This Week on Broadway for August 17, 2025: Mamma Mia!

Summary

BroadwayRadio: This Week on Broadway – August 17, 2025: Mamma Mia!

Hosts:

• James Marino
• Peter Fish (playwright, journalist, historian)
• Michael Portantier (theater reviewer, editor, photographer)

Episode Theme:
A passionate, in-depth conversation about what’s happening on Broadway and NYC theater, with reviews and reflections on key shows—focusing this week on the "Mamma Mia!" revival at the Winter Garden, recent concerts, community theater performances, industry news, and a critical look at the state of Times Square and the future of Broadway’s spaces.

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Episode Highlights & Key Segments

[01:11] Introductions and Updates

Hosts introduce themselves and talk about recent projects:

• Peter Fish’s new “Day by Day Desk Calendar: A Show Tune for Today.”
• Michael Portantier discusses a canceled Jones & Schmidt show, scheduling, and tribute plans.

“Once word gets out in the community that as soon as you sign up with Michael, you get a big television show or a film, I think there’s going to be a line out the door!” – James Marino [05:56]

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[07:00] Provincetown Theater Scene & Summer Shows

• Michael shares upcoming plans in Provincetown (P-town), including visiting shows featuring Marilyn Maye and a local production of "Vanya and Sonia and Masha and Spike."
• Discussion about venue changes and performers in Provincetown, with reflections on Gypsy's closing and Audra McDonald’s trajectory.

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[09:53] "Mamma Mia!" Revival at the Winter Garden – Main Review

Peter Fish’s review after revisiting "Mamma Mia!" on Broadway:

• The production remains largely unchanged from 24 years ago, “business as usual.”
• Set is minimalist compared to today’s spectacle-driven productions—“the set for Mamma Mia, I think, could fit in your average U Haul.” [10:54]
• The charm persists, with audiences clearly loving it—plenty of in-seat dancing, though “no one danced in the aisles this time.”
• Critiques logical oddities (Greek setting/motivations, period context, lack of DNA testing, the gay subplot’s believability).
• The enduring popularity is credited not to plot credibility but “the music is quite wonderful on its own terms, and everybody has a wonderful time.” [15:02]

Notable Moment:

“It was sort of hard for me to see what was going on because the woman in front of me was bouncing in her seat so much...” – Peter Fish [15:16]

Show Info:

• At the Winter Garden Theatre
• Scheduled through February 1, 2026 (likely to extend)

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[17:11] Allie Ewoldt’s "When You Wish Upon a Star" at 54 Below

Michael’s rave:

• Highlights Ewoldt’s voice and versatility, including innovative song “meldings.”
• Guest stars included Camelot castmates, JG Macapugay, and Jose Llana.
• “One of the best shows I’ve seen lately at 54 Below or anywhere else.”
• Upcoming performance December 26, 2025.

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[22:57] "Heathers" at New World Stages

Peter Fish reviews the Off-Broadway hit:

• Star turn by Casey Likes as JD—“strangely appealing and yet mentally unbalanced to the nth degree.”
• Praises the original score’s witty lyrics by Laurence O’Keefe and Kevin Murphy.
• The show’s lasting high school and fanbase appeal: “Characters came on and people were applauding because they knew who they were.”
• Extended run expected (closing scheduled January 25, 2026—for now).

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[27:48] Pascal & Rapp at Clinton Cove: "Rent" Duo Reunion

Michael reports on the outdoor concert event:

• “Largest crowd of the summer” as Adam Pascal and Anthony Rapp revisit "Rent" songs and perform an eclectic set.
• Surprise: “Light My Candle” with Anthony as Mimi.
• Discusses Pascal’s enduring vocal resilience despite an intense rock style.
• Fans still devoted: “Rent heads... they’re still there, and they’re still carrying the torch.” [31:20]
• Future appearances expected, including Woodstock Arts (March 2026).

Notable Quote:

“I thought he was perfect as Roger, but... I don’t think he’s going to have a very long career... but he’s still going and still sounds the same.” – Michael Portantier [32:17]

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[38:00] "Rolling Thunder: A Rock Journey" at New World Stages

Peter’s ambivalence:

• Well-meaning Vietnam War show, but found the mix of up-tempo music and somber subject “odd,” “horrifying to hear applause and cheering after such intense scenes.”
• Would be curious to hear veterans’ views.

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[41:35] "The Bridges of Madison County" in Staten Island

Michael’s review of the Ghost Light Players’ production:

• Despite technical and venue limitations, “the most important thing... was utterly professional: the beautiful score by Jason Robert Brown.”
• Standout performances from leads Jeff Bodnar (Robert Kincaid) and Anna Glenn Sparks (Francesca).
• Discusses tweaks to the musical since its Broadway debut and praises emotional effectiveness.
• Runs through August 24.

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[51:02] Times Square Casino Controversy & Theater District Change

Michael and James on the fight against a Times Square casino:

• Theaters coordinated red marquee campaign opposing the idea (“NO Times Square Casino”).
• Michael objects: “Adding thousands more pedestrians to Times Square is an absolute accident waiting to happen.”
• Voices skepticism about pro-casino promises of economic benefit.

Notable Quote:

“You sometimes have to wait on line to cross the street [in Times Sq. already]...” – Michael Portantier [51:32]

• Segues into a discussion about long-stagnant properties and changes in the neighborhood, including the new construction near the Imperial and the fate of beloved bars/eateries (“Playwrights Pub is hanging on... long live Playwrights.”).

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[62:07] Kennedy Center Tumult & DC Theatrical Scene

• Michael covers the resignation of key artistic staff at the Kennedy Center amid major leadership and programming upheavals.
• James reports on visible but misallocated National Guard presence in DC.
• “All the world’s a stage—what’s the Shakespeare?” jokes James.

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[67:50] Musical Brain Teaser

Peter’s puzzler:

• References the history of musicals whose titles or songs inspired biographies and asks listeners to name the song/book (details in the transcript).

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[69:25] Musical Moments: Audra McDonald’s Interpretive Choices

Michael reflects on Audra’s divergent performances:

• Contrasts her emotionally charged but vocally controlled “Old Maid” from 110 in the Shade with her “out of control” “Rose’s Turn” from Gypsy.
• Asks listeners to consider the difference between expressing anguish artistically and “complete meltdown.”
• Episode closes with selections from both performances.

“It is possible to really show a character in emotional and mental crisis without completely losing control as a performer on stage.” – Michael Portantier [73:29]

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Notable Quotes, Moments & Timestamps

• “[Mamma Mia’s] set could fit in your average U Haul.” – Peter Fish [10:54]
• “The crowd loved [Heathers] when I first saw it way back when, and it has become a sensation in the community theater and even high school markers.” – Peter Fish [25:21]
• “Adding thousands more pedestrians to Times Square is an absolute accident waiting to happen.” – Michael Portantier [51:32]
• “Rent heads... they’re still there, and they’re still carrying the torch.” – Michael Portantier [31:20]
• “She likes basketball.” – Peter Fish [68:08], referencing a show tune-turned-plot device.

