my focus back and forth between the live performer and the screen. And I was denied that because this person, this rather large person, was sitting directly in front of him, Clooney, during all of those scenes that he broadcast from downstage. Right. So I didn't get that. And I'd like to maybe ask David Cromer about it when I see him someday to find out what the reason was. But I found I did not really sense a lack of tension in the show, Jenna. I thought it was quite gripping, maybe because I had never seen it before in any form. The story itself, of course, is so compelling that it carries its own weight in that sense. And what a cast, really. I mean, Clark Gregg, Fran Krantz, Jennifer Morris, Carter Hudson, the aforementioned Alana Glaser, Glenn Fleschler, Michael Nathanson, Will Dagger, Christopher Denham, Andrew Polk, Paul Gross, Mark Brandt, Aaron Roman Weiner and Greg Stirr, and then several other people as the staff. A real shout out, especially to Clark Gregg, who plays Don Hollenbeck, which is a very, very meaty, meaty role in this piece. And I can't say anymore because it would be a spoiler, but I think that storyline is extremely compelling. So I was thrilled with it, and I was very impressed that George Clooney, I thought he chose wisely as to what to pick for a vehicle for his Broadway debut. Interesting that in the film, the role of Morrow is played by David Strathearn, who is not in this show. And if I'm correct, in the film, Clooney played Paley. Is that right?
- [25:38]
Brad
Yes.
- [25:38]
Mr. Moore
No. Was it Fred? Friendly?
- [25:40]
Brad
Friendly. Friendly, okay. Yes.
- [25:42]
Michael Portantier
Paley or friendly?
- [25:43]
James Marino
Okay.
- [25:43]
Mr. Moore
Yeah, I think it's friendly.
- [25:44]
Michael Portantier
Yeah. So, I mean, I wonder if they considered asking David Strathearn to recreate and have Clooney stay with his original role. Or maybe he just wanted to graduate to the central role for his Broadway debut. But I was really very happy with it overall, and I would recommend it. I think it's very thoughtful and very, very timely and very, very chilling at many moments, considering what's happening in the country today.
- [26:17]
James Marino
Okay, Peter, how about you?
- [26:19]
Mr. Moore
Well, to address that last issue, maybe it does give us a ray of hope from the vantage point that Joseph McCarthy was defeated. And there is a very fascinating sequence, the famous Joseph Welch sequence, when have you no decency, sir? And you can really see from the video that McCarthy, at that moment is a broken man. He was dead three years after that. He really died very, very young. And some say from alcoholism. And indeed, considering what he had endured and his fall from grace, it's not entirely impossible that that was what happened. Okay, well, I think this was a very misconceived project from the vantage point of where George Clooney is sitting when he is giving his big broadcasts, because he is far upstage. He is in profile. He's sitting at a desk. A camera is on him, and a big screen comes down, and we watch him on the screen. Now, granted, if he went center stage and did his broadcast and look out directly fourth wall, I think that would be far more effective. And I understand that it might get a bit lost in the Winter Garden. He does have a couple of scenes at a podium where he's very, very flush to the stage. And those, I think, are very effective. But come on, we are going to talk about video later, believe me. And I have a feeling we're all going to laud it. But at this point in time, I want to see the actual actor performing and not just a big video screen coming down. So I think that's a real problem. But I don't understand why he's way upstage in profile and you. He's not connecting with the audience as a real human being, but as a TV thing. Well, it wasn't good for me.
- [28:08]
Michael Portantier
That's what I meant. And when he's not upstate far upstage center, he's downstage. Right. But there's that person sitting in front of him. Did you not notice that?
- [28:18]
Mr. Moore
Well, I was way on the side, so I didn't. The person in front of him wasn't blocking me. I just.
- [28:23]
Michael Portantier
Okay, okay.
