This Week on Broadway for August 24, 2025: Twelfth Night @ Delacorte Theater

Summary

BroadwayRadio – This Week on Broadway for August 24, 2025:

Twelfth Night @ Delacorte Theater

Episode Overview

In this episode, BroadwayRadio’s James Marino and Peter Filicia (with Michael Portantier on vacation) cover recent Broadway and Off-Broadway events, reviews of “Twelfth Night” in Central Park, “Take a Banana for the Ride” by Jeff Ross, “Alan Turing and the Queen of the Night,” and updates on “Mamma Mia.” They conclude by reflecting on the life and career of Jerry Adler. The tone is conversational, insightful, and full of theater anecdotes, with deep dives into both current productions and Broadway history.

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Highlights & Main Discussion Points

1. Day-by-Day Show Tune Calendar & Notable Birthdays

• Peter’s New Calendar: Peter shares the process of selecting songs and events, including personal milestones like the installation of a Broadway marquee.
  • [02:29] Peter Filicia: “For August 24 [the calendar date], I talked about the day that a marquee was installed on a Broadway theater... for Once on this Island back in 1990. So the song for today is ‘We Dance’... you never forget your first time.”
• Leroy Reams’ Birthday: Anecdotes about Reams’ Broadway legacy and Bob Fosse’s generosity.
  • [04:03] Peter Filicia: “He certainly deserves it... always glad to have him again... He left for Vegas and Fosse said, ‘Look, if I were you, I’d go too...’ He proved it some years later by hiring him for the Sweet Charity movie.”

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2. Review: Twelfth Night @ The Delacorte Theater

[05:07–13:41]

Atmosphere & Opening Night Mishaps

• Weather challenges: Unexpected heavy rain led to an incomplete first attempt at seeing the show. The cast entertained the audience with singing when show was canceled mid-delay.
  • [05:07] Peter Filicia: “Kaboom. Whoa. Did it start pouring!... The cast came out and said, ‘We really can’t go on... the stage was so slicky wet they would have killed themselves...’”

Artistic Choices

• Broad comedic style: The show embraced farce and spectacle.
  • “A perfect summer show... It was very farcical, very broad.”
• Peter Dinklage as Malvolio: Mixed feelings about his casting choice in relation to physical comedy and audience empathy.
  • [06:16] Peter Filicia: “Peter Dinklage did what he could... part of the thing is that Malvolio is rather a stick... considering the fact that Peter Dinklage is a little person, it really seemed like they were picking on him. I thought that was non traditional casting that didn’t work...”

Casting Twins Effectively

• Viola and Sebastian: Lupita and Junior Nyong’o as siblings, not twins, made mistaken identity more convincing.
  • “This was the most successful Twelfth Night of the 22 productions I’ve seen that did the twin thing the best.”

Performance & Design Shoutouts

• Cast praise: John Ellison Conlee (Sir Toby Belch), Jesse Tyler Ferguson (Sir Andrew Aguecheek), Sandra Oh (Olivia), Daphne Rubin-Vega (Maria); lighting by Bradley King; new score/orchestrations by Michael Thurber.

  • “John Ellison Conlee is Sir Toby Belch... Jesse Tyler Ferguson... Sandra Oh... Daphne Robin Vega sensational... Beautiful lighting beyond belief.”
  • “Michael Thurber... composed and wrote his own orchestrations... six songs here and very, very, very, very nicely done.”

• [12:14] Peter Filicia: “Give a shout out to an actor simply known as ‘b’ playing Antonio... some performers really grasp realism…very, very effective.”

Other Insights

• Production notes: Some plot points truncated; addressed practical concerns of Delacorte’s new seating.
• Raccoon/animal urban legends: No raccoons spotted during Peter’s visit, but entertaining animal anecdotes shared.

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3. Review: Jeff Ross’s Take a Banana for the Ride

[14:50–21:28]

General Impressions

• Both hosts unfamiliar with Ross; critique his ‘roast’ style as less appealing compared to universal humor (à la George Carlin).

  • [15:49] Peter Filicia: “He’s very famous for enjoying roasting people... not my type of humor at all.”

• Audience interaction: Potential for being singled out if in the front row, but all in “the spirit of the show.”

  • “Prepare to be insulted... don’t take it personally.”

Personal Content Overload

• The show’s focus on family and pets likened to “looking at someone’s home movies... and when you don’t know the people involved, you’re just not that interested.”
  • [16:59] James Marino: “Until you just said [family movies], I was like, that’s the metaphor I was looking for.”

Commercial Prospects

• Poor sales mentioned; speculated that Broadway run is just a stepping-stone to a streaming production.

  • “If you’re the type of person who likes shock-jock type humor, I think you’ll have a good time… I don’t know how long he’s going to be there…”

• The Banana Gimmick: Bananas handed out at the end as a running joke; hit-and-miss in actual execution.

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4. Review: Alan Turing and the Queen of the Night @ Players Theater

[21:42–26:10]

Show Background & Content

• Musical about Alan Turing’s life and struggles, focusing more on his early love and emotional trauma than on his codebreaking.
  • “The way he was treated… was enough to drive him to suicide at the mere age of 41. This is a very serious life. This is a musical. I didn’t know that going in.”