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Episode Structure Overview

• [01:11–07:00] Intros, hosts’ backgrounds, schedule changes, and previewing Provincetown
• [09:53–16:23] In-depth "Mamma Mia!" discussion
• [17:11–22:38] Review: Allie Ewoldt at 54 Below
• [22:57–27:45] Review: Heathers at New World Stages
• [27:48–36:57] Pascal & Rapp concert recap and follow-up
• [38:00–40:58] Rolling Thunder review
• [41:35–50:28] Community: Bridges of Madison County in Staten Island
• [51:02–62:08] Times Square casino and Manhattan theater district discussion
• [62:08–66:00] Kennedy Center shakeup and D.C. scene
• [67:50–74:04] Brain teaser and musical moments

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Summary Takeaways

• Broadway’s nostalgia circuit is thriving, with "Mamma Mia!" and "Heathers" drawing big crowds decades after their debuts.
• Star-driven concerts and community productions offer plenty for theater lovers off the Main Stem—including standout performances at 54 Below and in Staten Island.
• Industry anxieties loom: The Times Square casino debate encapsulates concerns over the district’s future and Broadway’s changing landscape, as does the shuffle in D.C.’s Kennedy Center.
• The evolution of performance style: Audra McDonald’s contrasting performances fuel debate on modern stage emotion.
• Theater district is in flux, with both new construction and the precarious survival of old haunts.

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Useful Links for Listeners:

• Links to ticketing, show runs, and restaurant suggestions mentioned throughout episode in the show notes at BroadwayRadio.com.
• Email James for your personal restaurant suggestions: [e-mail]

Next Week:
Michael is away in Provincetown; expect more hot takes, reviews, and insider perspectives on all things Broadway.

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Closing Musical Moments:

• "Old Maid" (Audra McDonald, 110 in the Shade cast album)
• "Rose’s Turn" (Audra McDonald, Gypsy cast album)

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For more Broadway news, reviews, and lively debate, subscribe via Apple Podcasts or Patreon (patreon.com/broadwayradio). Listen and join the conversation!

Transcript

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[Poet or Performer]

My sister died My skin is alive all over it's turning to night and yet not a sign of rain I'm all tied up My clothes need to be on fire they're tying me up and burning me to the bone why won't it rain? Please let it rain oh God, don't.

[Peter Fish]

Let me die I.

[James Marino]

Hello and welcome to Broadway Radios this week on Broadway for Sunday, August 17, 2025. My name is James Marino and in the broadcast today we have Peter Fish 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, the 366 songs to Bright New Year has been released. Peter also has columns at Masterworks, Broadway, Broadway select and many of the places. Hello Peter hi. Hello, Peter. So what is today's show tune?

[Peter Fish]

The prologue from Natasha Pierre and the great Comet of 1812. Because as any astronomer will tell you, that comet was actually the Great1 of 1811. It was noticed on March 25th of that year. But Leo Tolstoy, when writing War and Peace, preferred to use 1812 because on that date in that year the comet faded from our solar system. So who was Dave Malloy, the composer, lyricist to contradict one of Russia's greatest authors. So by the way, if you're unlike George and Amalia and she loves me, who certainly pay attention to To War and Peace. This song is an abridgment that will tell you much what you need to know before you tackle the the book, which is 2,882 pages. So keep that in mind.

[James Marino]

Who counted all those pages?

[Peter Fish]

The people who put the book together said job.

[James Marino]

Stories of publishing. Have you ever had something to because you needed to either cut for space or write longer, you know?

[Peter Fish]

Yeah, both, Sure. I remember when I was writing young adult novels, my first one was considered too short, so I had to add but I'll tell you, with many of my books about musicals, it has been a case of pruning. In fact, I'm finding that right now because I'm doing a book called Musical Constructive Criticism for Broadway's Flops and hits. And they want 60,000 words. At the moment, I have 59,000 words, and I'm not remotely finished. So something will have to go.

[James Marino]

You know, you could do a second one and call it for good.

[Peter Fish]

Good idea. Good for you.

[James Marino]

It's so funny. One of my jobs early, when I lived in Manhattan right after college, was print production for Scholastic, the children's publishing firm. And I learned a lot about, you know, how you write, to write to your specs and, you know, because certain you. You can only, you know, the way printing, a printing press works, that you have certain number of pages.

[Peter Fish]

Yeah.

[James Marino]

And so you want to go in groups of, you know, eight or 16 pages or something like that because of the way in which things get printed. Anyway, the other voice that we were. We were hearing just now is Michael Portantier. Michael's a theater reviewer, an essayist. He's the founder and editor of Ksalbum Reviews.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 [e-mail]. hello, Michael.

[Michael Portantier]

Hello.

[James Marino]

And, Michael, we have an update about the September schedule.

[Michael Portantier]

Yeah, my show, my Jones and Schmidt shows at the Lori Beachman is not happening. Because the problem is when you, you know, I mean, it's great to have really wonderful people in your cast, but when you have really wonderful people in your cast, sometimes they get stolen away to do other things. And one of them got a movie and the other one got a part in a TV series. So. So, yeah, so I just. Yeah, it just seemed like. I mean, we could have gone ahead with it, but it seem like the signs pointed to not doing it. Not right now, anyway. I do think it is a great idea to tribute those guys. I mean, of course, they. They used to do their own. Jones and Schmidt had their own show where they kind of went through their career, and that was amazing. But I think their legacy is wonderful enough that they deserve to be remembered by that. Sure. And, you know, for that. So. So hopefully we'll do it again someday.

[James Marino]

I don't know, Michael. Once word gets out in the community that, you know, as soon as you sign up with Michael, you get a big television show or a film, I think there's going to be a line out the Door, you know, causation, correlation type of thing. You know, work with Michael, get a television show.

[Michael Portantier]

Probably not, but I'll. If they want to think that, that's fine.

[James Marino]

And also, let the morning begin. Michael's going to P town next week and won't be able to be with us next week. Oh, we'll all be very, very sad, Michael. But you will be returning in two weeks, right?

[Michael Portantier]

Yes, yes. And I'll be seeing Marilyn May. Our beloved Marilyn May. Yes. There's also a production of Vanya and Sonia and Masha and Spike there. I'm not sure if I'm going to get to see that. David Dre is directing that at his theater company. Yeah, yeah. So there's stuff, you know, there's always stuff going on up there in terms of entertainment and theater and stuff.

[James Marino]

Yeah. Am I mistaken in thinking that Audrey usually does something up there every summer?

[Michael Portantier]

Yeah. Well, first of all, Seth Radetzky, I guess less so now, but he used to see they had a problem. There was a venue for a really nice venue called the Art House that Seth Radetzky and Mark Cortale were involved there and they would do lots of shows. But then there was some very unfortunate political stuff that happened and that was taken away and now is being run by other people who are doing weird things with it. So the Town hall is now a venue for headliners. And I'm not sure the last time Audra was there, but she has performed there more than once in Provincetown.