- [28:24]
Mr. Moore
But nevertheless, I mean, I just don't understand why he's not front and center. I imagine it has something to do with the fact that they're at the Winter Garden. It's a big theater. It's a big cast. It's a big paycheck for some of these people up there. So I imagine that's the reason why they chose the Winter Garden. Let's make a lot of money. Like so many plays, it's clos on Tony night. I dare say that since the word egot has been coined, people want to win it. And as a result, you gotta come to Broadway if you want to get that tea. So I think that's part of the reason why we see these movie stars that always seem to close on Tony night or a week after, very close to the film. Amazingly close to the film which I watched the night before. Jenna, I may be wrong, but I don't think that Liberace sequence was as extensive as it is on stage here. I don't recall seeing the film that Liberace winked when he talked about getting interested women however he put it. But, but nevertheless there was a sequence with Liberace in the original film. But it's basically the film. There's not much more to it than the film. And I, what can I say? Its reason for existing may very well be the egot. It could very well be or for whatever reason. I guess given that Judge Clooney had written co written this, the original screenplay, he could have cast himself as Edward R. And I don't know why he didn't. But maybe David Stan initiated the project, I don't know. But nevertheless it, it is a meaty role. But I would have liked it if that meet were front and center. So Peter, let me say about Clark Greg, I agree. Clark Greg gives the best performance of them all. Granted his character takes the greatest journey, so. But boy, he's an actor I've admired so many times over the years. And he really, really is showing a broken man. A guy who is being hounded by a columnist and he tries to laugh it off whenever somebody makes a joke about it. But you can see the underbelly. He is scared to death and he really is quite wonderful. Sorry, I'm sorry, James, I interrupted.
- [30:49]
James Marino
That's okay. So Peter, you sort of touched on this, but I want to ask the three of you this question. Is this a drive by for Clooney or will Clooney come back for other things?
- [31:07]
Mr. Moore
I, I do believe that and it's only a hunch, but I do believe that actors will get give Broadway one shot to win that Tony. We haven't seen Tom Hanks come back.
- [31:18]
Michael Portantier
Yes, I thought of him too.
- [31:19]
Mr. Moore
He didn't win. You know, Julia Roberts didn't win. We haven't seen her since, have we? So of course, you know, I've interviewed literally thousands of people in my time and it's always something when somebody who is not getting work in Hollywood says to me, you know, theater was always my first love, you know? Yeah, where you been? So I've heard that time and time and time again. So, so I do believe that if, if he doesn't win the Tony, we may not see him again. We'll see. We'll see. You know, who knows, maybe he's going to fall in love with the theater. Maybe that's going to happen. Wouldn't that be nice? And he's going to.
- [31:57]
James Marino
I mean, I see. Like Hugh Jackman. That keeps coming back and forth and back and forth.
- [32:02]
Mr. Moore
Yeah. Yes, he does.
- [32:05]
James Marino
I wonder if.
- [32:06]
Michael Portantier
And Denzel.
- [32:07]
James Marino
And Denzel, of course.
- [32:09]
Brad
And Daniel Radcliffe.
- [32:10]
James Marino
Daniel, who we've talked about, really.
- [32:13]
Mr. Moore
And, you know, I mean, the other ones, they've already won their Tony, but, know, Daniel could have been very discouraged and say, the hell with you, Broadway. You know, you haven't even given me a nomination up until Merrily. You know, I mean, it would have been very easy to walk away. He doesn't need it, you know, but obviously he likes to act on stage. How wonderful. You know, and we'll see if Judge Clooney does.
- [32:34]
Brad
I will say, though, good Night and Good Luck was a huge passion project for Clooney again, going back 20 years. He wrote the script, he directed, he starred. As I understand it, his salary for all of that work was $1 for each, really. And he mortgaged his home to pay for funding the movie. His father was a newscaster right around that time.
- [33:01]
Mr. Moore
I see.
- [33:02]
Brad
And so this was a very important project to him. So I absolutely understand why this project, of all projects, he wanted to bring to the stage, and I absolutely respect that. Again, I just really wish he had partnered with an established playwright again. To me, it just felt like a copy and paste and elements that were beautiful on film did not gel on the stage. I wish he'd partnered with an established playwright to work through all those pieces that just did not gel as well as they did on film.
- [33:36]
Mr. Moore
But the real question becomes how many people will be like Michael, who missed the movie and will be tremendously entertained? I think. I think. I think if you haven't seen the film, I can understand Michael's reaction totally. So, I don't know. But the. The old preaching to the choir thing is true, because people did applaud every now and then, at least once I attended to indicate they were well on the side of truth, justice in the American way, whatever that means these days.
- [34:05]
Michael Portantier
Yeah.