[James Marino]

And I was saying that I'd imagine she is wrapping up Gypsy. Gypsy closes today on Broadway. And so I'd imagine she probably wants to take a little bit a break. So I didn't think that she'd make it up to P Town this. This summer.

[Michael Portantier]

I don't think so. No.

[Peter Fish]

No.

[James Marino]

All right. A little Broadway radio promo and housekeeping we have. The other day, Matt Temenini released a special episode with Philip Jeffrey Bond talking about the Billy Joel Project and the Broadway ensemble that came out on Patreon. It'll be available to the general public or you can head over to Patreon right now and pick it up either in a one off episode or joining Patreon on a monthly membership. Also coming up, we have a new episode of Stagecraft where Jan Simpson talks with Bubba Wyler on the show well, I'll Let yout Go. And that's going to be available on Monday evening to Patreon members and Tuesday morning to the general public in the Today on Broadway time slot. Matt and Grace have been. Have been taking a little bit of respites over the summer, getting ready for the fall when they're doing tons of stuff, because they stayed up to Never Neverland to do a review episode of Mamma Mia last week as well. And we're going to talk about Mama Mia a little later in the season in the morning. And in fact, we're here right now. So, Peter, you saw Mamma Mia. This is the. Is it 25 years ago?

[Peter Fish]

24.

[James Marino]

24 years ago.

[Peter Fish]

Hard to believe.

[James Marino]

Yeah. 24 years ago. Has it changed?

[Peter Fish]

No. No, it hasn't. It. At least I don't think so. I mean, I'll grant you that it's been a while since I've seen it, but it seemed to be in business as usual. And the business as usual is also the business at the box office. It's become a tremendous hit once again. It's so eerie to see that Mamma Mia sign over the Winter Garden, that enormous sign, you know, bringing it back to. I wonder if they had it in storage. It looks like exactly the same sign, so. But maybe it's not. Anyway, yeah, it's the same show and it brought a lot of pleasure to a lot of people and it's very well done. It's amazing to me that in an era where so many shows wanted to knock your eyes out with scenery, the set for Mamma Mia I think, really could fit into your average U Haul.

[Michael Portantier]

It's.

[Peter Fish]

It's very, very modest. And what I do think is surprisingly strange is that there's no technical whiz to it whatsoever. The people come out and move the scenery like crazy. There's no turntable type thing. I don't remember if that was the case in the original, but that's what's going on there. I think what would be wise is if those people were actually characters. In other words, Donna, at one point, the owner of the taverna in Greece. And by the way, why are we in Greece with the name Mamma Mia? Why didn't they choose, you know, Sicily or something like that, where it would be more logical for people to say Mamma Mia. Granted, everybody says Mamma Mia from time to time, but.

[Michael Portantier]

Because if it was Sicily, then it would have been even closer to born A Sarah. Mrs. Campbell.

[Peter Fish]

I bet you're right. Yes, indeed. A marvelous movie from 1969, which I urge you to see, which has so much emotion attached to it. Carmelina was the musical version that had more emotion attached to it, too. But there is a similarity. What Michael means is that it is about a girl who may have a father somewhere in the world and it could be one of three candidates. And more interestingly in. In Carmelina and bonuser and Mrs. Campbell, these men have been sending money all this time to the mother, thinking that each is the father of the girl and indeed has no knowledge of the other two guys as potential fathers. They do know each other, but not because they're in the army together. But anyway, here's simply. Sophie wants to find out who her father is. She's read her mother's diary and it could be any of three men and she asked the three men to come to Greece and all. Do you know, I think if she had won the lottery and said, I'm paying for. For you to come over, that would be more believable and maybe we could find that out at the end she said, it just won the lottery, we can have a reprise of Money, Money, Money. I mean, well, anyway, so it is a little bizarre to me that this is the case. What's also interesting is that we hear at the beginning that things took place in. In 1979. That's when the conception took place. Well, it's a little jarring for an audience now to hear that the girl was born in 1979 because that makes her, you know, quite into middle age. So I wish there were more of an establishing situation that we are still a period piece now in 2001, and that could easily be handled if indeed Sophie's beau, her fiance, would say, it's a new millennium and we're going to start living, you know, that type of thing. That would help amazingly to. To set the fact that when. Because it's so jarring to you in 1979. Well, anyway, given the fact that DNA testing started in the 80s, granted, not on a wide screen for, you know, everybody, but one could do DNN testing. I remember Frank Langella was in a play was called Match, I think, in which they wanted to find out his DNA and they. A similar situation and they took a swab and they cried, open his mouth and go. I mean, the fact that she's not relying on DNA in 2001 strikes me as very odd. But then of course it would be a very different show. The other thing is that one of the men comes to Greece and by the end show we find out that he's more involved with Nigel than he is with anybody else. And I'm not sure that he would be that interested in coming to Greece to see Donna again. Donna ostensibly wrote these guys to Say, come to Greece. Not Sophie. They don't know about her, Donna. So I can understand. Oh, wow. Getting back again with my. My love when I was younger. Yeah, that's great. Sure, I'd love to do that. Oh, wow. You know, I can understand that motivation. And it's very smart that one of the men works for a magazine. He has an assignment. That's good, you know, but the guy. The guy who turns out to be somewhere between bisexual and gay, it would be wise at the end of the show if he said, you know, I was. I wasn't sure of my sexuality. And as a result of being here, as much as I admire you, Donner, and I like you so much and all that, I now realize that my place is with Nigel. You know, if that were the case, it would be so much more believable that he would come there. But the fact that he really seems to establish that he's with. He really is interested in Nigel, period, is a bit of a problem. So anyway, none of this matters because the music is quite wonderful on its own terms, and everybody has a wonderful time. And it was. It was sort of hard for me to see what was going on because the woman in front of me was bouncing in her seat so much up and down, up and down, up and down. And the person she came with did the same thing. So there was a lot of happiness in the theater. I rem that the original production became reasonably famous for people dancing in the aisles at the end. That didn't happen, but that didn't mean that people weren't dancing in their seats. And that's good enough. So it's bringing a lot of pleasure to a lot of people. And good luck to it. That'll be fine.

[James Marino]

All right. Mamma Mia. Is at the Winter Garden, as Peter mentioned, and it is scheduled right now through February 1, 2026. I wouldn't be surprised if it extended.

[Peter Fish]

Oh, I agree.

[James Marino]

I don't. I don't think there's anything coming into the Winter Garden behind it right now or scheduled. February 1st is a weird time to close the show. Yeah. So, you know, maybe they're wishing upon a star. Hey, Michael, you were over 54 below where Ali Ewalt is doing a show called when youn Wish Upon a Star. So tell us about this.