- [34:07]
James Marino
So the. The website aggregator, did they Like It? Gives it. Their analysis was 8 positive, 9 mixed, and 4 negative reviews. So. But the Broadway grosses don't care about that. No, no, they don't care about that. They. They. They have broken the $3 million mark for a play, which is, wow, Othello and Good Night and Good Luck are really setting new records for ticket sales for a play. You know, certainly we've seen the Wickeds and The Hamiltons do $3 million business before, but never a play.
- [35:03]
Michael Portantier
Right.
- [35:04]
Mr. Moore
It probably might have even been 60 years ago this week that Baker street, the musical about Sherlock Holmes, astounded everybody by taking in over $100,000. Big money in those days.
- [35:17]
James Marino
Yeah. So good night and good luck at the Winter Garden Theater is scheduled through June 8th. I expect if they win some things, they might extend a little bit. I should have consulted my Matt Taminini spreadsheet before I brought this up, but I don't know if there's anything scheduled at the winter. I don't think so for the fall. But, I mean, I. I could imagine this extending a little bit into the summer. But, you know.
- [35:50]
Michael Portantier
But they'd have to know. They'd have to know. They wouldn't know if they won until. They'd have to know before.
- [35:56]
Mr. Moore
Right.
- [35:57]
Michael Portantier
To extend, you know, for the Tonys, anyway.
- [36:00]
James Marino
Well, I mean, I. I think we're all going to get a good feel for it. I feel as though that the next thing we're going to talk about, which is the Picture of Dorian Gray at the Music Box Theater is scheduled through June 15, and I feel as though they have a bunch of Tonys in their future and might extend past that June 15 deadline. So Peter did the first one, Jenna did the second one. Michael, why don't you take us off on the Picture of Dorian Graham Gray?
- [36:35]
Michael Portantier
Well, maybe we should start with the video element, right?
- [36:39]
Mr. Moore
Oh, yeah.
- [36:40]
Michael Portantier
You know, I mean, I think it's wonderful when it's used, well, as I think it is in basically in both of these shows that we're discussing right now, but even more so in the Picture of Dorian Gray. It's absolutely astounding. Several people I know who've seen this show say, I've never seen anything like it because there's one actor in the show, Sarah Snook, as James tells us. It's correctly pronounced.
- [37:11]
Brad
Yes.
- [37:13]
Michael Portantier
But then there's a camera crew of, let's see, 1, 2, 15, 7.
- [37:18]
James Marino
I count his seven camera crew.
- [37:21]
Mr. Moore
15 people came out for the curtain call when I was there.
- [37:24]
Michael Portantier
Well, and interestingly, only stage management, Only five. Only five are listed in the. As the cast. Did you notice that? So I'm not sure what. What. What that distinction is. Anyway, there's a lot of people. A lot of people on the camera crew. And. And much of the show consists of Sarah Snoop performing live on stage and being videoed while she is performing. And. And that being shown on these huge screens and moving screens that move all around the stage as she plays not only Dorian Gray, but Several other characters. Many other characters throughout the play, which is based on the original, the Oscar Wilde original. But then also there are previously shot videos of Sarah Snook playing some of the other characters and interacting with herself. So there will be many scenes where, for example, Sarah Snook is appearing as Dorian Gray and she is enacting that live on stage while talking to a previously filmed segment of her as one of the other characters, or more than one of the other characters. And it's. One of the most amazing things about it to me is how do they do the timing of that? I mean, you know, she. She has to sense with her live dialogue exactly how much time to take in saying a line. If. If, you know, if she. If she is a second too slow or a second too fast, it's. It's not going to seem like there's an actual conversation happening, and there'll be either an extra space or there'll be an overlap. So. And not once did that happen, happen at the performance I saw. So I would really like to find out more about that because I. I thought it was breathtaking. And her performance is a wonder in terms of everything. Skill, technique, talent, stamina, energy. Just an absolute marathon. And someone said to me as we were leaving, well, I guess we know who's winning that Tony Award. I would not be a bit surprised if. If that's what happens. So it's an incredible experience on that level, I have to say. All of that said, I am currently kind of tired about the fact that it seems like the Brits always have to make fun of stuff. I really did not like this show for all of its wonders, its technical wonders, and the amazing performance that she was giving for about the first hour, because it seemed like they were treating the whole thing as a joke, very much the way that so much of Operation Mincemeat and both of them, the source material, would not lead anyone to think that it should be treated that way. And as was the case with Operation Mincemeat, I really loved Dorian Gray. Whenever it became serious, it started to become serious. I would say about halfway through. The show is about two hours in length running time with no intermission. And about halfway through, it starts to become more serious and really take what Wilde wrote seriously, rather than burlesquing it or treating it like a British pantomime or something like that. That said, even halfway through, it does start to become more serious, but yet there is a scene of a horrific murder where Dorian murders someone horrifically. And that was followed by her Cavorting or him cavorting in a disco number. So they lost me there again after, after having finally reeled me in. I, I just don't get it. Why, what, what is up with this sensibility that they have that I obviously don't share? And so I wish that that had been all had been eliminated. And I personally would have, I think, enjoyed the show far more if the whole thing had been taken much more seriously.
- [42:21]
James Marino
Okay, Jenna, how about you?
- [42:25]
Brad
I largely agree. I also felt that the show did not take its subject matter or storyline at least very seriously. Kind of hard to take a horror novel terribly seriously, but it does. It is meant to be a horror story. And you're right, it felt like a burlesque or a British panto. And I thought that did a disservice to the original material. Kip Williams did the adaptation and the direction of the novella and I thought he did a good job. Williams did a good job in making the gothic originals look at vanity and self absorption feel very modern in a lot of ways. But to me it did not make for a very satisfying play. Although I would say it made for a very good example of style over substance, which Oscar Wilde would just love that. And I completely agree with Michael. The production is technically thrilling, visually stunning. David Bergman's video design is genuinely breathtaking. And for that alone, I will recommend the show to anyone. You will not believe what they're able to pull off live on the show. It's amazing, but ultimately I found it mostly emotionless. Snook does a great job on the stage, you know, just figuring out the technical requirements. I can't imagine how she's able to pull that off night after night. And working with pre recorded versions of herself is just stunning. It takes a while for the real technical brilliance to, to turn up. And I thought that worked very well. That we don't start seeing the real brilliance of the prerecorded interactions so that we get eased into this world and watching multiple snooks interact, I mean there's a whole dinner table scene with all these pre recorded snooks talking to a live Snook and my jaw just unhinged. I look like a snake as my jaw hit the floor. It was brilliant. I mean it's brilliant to watch. But at the performance I attended there were tech glitches and yes, a couple of them. One scene started in between one pre recorded scene and the next we started seeing the next scene just for a couple of seconds. But yeah, and that immediately breaks the, the suspension of disbelief. When you get those little inevitable technical glitches, it takes you right out of the moment. Things that don't happen when it's a fully live performance that doesn't rely on so much technology.
- [45:19]
Mr. Moore
It.
- [45:19]
Brad
It feels a lot like the TikTok videos. I don't know if other people have watched these, but people make videos where they dress up as different characters and then ditch different recordings together to make a whole scene where they play every part against blue screen backgrounds. It does feel an awful lot like that, which is where I think it becomes rather timely to bring the story in and have all the multiple people played by one person. And that's where it works. In evoking the vanity and self absorption, I kept writing those words over and over again in my notes. The desire to look perfect for everyone watching. And it's hard not to think about the picture of Dorian Gray when you're looking at photos and videos on Instagram and TikTok that have been filtered and altered so much that they barely look human anymore. There's a great moment in the play when Snoop snaps a heavily filtered selfie and then edits it into something monstrous. While we're watching, we get to see the editing. It's a cool moment that shows us what that hideous portrait might look like. And a bit of a spoiler. We never do see the actual portrait, but it also is distracting because she's still talking and narrating the story while she does the editing. And I don't remember what she said. I was watching the editing and I missed out on where the story was going in that scene. That's to me, where the production did not work. The novel is a classic for a reason, but to me, the concept overwhelmed both the story and the storytelling. Rather than commenting on either, I felt that Snook is a wonderfully gifted performer, but I thought in some ways she missed the mark with this. And I do think a lot of that is from Williams's direction. The tone, like what Michael said and I agreed with, it's campy, it's like a pantomime. And you know, Wilde's words in the original may sound over the top, but it's era appropriate for the Victorian era. I don't think the novel ever reaches the level of camp. The novel specifically, yeah, it emphasizes homoeroticism and the play doesn't. It almost seems sexless, which is a real disservice to its theme and to its history. I mean, and to that connection to modern day vanity that people posting photos of themselves On Instagram or videos on TikTok. There's it's not sexless. And that production putting Snook in this blond cherubic wig to play Dorian does a disservice. Dorian is supposed to be an object of desire, and making him into this precocious little angelic figure doesn't fit.