[Michael Portantier]

Oh, it was just wonderful. Allie was also supposed to be in my Jones and Schmidt show, and she is really, really great. She has a number of wonderful credits, including Phantom of the Opera, in which she was the first, I believe, the first Asian woman to Play Christine on Broadway and just a beautiful woman with a beautiful soprano voice. Really, this show was put together very well directed and produced by Scott Siegel. And he really. They worked together to create a wonderful, wonderful showcase that started with a Disney medley, Dreams and Wishes medley of Disney songs, including A dream is a wish your heart makes. I'm wishing for the one. I love that song from the beginning of Snow White, when you wish upon a star, et cetera. And one of the most notable aspects of the evening there was that there were several, what I now call meldings, I don't know if there's a specific word where two different songs are combined together to make. And it's not even really just a mini medley because a medley is usually one song into another. But then there are these meldings where the two songs are combined. So in other words, you might sing the verse of one song and then go into the chorus of the other and then go back to the first song. And when they're well done, they're really, really creative and very enjoyable. So this show had three of those by various different arrangers. One of the meldings was A Lovely Night from Rodgers and Hammerstein, Cinderella with On the Steps of the palace, which of course is Cinderella's song from into the Woods. Then there was a melding of Evergreen, the Barbra Streisand song with the Rodgers and Hart song My Romance. And that was because Ali said that one of those songs was her wedding song and the other one was her parents wedding song. So I'm guessing, I'm not sure if she specified. I'm guessing maybe My romance was her parents and green was hers, but could be the opposite.

[Peter Fish]

Right.

[Michael Portantier]

And then the third melding was Try to Remember from the Fantastics with Apple Blossom Time of old songs, and that worked beautifully. Also, Ali was an incredible voice and very comfortable on stage in the patter. She was charming and funny and.

[James Marino]

If.

[Michael Portantier]

All that wasn't enough, oh, she had a wonderful pianist, musical director Laura Bergquist, B E R G Q U I S T. Somebody I was not familiar with. But she did an amazing job. And again, if. If all that wasn't enough. At the August 10th performance that I attended, Ali had several amazing guest stars, including two of her co stars from the production of Camelot in which she recently appeared up in the Berkshires. And their names are Ken Wolfe Clark who played Arthur, and Emmett o' Hanlon who played Lancelot. The show was at Barrington Stage, to be more specific, and I really had wanted to see that production, but it's very hard to get up there if you don't have a car. And if you also, it's very hard to do a day trip because it's so far. So I, I missed it. And, and so I was very, very happy that she brought those two to be her guest stars. But aside from them, she also had JG Macabre Gui Macapage, who we know from Suffs and Here Lives, Love and Shucked. And she also had Jose Lana as a guest star. So it was really just an evening bursting with talent and one of the best shows I've seen lately at 54 below or anywhere else. Oh, she has. This is weird. So that was August 10th. She has another one scheduled, but it's not till December 26th, so you certainly have plenty of time to prepare if you want to see that one. I mean, she may not have any or all of these guest stars for that one. She may have different guest stars, I'm guessing. But yeah, if you're going to be in town the day after Christmas, December 26, 2025. Ali Ewoldt when you wish upon a star at 54 below.

[James Marino]

Okay, so that's Allie. And we'll have a link to that in the show notes so you can check out the December 26th. Can't imagine. It's just around the corner, isn't it?

[Peter Fish]

It'll be here before you know it.

[James Marino]

All right, so, Peter, you were over at New World Stages where you saw the production of Heather's that's playing there right now. Tell us what you think of it.

[Peter Fish]

Well, it's funny because we have one Heather, two Heathers, three Heathers, and a Veronica. Yet to me, the star of the show was Casey Likes, who plays JD And I don't think those initials were chosen at random. There was a time when JD Stood for juvenile delinquent. I, I'll grant you that's an antiquated term now, but nevertheless, I think that's what the authors had in mind. So he's really terrific as a crazy kid. Now, people use the term crazy kid meaning eccentric, but this kid's really crazy. There is a nice moment where he has a soliloquy where he tells us why. No, he doesn't tell us why he got crazy. He just tells us what happened, and we, we know that that's what made him crazy. I wish it were a song, but nevertheless, it's, it's. It very strong. But Casey Likes is marvelous as somebody who's strangely appealing and yet mentally unbalanced to the nth degree. And he really gets Veronica, a girl who wants to be as popular as. As anybody in Wicked wants to be. But the problem is that she joins him in his crimes and never once is there ever any worry that she's going to be prosecuted as an accessory. And Lord knows she's an accessory to what he's doing. And it. Yes, she has second thoughts. She does indicate you shouldn't be doing this, but she always gets sucked into it. Now, I guess the point of it is that this is what happens to some people. That if somebody is strong enough that. That the person who is in romantically involved with him or her will go along with it. I guess that's the point. There's a lot about teen suicide in this show and I think that that's something that a point is going to be made. But it's. It's all over the place again, like Mamma Mia, none of this matters. Everybody's having such a wonderful time listening to the songs. And unlike Mamma Mia, we do have an original score here. And the music is by Lawrence o', Keefe, who I've known for a long time because he did a Hasty Pudding show way back when. And there was a time when I used to go to those like crazy. But then time took me away from the Boston area, so I wasn't going nearly as much. But I did go for his and I thought he really had tremendous potential. And he and Kevin Murphy have done book music and lyrics, and I will tell you, they are very successful with lyrics. Very successful. So I'm amazingly pleased that there are plenty of ideas in the lyrics. Not just platitudes, but ideas, and they're worth listening to. So another show where a good time is had by all. And this has really become quite a phenomenon. It was amazing to me when this was first produced that it closed so quickly. I really. There had to be a money problem. Well, there always is. But. But my point is that the crowd loved it when I first saw it way back when, and it has become a sensation in the community theater and even high school markers. I mean, there are teachers who wouldn't do this show because it doesn't show teenagers in a very good light, to say the least. But it has been done in high schools and it really has quite a fan base because there were characters who came on and people were applauding the characters because they knew who they were. So. So I think this is. This is the time when Heathers was going to run a long, long, long, long time. Which should have happened way back when, because it really is very similar to the original production and it deserves a second chance considering the fact that so many people really responded to it. So good luck to it. It.

[James Marino]

Okay, so Heather's at New World Stages. Let me see if they have a new ending date. The old ending date is January 25th. No, still January 25th. So we'll see what happens there with Heathers. You know, maybe Heather's and Mamma Mia. Should get together and extend together.

[Peter Fish]

They're very similarities, really. They really are.

[James Marino]

All right, so, Michael, you got a chance to see. I almost said Anthony Pascal, but it's Adam Pascal and Anthony Rapp. They have a show together at Clinton Cove that we talked about Clinton Cove a few weeks back. So. So we don't want to hear any complaints that we didn't warn you that this was happening. So tell us, how was the show?