- [48:23]
Michael Portantier
Looked like little Lord Fauntleroy or something.
- [48:26]
Brad
Exactly. And again, it's sexless and the story is not sexless. So there's a real disconnect between the production and the story in that sense. You know, there is a moment late in the show that to me, really stood out by stripping away the technology and the artifice. Maybe that's not the right word, but it brings the production back to pure traditional theater. The screens and the camera operators all leave and Snoop is alone on stage with nothing between her and the audience. And for once, she isn't playing to a camera. She isn't interacting with a pre recorded version of her. And we just get to focus on her and how talented she is in her own right. That moment is beautiful and it's one of the best moments in the show and it hints at how good the whole thing could have been. Marge Horwell's scenic design works really nicely. It fits the concept. The costume designs are gorgeous. Orwell did both scenic and costume design, especially given how often Snoop changes from one character to another right on stage. Really have to cheer on the costumes there to work both technically for quick costume changes, but also to evoke the characters and differentiate among them. Nick Schlipper's lights also do a great job to set mood, and they work really well with the videos. It's a visually stunning production. Anyone who likes multimedia, anyone who appreciates technical theater, could really have a wonderful time with it. I do think Snoop is a really capable performer, but I really wish she had a stronger show for her Broadway debut. And one last thing, one side note. It's been many and many a year since I read Wilde's original novella, but I always had it in my head that it covers decades in Dorian's life. But no, this play reminds us Dorian is all of 38 years old by the end. Damn you, Oscar Wilde, for making teenage me think 38 was old. Really mad at you now, now.
- [50:40]
James Marino
Jenna, I hate to correct. Correct you, but the plural of snooks is snooki.
- [50:48]
Michael Portantier
Snooki. Snook eye. Snook eye.
- [50:51]
James Marino
Well, Michael, you missed cultural. You missed the cultural reference to Snooki, who is somebody who you would not enjoy.
- [51:00]
Michael Portantier
Oh, No, I think I know who that is.
- [51:03]
James Marino
You think you know who that is? Peter, how about you? What was your take on Dorian Gray?
- [51:09]
Mr. Moore
Much more positive than what we've heard, I have to say. But the points I want to make two points. One, yes, it is amazing what she accomplishes, but I think she has to finish in second place to Deirdre O'Connell for Dana H. Which technologically was very strange. Very good point. The other thing I want to mention. So I took with me my theater historian friend, Ken Blanchard Bloom, because Linda hates one person shows where people play all these characters. And I said to her afterwards, you missed a good one. This is not the standard thing, like Eddie Izard doing Hamlet. It's not just that. So she made a mistake. Better Ken Bloom and suddenly zoom. Our. Our heads turned to each other. We couldn't believe what we were hearing. And I'm not going to quite give it away, but I am going to tell you that you are going to hear a song. Song from a 1960s musical.
- [52:04]
James Marino
Yeah.
- [52:05]
Brad
Yep.
- [52:05]
Mr. Moore
I mean, the moment she lip syncs to it, it's the actual original cast album recording of a song from a 60s musical, which, by the way, doesn't quite fit. I'm going for people who really know 60s musicals. What I'm going to say now will give away the song. But anyway, the lyric includes the fact that the characters. Doctor Is very happy that her nose has stopped running. Well, there was nothing in the show that indicated that either Sarah Snook or Dorian Gray or any of the other people had problems with noses running. Every studio will sign me. Well, you know, it's a little before the era of movie studios, so that's a big problem, too. But. Whoa, who. I. I don't know how this got suggested or how it was approved, or maybe Sarah Snook saw the apple tree when she was a kid. I just gave it away. But. But nevertheless, it's just amazing to see this song shoehorned. In this. The scene that Jenna mentioned where there were six people sitting at a table, I. That's the one that will make you think, wait a minute, there's got to be real people up there. It is so beautifully done technologically that you swear that those are the real people up there. That's the crowning jewel for me in this whole thing with the video. But I didn't care very much that the story was not treated reverentially or spookily or what have you. I was so taken with what was going on, it almost became irrelevant what she was saying now that I can understand is something that would bother people. I do get that. All I'm saying is it didn't bother me because I had so much else to concentrate on. I had a magnificent time. And when I make out my own list of the greatest things I've seen in the season, at the end of the season, I'll be surprised if this doesn't win, so to speak, best Actress in a play as well as Best solo Show. I mean, I will make an exception here. I mean, usually you would think it'd be one or the other, but this, to me was so overwhelming that I'm going to. I'm pretty sure. And who knows? This is still a bit of a season to go to give two of my awards. Not anybody gets anything. This is just my own. I write it down in, that's the end of it. But this will be a first for me where somebody who is a Best actress in a play also gets best solo show.
- [54:42]
James Marino
I'm glad you brought that up, Peter, because I was going to ask from a, from a, an awards perspective, if we feel like, I believe that she's going to be in the running, if not win best actress in a play for this. So what are your three quick thoughts on that? Because we're running very late. Michael, how about you? Do you think that she's. This is going to be worthy of a Tony Award?
- [55:15]
Michael Portantier
Well, I told you that someone said that to me as we were exiting, and I. Yeah, yeah, that's correct. Yeah. And I, I would not be at all, at all surprised if I. I.
- [55:25]
Mr. Moore
Would be surprised if she didn't win. I expected it.
- [55:30]
Brad
And Jenna, I honestly don't know. I mean, I would. Again, I would not be surprised either because it is an incredibly demanding performance.
- [55:40]
James Marino
And Snoop, two hours never leave stage. Well, she does leave stage, but does. She does leave stage, but she walks down into Cabaret. I thought it looked like. And I thought at one point she walked into Sunset Boulevard Art, and so.
- [55:55]
Brad
That would be hilarious. Oh, my God, it'd be brilliant if they walked out and just stared at each other from across the street. But again, as I said, my issue with the performance was the campy element of it. And I think that may work against her for people who are expecting something different from this particular story. That said, I would not be at all surprised if she took home many, many awards and they'd be justified. She does spectacular work, and I don't want to diminish that. I just. It felt like it was wrong. The performance was wrong. For this material, if that makes sense.
- [56:38]
Michael Portantier
Well, as I said, I completely agree about that. But there are, I think, enough very serious moments in it that shows she. That people won't hold that against her for that reason. Yeah.
- [56:51]
Brad
Yeah. And again, technically, what she does is just stunning.
- [56:56]
Michael Portantier
Yes.
- [56:58]
Brad
So I would not be sad if she took home many, many awards for this.
- [57:04]
James Marino
All right. And her Broadway debut might maybe see her at a theater World Awards.
- [57:12]
Mr. Moore
I suspect we will. Yeah.
- [57:14]
Brad
Hey, sweet.
- [57:15]
James Marino
All right.
- [57:16]
Michael Portantier
Oh, James, someone pointed out in the chat that Mamma Mia.
- [57:19]
James Marino
Yes, I'm about to get to that.
- [57:21]
Michael Portantier
Yes.
- [57:21]
Mr. Moore
Oh, is that where it's going?
- [57:23]
Michael Portantier
Yeah.
- [57:24]
James Marino
So Mamma Mia is opening up at the Winter Garden. At the Winter Garden this summer. So Picture of Dorian Gray. Picture of Dorian Gray. I mean, sorry, the good night and good luck probably can't extend.
- [57:38]
Michael Portantier
Right.
- [57:40]
James Marino
All right. Finally this morning, I don't have it written down. I have Peter, Sod, Glengarry Glen Ross. Michael and Jenna, did you see Glengarry?
- [57:54]
Michael Portantier
Yep.
- [57:55]
Brad
Not yet.
- [57:56]
James Marino
Not yet. Okay, so Michael, Peter and I saw Glengarry Glen Ross at the palace, which Elton John made. Did you see that comet, Peter? No, Elton John, but I know he.
- [58:12]
Mr. Moore
Was represented there recently.
- [58:13]
James Marino
Yeah, Elton John said it was political that Tammy Faye didn't win, that Tammy Faye closed so quickly. So anyway, the current tenant is Glengarry Glen Ross at the Palace Theater. Michael, Peter and I have seen it. So, Peter, why don't you start us off on Glengarry and we'll try to get this quickly because we're sure.