[Michael Portantier]

Oh, it was really great. This was the last in a series of concerts, free concerts that were done this summer at Clinton Cove, which is a really lovely little park at the Hudson river, just north of where the piers are, where the Intrepid and all of the cruise ships come in. So it starts around. I think it starts around 55th Street. And it's not that large, but it's, you know, it's large enough to. That they have a stage that they set up. And apparently this was their largest crowd of the summer. So testifying to the popularity of Adam and Anthony. And there had been previous concerts. I. I wanted to go to the first one, which was Max Von Essen, but that was the only one that was rained out. And then all of the other ones I either could not make or I had conflicts, or in one case, I just really didn't have much interest. But they also had. They had John Lloyd Young, they had Jasmine, Amy Rogers, they had Jennifer Holiday, which I really wanted to see. But I just, for one reason or another, couldn't get there. So I was glad I finally got to see at least one very lovely people brought their own chairs or blankets to put on the lawn. And the stage was set up so that it was set up so that the river was behind it. And which also meant, because of the time they started, that it was. The sun was going down as the performance was happening, and the end of the performance was pretty much time to sunset. So that was all done really beautifully. And it was a wonderful program, as you might expect, several songs from Rent, but not necessarily presented in the way you would expect them. For example, they did the Light, My Candle duet with Anthony Rapp as Mimi. I don't know if that's something that they've done in the past, because Adam and Anthony have performed many times in the past together. And in fact, they have some dates coming up that I just read about it and I didn't write it down. So forgive me, but if you Google, they're coming up again soon in New York somewhere, I think maybe at 54 below. But so their fans really came out in force for this performance. And it was wonderful. Just all those people, you know, it was a beautiful night and it wasn't too hot and the sound amplification was pretty good, and there was, you know, everyone was being nice to each other and just really good vibes. In addition to the Rent song, there were. It was a really nice program. Very, very eclectic songs by Peter Gabriel, Billy Joel, Radiohead, and David Bowie. Adam and Anthony attributed some of the artists that have meant the most to them, you know, throughout their lives, and the audience ate all of that up. But there were a lot of Rent heads there, including some people with. With, like, rent T shirts, et cetera. So, you know, you know, they're still there, redheads, they're still there, and they're still. They're still carrying the torch. And both of the guys were in great form and great voice and very comfortable with the audience. I've said this before. I always enjoyed Adam Pascal, and I thought he was perfect as Roger, but when I first saw Rent way back when, I thought, well, he sounds great and that kind of voice is perfect for this. But I don't think he's going to have a very long career because it always sounded to me like he was. Like he was hurting his voice when he was singing because it has that gravelly quality to it, that rock tenor, gravelly thing. But he's still going and he still sounds the same, so. So I don't know. I don't know what he does, but obviously whatever he. He does, he's doing it right in terms of technique, and I think that's amazing and a tribute to him. So I'm sorry this was a one nighter, but as I say, they're coming up again soon somewhere. Maybe. I'll see if I can find it before we end the podcast and I'll mention it later, but if not, just Google them and you'll find them, I'm sure.

[James Marino]

It looks like they're at 54 below tonight. Oh, tonight they had a series that started on August 6th through August 17th. There are 54 this is the final show in this series. It's called Adam Pascal and Anti Rapper Celebrating Friends in history and August 17th to. Oh, no, no, that's 2024. We're in 2025. Apologies. Yeah, okay, totally.

[Michael Portantier]

See if I can find it.

[James Marino]

Yeah, see if you can find it. Okay. Rob Johnston in our chat room asked if they did happiness. Do you know if they did Happiness?

[Michael Portantier]

Which. I'm sorry, which song is that?

[James Marino]

Rob's saying happiness. I'm not sure what it's from. Rob, what is happiness from Happiness? I know happiness is from Passion, but I don't think happiness.

[Michael Portantier]

I don't think he means that one.

[James Marino]

From A good Year, from a Good Man. Charlie Brown, Charlie Brown and Passion, Very different shows.

[Michael Portantier]

Did they do is he's asking if they did Happiness from Charlie Brown. No, they did not do that song.

[James Marino]

Okay. Although if they did Happiness from Passion, that'd be very different. All right, so that was. Michael was pointing out that's a one night only thing. And we'll see if Adam and Anthony are around. And I was thinking to myself when Michael was saying that when's the last time Adam was on Broadway? Was in Pretty Woman, the Musical in 2019. But he has had quite a number of 12 shows. 13 shows Rent, Chicago Cabaret, Aida, Chess, which was a one night only thing. Hair, one night only thing, 24 hour plays, one night only. Memphis Something rotten. Oh, that's right, something rotten. He Disaster. And he did Pretty Woman.

[Michael Portantier]

So he also did. I missed it. But he did Hedwig in the Angry Inch. Off Broadway.

[James Marino]

Oh, off Broadway, that's right.

[Michael Portantier]

Yeah, yeah, he was Hedwig for a while, which I can't quite see, but you know, I don't know.

[James Marino]

And not to make anybody feel old, but the original people that were the super Rent fans that camped out are now 60 years old.

[Peter Fish]

I know. Isn't this something?

[James Marino]

So.

[Michael Portantier]

Oh, here's something I found. Maybe this is not what I was thinking. The only thing I was thinking of because they perform lots of places, but on March 28, 2026, they're going to be wood. Woodstock Arts. Yeah, So I mean, they have plenty of time for that one, but I think they have other others before that. Woodstock Arts Event Green in Woodstock. Oh, Woodstock, Georgia, not Woodstock.

[Peter Fish]

You know, our Woodstock.

[Michael Portantier]

Yeah, well, all right, well, so I'm sure they've got lots of other things coming up.

[James Marino]

Not to be unfair, but Anthony Rapp has got a number of Broadway credits as well. The Little Prince in the Aviator, Precious Sun, Six Degrees of Separation. Forgot about that. Rent. Of course. You're a good man. Charlie Brown. 24 hour plays and if then. So last time Anthony's been on Broadway, according to IBDB is 2015.

[Michael Portantier]

Was that if then?

[James Marino]

Yeah, if then 2015. Yeah, yeah. I'm trying to see. Sort of felt like Anthony replaced in something, but it's not listed here. All right, so keep your eyes out. These guys are always doing fun, interesting stuff. So I'm sure they'll show up again. Peter, did you get on your hog and head from Washington Square park up to the New World Stages to see Rolling Thunder?

[Peter Fish]

What an odd show. I mean it's very well meaning. It deals with the Vietnam War and we hear from soldiers, a talented cast, we hear from some of their girlfriends who in time cease to be their girlfriends. Dear John letters, that type of thing. But I don't know, it just rubbed me the wrong way. I mean I am from that era. I was of the age to be drafted back then. There was a lottery and what they had was 366 balls in one container and 366 balls in another container. One container had every day of the year cited on a and the other one had numbers from 1 to 366. I was very fortunate that my number was 360 and I did not have to go. But some people weren't nearly as lucky and had to go. So is it so seeing all these recollections of the Vietnam War and seeing many projections of newspaper stories and headlines indicating how terrible it was, how futile it was, seeing a lot of footage of the Vietnam War which indeed has been said that the reason the nation turned against the Vietnam War is because they saw it nightly on TV and they realized this is wrong, this is bad. So to punctuate all this with songs, many of which are up tempo songs, just seem like a very odd mix to me. You know, I love whipped cream and I love meatballs, but I wouldn't want whipped cream on my meatballs. And that's the type of thing that really rubbed me the wrong way. So. So I didn' respond to Rolling Thunder, which seemed by putting in an occasional nostalgic happy song, seemed to me just wrong. And I would be very interested to hear from veterans who certainly served and suffered in one way or another, be it from loss of limb or indeed psdd, you know, or death.