- [58:39]
Mr. Moore
I was disappointed in one thing, and I always am when Glengarry Glen Ross is produced or has been produced since the movie, because there's seen the movie where Alec Baldwin comes in, he's a district manager or something like that, and he has a brilliant monologue and where he threatens the employees to do a better job. As he points out, there's going to be a contest. First prize, a Cadillac. Second prize, steak knives. Third prize, you're fired. My watch costs more than your car. He's that type of guy. And I thought we were going to see it because the scram as you come in has steak knives on it. So I said, oh, good, they're finally doing it. I guess they don't want to pay an extra salary. So I'm very disappointed. It's always good to see this play, and I think it's extraordinarily well done. Certainly Kieran Culkin as Ricky Roma and Bob Odenkirk as Shelley Levine are excellent, so I enjoyed them. Immeasurably and whatever we think about David Mamet, this is certainly a worthwhile play and maybe a little lost as the same problem that Good Night, Good Luck has, because we're in the Palace Theater, where you don't see many plays, but more room for everyone, the more the merrier. I guess more people will be able to see it, and they should.
- [60:09]
James Marino
Michael, how about you?
- [60:11]
Michael Portantier
I thought this production was hampered greatly by two things, the theater that it's in, and maybe that's a tremendously obvious thing to say, but it just seemed like too large a theater for this play, which I think is supposed to come across as kind of like a pressure cooker that all these guys are in. And I think that was lost in the vastness of the palace, even though apparently they're not selling the balcony, but the space is still the same size, you know what I mean? Even if the actors don't have to project all the way up there. And so that was a tremendous minus, I think. But then also, although I agree about the quality of the acting of both Bob Odenkirk and Kieran Culkin, I thought that they were both miscast. Odenkirk only in the sense that to me, it's important that Shelley Levine really come across as authentically Jewish. I just think that it's written that way and that he needs to come across that way. And I don't think that Bob Odenkirk does so. And as far as Kieran Culkin, I just thought he was very miscast in terms of type. I think Ricky Roma is supposed to be very slick and very self assured, and I don't think that that's what Kieran Culkin projects. I should say. I don't know him at all. I don't know his work at all from. I don't think I've seen him in anything. And I know he's. He's a TV star as well as a movie star, but I've. I've not seen any of that. So I'm just judging him, you know, completely cold in terms of not having any preconceived notions. But my idea of what that character should be is not what he is. I mean, it was previously played by people like Bobby Cannavale and Liev Schreiber, you know, who are extremely difficult, different physically from Kieran Culkin. So I had those two negatives and I thought, I wonder if Patrick Marber, of all people, was the best director for this play by David Mamet. I don't know how that even happened, but it didn't seem to me like the pacing was what it should have been. And the focus and the energy and the, the pressure cooker aspect that I said I think was gone. But really stellar work from some of the other people. Donald Weber Jr. Bill Burr, Michael McKean. I have to single out always such a pleasure on stage. And here he's great as George Arenow and then John Pirocello. I just wanted to make sure I got it right. And as James Language link and Howard W. Overshone as Balin. So there's great work here, but I think it was a misconceived production in several ways.
- [63:25]
Mr. Moore
I want to add that I always love when Michael does Italian.
- [63:30]
Michael Portantier
Well, I try.
- [63:32]
Mr. Moore
You succeed.
- [63:33]
Michael Portantier
I try.
- [63:36]
James Marino
In a rare break of disagreeing with Mr. Philippe.
- [63:40]
Mr. Moore
Yeah, go ahead.
- [63:44]
James Marino
I think I'm done with Mamet.
- [63:46]
Mr. Moore
Well, I understand that point of view.
- [63:49]
James Marino
I don't think Mamet ever needs to be on Broadway again. And amazing cast. Really very talented people. Find a different show to do. I'm done with Mamet.
- [64:02]
Michael Portantier
Well, we all feel that way about different. You know, I said that I feel that way about Sam Shepard, but I recognize that's very personal.
- [64:10]
James Marino
Yeah. All right, I guess that wraps it up for today. Before we get on to our brain teaser, our musical moments, I want to remind everybody that you can subscribe to these broadcasts by going to the front page of Broadway radio dot com. There's a subscribe link that way each and every time we have a new episode of this week on Broadway, it'll be automatically downloaded to Apple podcasts for you. Of course, you don't have to listen to us in Apple podcast. Yes, as many ways and you can get us one ways is Patreon P-A-T R-E-O-N.com BroadwayRadio and as I mentioned, it's the 4th anniversary of all the drama and you can now get certain Patreon only things downloaded for on a single basis. So go to patreon.com broadwayradio to check that out. Contact information for Jenna, for Peter, for Michael, and for me can be found in the show notes@broadwayradio.com as well as links to some of the things we've talked talked about today. So, Peter, do you have an answer to last week's brain teaser?