[Michael Portantier]

Well, you're not gonna hear from, you're not gonna hear from those.

[Peter Fish]

That's why I eliminated that from. But, but certainly people who knew people who died. I mean, I don't know if this would appeal to them. Of course, it was hoping for a larger audience than just veterans and. But cheering songs, you know, plotting songs and going woo. After what's going on in the book. Book really just was horrifying to me.

[James Marino]

All right, so I'm trying to find the end date. It says it's in its final weeks. Must close September 7th. Yeah, September 7th. A rolling thunder, A Rock Journey at New world stages through September 7th. We'll have a link to that in the show. Notes. Michael, you headed south until you had to jump a great big piece of water and ended up landing your feet on dry ground in Staten island where you saw the Bridges of Madison County. So tell us about this production.

[Michael Portantier]

Well, I really wanted to see it because I loved the show so much and I knew some of the people involved from my own activities out on Staten island in theater. And I was so glad that I went. It was, I guess, pretty much what I expected. This particular production done by a really wonderful theater company called Ghost Light Players. And first of all, the venues in which theater are done on Staten island are not always equivalent to the St. George Theater where Peter saw Guys and Dolls with me in it. There's a lot of church auditoriums and recreation halls and various kind of things like that that are not really meant for theaters, and that's always a challenge to begin with. So this production was interesting in that I would say it was quite amateurish in some ways, due to the limitations that they had. So the sound quality, the sound application was really not very good. This particular church hall where they perform is notorious for that, and they haven't been able to quite lick it yet. And then also this particular production, unfortunately, every time there was a scene change, I was really taken out of the show because the only way they could do it in this case was to have people come on and move this furniture, not people who are in characters in the show. And unfortunately, that really interrupted the flow of the narrative. But. But the most important thing, of course, with the Bridges of Madison county is the musical aspect of it. The beautiful score by Jason Robert Brown. And this one was utterly professional in that sense. I had limited knowledge of the two leads. The fellow who played Robert Kincaid, his name is Jeff Bodnar. I had seen him only in, I think, in one thing, on Staten Island. He played Triton when they did Little Mermaid some years ago. And he has some serious professional credits in his background. So he was greatest Triton, and he was wonderful as Robert Kinkaid. I was not surprised at that, he obviously got to sing a lot more as Robert Kinkaid than he did as King Triton. And although I'm told He's now about 60, he really sounded beautiful and he's still in great shape. So that worked for the story because that's important that the character be very physically attractive. And as for Francesca Johnson, she was played by Anna Glenn Sparks, whom I had seen in a couple of things, but never in a role like this that requires that really bravura, serious chops, soprano singing that would be required for a role that was created by Kelly o'. Hara. And I was, I was quite taken aback by how wonderful she sounded. Really. I had absolutely no idea. She doesn't. She's not physically perfect for the part. But on the other hand, she didn't look any less Italian than Kelly o' Hara did. So. So that wasn't an issue, you know, and really, the rest of the cast, all of them were, were just wonderful. Sometimes the, the, the lesser roles, the supporting roles in these community theater shows are, are not all upped snuff because they have such a limited pool of talent to choose from. But Victoria Mathis is Carolyn Johnson, the daughter. Jaden Cavallo as Michael Johnson, the son, wonderful woman. Leon Sarrace as Marge and Jay Sada as her husband Charlie and Corey Loftus as Bud, the, the husband who, who may be, you know, having a situation where his wife is going to leave him. But we, you know, we have to wait and see how that turns out. I'm sure everyone who's seen the movie or the musical already knows the answer to that question. This really story that was started out as a book that I think was received extremely mixed reviews. Some people thought it was soap opera and other people thought it was brilliant and cried their eyes out through it. Which was the same with the same situation with the movie, which starred Meryl Streep and Clint Eastwood about an Iowa housewife in 1965 who's from Italy and she has her life and she, she seems to be quite content and happy with her husband and her two children. But then this photographer from National Geographic shows up and they have an incredible connection and the question is what decision she's going to make. So I think it's a beautiful musical. I've said it before and I've said it again. Every production I have seen since the original has struck me as more effective than the original Broadway production. Even, even this one. Although obviously in terms of technical, you know, sets and costumes and etc. There was no Comparison. But there was just something about that original production that didn't quite work. I always say, think it might have been the direction by Bartlett Sher, because I can't put my finger on it otherwise. There have been minor changes in the show since then, including, for example, this production did not include. I remember the Broadway show had a song at the beginning that was about the community of the Iowa community where they lived. And there were, you know, all these other. Other characters came on representing the townspeople. And that was a nice song, but it just seemed like unnecessary. And that was not in this. In this production. So that I think was a plus. Then there were some other little minor staging things and. And plot points that. That have been tweaked. I'm not sure if Marsha Norman, who wrote the book, I guess she did them or maybe she did them in collaboration with Jason Robert Brown. I honestly don't know. But as I said, every production I've seen since the original, I felt was more affecting, emotionally affecting for me, regardless of, you know, those. Some may have been better than others in terms of the orchestra or the. Or the. The singing or whatever. And so I'm glad. I'm really glad I went. And this one was very well directed by Gary Bradley, who I. Who I've worked with in the past and who's a friend of mine. It really was terrific. And you have another weekend to see runs through the 24th, so go side Players, Bridges of Madison County, Staten Island. If you, if you have a car or. Or if you think you want to venture out there, it can be done through. Through public transportation and a combination of that and Uber. I would highly recommend it.

[James Marino]

Okay, so we'll have a link to Ghost Light Players Facebook page where they have information on how to get tickets for Bridges Madison county for next week. This week we had a lot of red marquees throughout the theater district. Michael, did you notice those big red theater marquees that said no on it? Scolding? No.

[Michael Portantier]

Oh, is this about the casino?

[James Marino]

Yeah, the Times Square Casinos. All the marquees said no Times Square Casino. So it's interesting that able to get the theater owners who are notoriously like getting cats to march in a line, they are pushing back on this. No Times Square Casino. So what. What are your thoughts on this, Michael?