- [65:12]
Mr. Moore
It's a spoken two word phrase that ends a song heard in the 1970s Tony Winning musical. Aside from one line, it's entirely sung by a performer who would win a Tony. These two words also became the name of a 1970s musical that followed a few years later that didn't play Broadway, but it did play a theater in New England. Okay, what we're talking about is Hubba Hubba, which ends the song who's that girl in applause? The Tony winning music, 1970s Lauren Bacall saying all but one line. The penny Fuller came in and did so. There was also a musical called Hubba Hubba that was done at good speed in the 70s. I imagine it had something to do with that era, but I didn't see it, I have to say. And it was written by the Casey brothers and I don't know anything more about it, but anyway, certainly Juliet Green was on the ball here and finished first, followed by Paul Witty, Sean Lo Logan, Tony Janicki, Ingrid Gammerman, Fred Abramowicz and Brigadoon. Okay, this week's question. It happens near the end of every December. A Tony winning musical mentioned it when citing one European country known as the Land of Fields and another as Lexagon. That's L apostrophe H E X A G O N. What's the musical and what's the reference in the show?
- [66:40]
James Marino
Okay, if you have LA answer, you can email us at trivia broadwayradio.com and let us and we'll let you know if you're on the right track. So, Michael, what do we have in this week's musical moments?
- [66:54]
Michael Portantier
Well, I think we mentioned last week two recent passings, Clive Revel and Richard Cheney Chamberlain, and so we wanted to honor them a bit. So our opener this week is a little bit of you've got to pick a pocket or two from Oliver as performed by Clive Revel on what is billed as the original Broadway cast recording. But that's not quite true because it was actually recorded in la, I believe, pre Broadway way. And some of the cast changed by the time the show actually got to Broadway. But Clive Rebel was in both, you know, so he did not get to recreate his role of Fagan in the film where it was brilliantly done by Ron Moody. But we do have that recording and we also have the original London cast album recorded previously that also features Clive Revel. And our Closer is a YouTube video of Richard Chamberlain singing Edelweiss in the Sound of Music. He was in that revival, but he did not originate the role of Captain Von Trapp, but he went into it later. And when he went in as Captain Von Trapp, he was playing opposite Laura Benanti, which there was a lot of comment on at the time because I think the age difference between them was somewhat something like 40 years or more or 50. Yeah, yeah, yeah. But. But I think he, as you will see in this clip, he really does a beautiful job with Edelweiss, both in terms of the singing and the acting of the song. Of course, it comes in a very emotionally fraught moment in the show. So I was glad to see that the clip exists because I did not see him as Captain Von Trapp. So that's our opener and our closer and. And farewell to these two gentlemen, Clive.
- [69:06]
James Marino
Rebel, also known as Emperor Palpatine for a star.
- [69:10]
Mr. Moore
Oh, yeah, yeah, yeah. That was made a big deal of in the obituary, Right?
- [69:14]
James Marino
All right. So on behalf of Janetessa Fox, Michael Portantier, and PETA F. Alicia, this is James Marino saying thanks so much for listening to Broadway radios this week on Broadway. Bye. Bye.
- [69:26]
Mr. Moore
Bye.
- [69:44]
James Marino
Small and white? Clean and bright? You look happy to meet me?
- [70:00]
Oliver
Blossom of snow, may you bloom and grow?
- [70:07]
Mr. Moore
Bloom and grow forever forever.
- [70:36]
Narrator
When the Moore family ditched cable Internet and switched to Zigly Fiber, they got so much more. Mr. Moore got more upload speed for next level gaming and live streaming to the masses. With reliable service, Mrs. Moore is no longer her family's IT guru, leaving her more time to stream games into overtime.
- [70:51]
Brad
Let's go.
- [70:52]
Narrator
And young Mason Moore got more done quickly uploading HD product demos and video conferencing. Without freesight, the numbers look good.
- [70:59]
Brad
Brad, you're on mute.
- [71:00]
Narrator
Switch from cable Internet to Zibli Fiber and get more of what you love for $65 less per month than cable@ziplyfiber.com.