[Michael Portantier]

I actually didn't know that about the Marquis. That's wonderful. And it's a. It's a very controversial project. Equity amazingly, has come out in favor of it, which is. Is just. Just incredible to. To many people, what I say is in a nutshell. And there was a meeting on this that I, that I attended last week, a public meeting that was very, very, very, very contentious. And what I say is the, the idea of adding thousands more pedestrians to Times Square strikes me as an absolute accident waiting to happen. There are other proposed sites for this casino in other places in New York City. And I can't even imagine what these people are thinking and how they can't see how dangerous it would be if only in terms of the increase of, of foot traffic in Times Square. Whereas it is now, as some people have put it, you sometimes have to wait on line to cross the street. I mean, it's just. There's not enough room. And yes, I understand the point is to get people into the casino and keep them there for hours and hours, but they still have to get there. You know, they have to walk at least a little bit and, or drive into the area. And then the other thing is they're claiming, they're making all these interests, disingenuous claims about how it'll actually help the local businesses. They actually said this at the meeting. They said, well, we're going to have four restaurants, four restaurants in the casino. But, you know, they're not going to be able to handle the demand of our customers. So all of those extra people will go outside and go to other restaurants in the area to eat, eat, eat at. Now, does that sound reasonable to anyone with half a brain? You know, so I don't get it. But anyway, they. We will see what happens with this proposal. And if it winds up being in Times Square or not, interestingly, if it is in Times Square. The site, the proposed site is 1515 Broadway building in which I worked two different jobs two different times in my life. My first job there was my first job ever in 1979, believe it or not, there used to be US government offices in that building. And I worked for the Department of labor in 1515 Broadway on the 35th floor. I'll never forget it. And then years later, I worked there again because backstage, the publication, the casting paper that had their offices there. So that's just my background with the place. But the interesting thing there is if you go to 1515 Broadway now, it has a big sign over the edges that says Paramount. And it says Paramount. Not only does it say Paramount, it says it in exactly the font and the lettering of, you know, Paramount Pictures of old. If you see Sunset Boulevard, the movie, you'll see the same, you know, so. So as James pointed out when we discussed this, before we started recording Paramount today is certainly not what it used to be, but they're still going for that. And that's so confusing because the Paramount Theater in Times Square used to be located across the street at 1501 Broadway. The famous Paramount Theater where Frank Sinatra performed to thousands and thousands of screaming fans in the 40s and many other amazing acts played there. And then for a while after that closed. And I think the Hard Rock Cafe is there now, isn't that right? Yeah. But then for a few years, the theater at Madison Square Garden, there was an attempt to rebrand that as the Param Theater. And I think that lasted maybe a year or two before they stopped and realized that was ridiculous. But anyway, now Paramount, whatever that means, I guess owns 1515 Broadway. But it may or may not become a casino. Actually not too far in the future if people, if the people fighting it aren't successful. So we, we will see what happens. I, and if it does happen, we'll see if my prediction comes true that it's going to be. Turn out to be a horrendous mistake.

[James Marino]

All right, so the casino in Times Square certainly is going to be long talked about out before they ever do the first thing. Michael, I was walking down 8th Avenue last night and I saw that that big empty lot is finally under construction on 8th Avenue next to the Imperial.

[Michael Portantier]

Yes.

[James Marino]

Yeah, yeah. So they're, they're starting to put the steel structure up. So that looks like that. That's. We've talked about that in the last year or so about the development there.

[Michael Portantier]

So they finally started building a few months ago. Yeah, this is the, the infamous spot where all those years ago, all those businesses were thrown out, including Sam's and Barrymore's, the two restaurants, because at the time the Schuberts were going to build a, or have an interest in building a, a tower there that was going to include a new Broadway theater. And then that all went south with. I think it was actually, that was well before the pandemic. It was, I think it was one of the economic downturns. Was it 9, 11 or. I don't remember. That all went south, but now something else is happening there. And, but it was so belated. That huge space sat empty for years and years and years and all of those businesses could have still been thriving indeed since then. So that was really very unfortunate. And now we'll see what we get. They're having to build it around. There was some holdouts on 8th Avenue. The, the, the, the restaurant there. There again, I forget the Name of it, the Irish restaurant and the. They. They have to do some creative building around.

[James Marino]

Oh, yeah, yeah, yeah. MCAN's or it's not MCAN.

[Michael Portantier]

Yeah, that. You know which one I mean.

[James Marino]

Yeah, yeah, yeah, I know.

[Peter Fish]

Similarly speaking, it's amazing to me, the Triton Gallery, which used to be across the street from what's now the L. Hirschfeld Theater, I don't think has ever been rented. And that's been about 15 or 20 years that. That was forced out because of rent. And what good does it do with an empty space?

[Michael Portantier]

I know. That was. That was a shame. I think it was some kind of an. Some kind of an employment thing for a while, but now it doesn't seem to be anything. It seems to be completely empty.

[Peter Fish]

Huh. I don't recall it ever being rented, but I. But I'm sure you're right. But wow. I mean, all this time, so ridiculous. And it was such a nice showcase for Broadway, you know, having all those posters in the window. I mean, it was just great.

[Michael Portantier]

So, yeah, it's really. It's just greed. It's absolutely sad and infuriating.

[Peter Fish]

Yeah.

[Michael Portantier]

So many examples of that.

[James Marino]

You're talking about the Playwrights. The Pub.

[Michael Portantier]

Oh, Playwrights. Yes. That is the name of.

[James Marino]

Yeah, yeah, yeah, that's the name.

[Michael Portantier]

Thank you. Yes.

[James Marino]

Yeah, yeah, that's still good news for Google Maps.

[Michael Portantier]

They're hanging on. It'd be fun if they stay.

[James Marino]

And yeah, it looks like they're building around them. So, you know, long live Playwrights.

[Michael Portantier]

And that's a really nice place. Have you all been there?

[Peter Fish]

Sure.

[James Marino]

Long time ago. I haven't been there recently.

[Michael Portantier]

It's one of those Irish pubs that have, like, I think, like three floors, and then they. They even have a roof deck where they serve food. Yeah.

[James Marino]

You know, that brings up a good point, a point of personal privilege here, if you are somebody who gets into Manhattan and has recommendations for restaurants in the theater district area. I'm just bored with the places I go to. Over and over and over again. I'm looking for new places. So if you have a recommendation for restaurants, email me jamesroad riverradio.com Let me know what you recommend for restaurants. Send it to me in an email so that I can line up all of our dinner plans for the fall season when we have a million shows opening in, you know, September, October, November.

[Michael Portantier]

So there are a couple of new places on restaurant row. One is really wonderful. It's called Sicily. And then. Which, as you may guess, is mostly Italian food. And then this one called Pulperia, Spanish Food, which moved, I think from 9th Avenue and just reopened there. So there are changes on that block alone. You might want to check those out.

[James Marino]

Thank you. Excellent. I definitely will put them on the list.

[Peter Fish]

Yep.

[James Marino]

All right. And 350 miles south of Broadway, we have the Kennedy center, where so much tragedy is happening. They should have a, they should have a three year tragedy fest. You know, Michael, tell us for those who have not heard what's happening at the Kennedy Center.

[Michael Portantier]

As you say, one horrible thing after another since Trump took it over. And that's the only word for it. He took it over. But the latest bit of bad news is that the senior VP of artistic programming is stepping down. James Finn, is that it? Correct.

[James Marino]

Jeffrey Finn.

[Michael Portantier]

Jeffrey Finn. Jeffrey Finn. He had been holding on there. And as James also said before we started recording, he was surprised that, that he lasted this long. And, and I guess I was too. But I think maybe he was, you know, maybe he thought he could try to stay there and fight the good fight and keep some good stuff happening there and then decided that it was just going to be a losing battle. So I'm going to be in D.C. this week to see, not at the Kennedy center, but to see play on at the Signature. And it's also, I mean, Aside from everything, D.C. is becoming a police state, you know, with the National Guard. Has that actually happened yet?

[James Marino]

I was in DC On Wednesday. I was in DC On Wednesday. And it's very funny because the, the DC insiders are like, they put all the National Guard and things like that in areas that don't have a lot of crime. They're very touristy areas and very, a very publicly trafficked, high visibility areas where there's media and in the areas where in D.C. where there's a lot of crime, there's still no help from the federal government there. So very.

[Michael Portantier]

It's all for show.

[James Marino]

Yeah, it's all for show. It, you know, it's. Life is a great big stage. All the world's a stage. What's the Shakespeare?

[Michael Portantier]

Yeah.

[James Marino]

Yeah.

[Michael Portantier]

Well, that's one of his many. And then of course, the Kennedy Senate, not even to get into it, but the announcement of the Kennedy center honorees just really set a lot of people into a tailspin. So.

[Peter Fish]

However, yes. Given the fact that Trump is going to actually emcee the ceremony.

[Michael Portantier]

Yes.

[Peter Fish]

On national TV and there has been talk about his cognitive situation. Let's see what's going to happen on that TV show that night. I wonder if they'll tape it in advance. To make sure. And edit it to make sure that there's no problem. But this could really be something. I was talking earlier about the Vietnam War being tremendously influenced by what people were seeing on tv. Will they make assumptions about Trump based on his performance that night?

[Michael Portantier]

Well, that's a good point. Although I believe that. That that broadcast is never live.

[James Marino]

Yeah, I was just gonna say I've never. I don't recall it ever being live. It's always heavily edited.

[Peter Fish]

I didn't know that.

[James Marino]

No. Yeah.

[Michael Portantier]

For those who are there. Yes. Well, it'll. Yeah, I mean, that's a good point.

[Peter Fish]

Yeah.

[James Marino]

Well, you know, those videos will escape. You know, people will have their cameras, you know, at the Kennedy center during it.

[Michael Portantier]

But on the other hand, isn't there more than enough evidence of the cognitive degeneration?

[Peter Fish]

Yeah, that is too bad it's not live, because that would really could be punch.

[James Marino]

Well, you know that it was like Nixon sweating at the debate and the Kennedy debate. You know, those who heard it on.

[Peter Fish]

Radio thought that Nixon had won.

[James Marino]

Yeah. Yeah. Okay, so was that. I thought I had something else to mention. Jeff. Fin Casino. I think we're all set. All right, so before we get on to our brain teasing our musical moments, I want to remind everybody that you can subscribe to these broadcasts by going to the front page of broadwayradio.com there's a subscribe link. That way each and every time we have an 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 Podcasts. There's many ways to get us. One way is Patreon. P-A-T-R-E-O-N.com BroadwayRadio. If you sign up and join us at Patreon, you can get Broadway radio a little bit earlier than everybody else, as well as get a bunch of bonus episodes that Matt and. Matt and Grace are putting out and others are putting out. Jan is putting out. Lauren Klash, Schneider. We have a lot of stuff coming down the pipe, especially in the fall. 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. And also give me a restaurant recommendation. So, Peter, do you have an answer to last week's Brain teaser?

[Peter Fish]

Believe it or not, I do. An Oscar winning movie mentioned a Tony winning musical. But when that Oscar winning movie was made into a Tony losing musical, it dropped the reference. To the Tony winning musical. I'm talking about The Apartment, the 1960 Oscar winning film which had Chuck Baxter offering Fran Kubelik a seat to the music man. Again, when Neil Simon was writing Promises, Promises, its musical version instead, he had him holding an extra ticket to a Knicks game. And aren't we glad he did for that inspired Burt Bacharach and Hal David to write what may be the most swinging waltz in Broadway history. She likes basketball. Okay, this week's question, a biography of Rogers at Hammerstein has a title, some Enchanted Evening, which references one of the most famous songs from one of their Tony winning musicals. The title of a Charles Strauss memoir is put on a happy Face, citing one of his famous songs from one of his Tony winning musicals. However, the title of a book about the collaboration between two Tony winning songwriters uses as its title a song they wrote for a show that not only failed to win a Tony but also never even played Broadway. What's the song that's also the name of the book. And who are the songwriters?

[James Marino]

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

[Michael Portantier]

Well, as I think we may have mentioned earlier, the car current Broadway production of Gypsy will no longer be current after today because today is the closing day and it was a highly controversial production with I would say, a highly controversial performance by Audra McDonald. And it prompted me to, among other things, to go back and listen to previous performances by Audra. And there was one thing in particular that struck me because as I'm sure I've said in the past, I, I thought that her performance of Rose's turn in this production, although some people seem to think it's one of the greatest things they have ever seen. Yep. And that wasn't even intentional.

[Peter Fish]

Yeah, go on. I apologize.

[Michael Portantier]

No, that. No, no, it's very welcome. Yeah. And in, in the eyes of certain people, it is one of the greatest things I've ever seen on Broadway where I whereas was actually embarrassing because it felt so completely out of control to me. And that goes for when I saw the live performance of the whole show, Gypsy. But even more so for the performance that was documented for all time on the Tony awards telecast. And I have to say, I guess it's not not only Audra who fell into that trap. What I see as that trap audiences, some audiences really seem to love that kind of complete, complete meltdown kind of performance that I despise. Another example of it is the. This current production of Cabaret, which I only saw the original cast and, and I couldn't believe what a breakdown the title song was as performed by Gail Rankin. So Audre is certainly not the only performer who is guilty, I would use the word guilty of it, who has felt fallen prey to it. I think audiences are, you know, are partly responsible for supporting that kind of thing that I. That I dislike so intensely. And. But I guess that's what makes the world go round. I. I mean, I will continue to. To really hate it and other people will continue to love it. But my point is, after all that, that I remembered that one of Audra's previous roles was Lizzie in 110 in the shade. And I thought to myself, well, that show also has a song where the performer, the leading performer, has a big emotional crisis. And I went back and listened to the performance of Old Maid from the original cast album. And absolutely, I would say that Audra communicates all of the characters anguish and confusion and fear and sorrow, but she does it you while still singing the song rather than screaming it and shouting it, which is what she wound up doing with Rose's turn in Gypsy. So I just wanted to make that point that it is possible to really show a character in emotional and mental crisis with. Without completely losing control as a performer on stage. So with that in mind, our opener for today was a section of old maid from 110 in the shade by Tom Jones and Harvey Schmidt, as performed by Audra McDonald in the revival production, which was a Roundabout Theater production on Broadway. And the closer is from again from the cast album, Rose's Turn from Gypsy. So please listen to them both and see if you agree with me or not.

[James Marino]

All right, so on behalf of Michael Portentier and Peter Felicia, this is James Marino saying thanks so much for listening to Broadway radios this week on Broadway. Bye. Bye.

[Michael Portantier]

Bye.

[Poet or Performer]

Well, someone tell me what is it my time Don't I get a dream for myself? Starting now it's gotta be my turn Gateway World get off of my Runway Starting now I part a thousand of this time Boys, I'm taking Everything's a coming up for us Everything's a coming up for us Everything coming up for us this time for real, for real, for real for me, for me.