Musical & Casting Notes

• Eclectic musical style, “embraces a lot of forms, even going to Gilbert & Sullivan.”
  • “Lyrics are very good... full of character...”
• Strong lead performance from Malcolm Holmes as Turing.
  • [26:05] Peter Filicia: “Malcolm Holmes played Alan Turing. He’s terrific. Yeah, he’s terrific.”

Criticisms

• Lack of dramatic emphasis on Turing’s codebreaking achievements; focus on his inability to move past grief.
• Confusing “Queen of the Night” device.

Staging & Playbill Gripe

• No printed playbill; all-digital via QR code.

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5. Review & Discussion: Mamma Mia! Current Run

[26:51–35:06]

Comedic Portrayal of Middle-aged Characters

• Peter notes that much of the humor comes from “middle-aged people making fools of themselves trying to act young.”
  • [26:51] Peter Filicia: “An inordinate part of the show… showed people in middle age sort of making fools of themselves…”

Music and Its Lasting Power

• Both agree the ABBA score is infectious and lasting.
  • “The music has stayed with me... I’m amazed that so many days later I’m still hearing that song…”
• Acknowledgement of talented cast regardless of opinions on the book.

Story Origins and Adaptations

• James discusses the show’s debt to films and musicals like Buona Sera, Mrs. Campbell and Carmelina, noting they handle the mistaken paternity theme more elegantly.

On DNA Plot Holes

• They poke fun at the lack of DNA-related plot elements, considering the musical’s contemporary timeline.

Cast Talent

• [33:09] James Marino: “This is an amazingly talented cast… the whole is less than the sum of its parts.”
• Comments on the cast’s “astounding talent... some of the best-looking people I have ever seen... it’s enjoyable, it’s a fun evening.”

Show’s Future

• Both doubt the announced closing date; packed houses imply likely extension.

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6. In Memoriam: Jerry Adler (1929–2025)

[35:06–54:17]

Industry Titan

• Peter and James reflect in detail on Adler’s prolific career spanning stage management, production supervision, performing, and more, referencing dozens of credits.

Memorable Quotes & Anecdotes

• On Drat the Cat! and its untimely closing, Barbra Streisand’s support (via “He Touched Me”), and the heartbreak of a promising show folding due to lack of funds.

  • [36:35] Peter Filicia: “So painful for Jerry Adler because he was a co-producer... we just couldn’t raise any more money.”

• Funny and moving backstage stories, including:

  • Original My Fair Lady opening night jitters.
  • Working with difficult personalities like Orson Welles.
  • The impact of world events on musicals (The Girl Who Came to Supper after JFK’s assassination).
  • The little-known backstories of shows and their relationships to later successes.

• On plays like Taller Than a Dwarf:

  • “Do you know that this was actually a rewrite of a play Elaine May had written many, many moons earlier?”
  • Matter of Position closed in Philadelphia in 1962, resurfaced as Taller Than a Dwarf in 2000.

Adler’s Legacy

• Lament for a lost era, but admiration for his lasting impact.
  • “Here’s a guy who performed, who directed, who was production supervisor, who was a stage manager and his career lasted from 1951... to 2015 when he was a performer in Fish in the Dark... he could die a very happy man for all that he accomplished.”

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Notable Quotes & Timestamps

• Twelfth Night: “The audience was adoring it and I’m glad that they did. You really can’t fault the performances at all.” – Peter Filicia, [08:13]
• Nontraditional casting on Broadway: “I thought that was non traditional casting that didn’t work...” – Peter Filicia, [06:55]
• Take a Banana for the Ride: “I was really quite bored by all that [family stories]... It’s sort of like looking at somebody’s home movies.” – Peter, [16:38]
• Alan Turing Musical: “Seemed to me that there wasn’t enough put on the emphasis that he broke the code... you would think that would be an enormous production number.” – Peter, [24:24]
• Mamma Mia!: “It’s amazing to me how when I’m walking down the street, suddenly one of those songs will invade my head.” – Peter, [28:25]
• Jerry Adler: “He touched all different parts of the industry in so many different ways... An amazing and amazing life.” – James, [54:19]

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Segment Timestamps (MM:SS)

• 01:48 – Welcome, introductions, calendar segment
• 05:04 – Twelfth Night @ Delacorte Theater review
• 13:41 – Wildlife at the Delacorte & theater anecdotes
• 14:50 – Take a Banana for the Ride (Jeff Ross) review
• 21:42 – Alan Turing and the Queen of the Night review
• 26:51 – Mamma Mia! review and discussion
• 35:06 – Jerry Adler tribute and career discussion
• 54:17 – Closing segment (brain teaser, wrap-up)

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Tone & Language

Throughout, the hosts maintain a conversational, anecdotal style, mixing theater critique with wry humor and deep knowledge of Broadway history. Their language is passionate, personal, and often nostalgic, inviting listeners into a comfortable, well-informed theater chat.

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For Further Exploration

• Twelfth Night at the Delacorte
• Take a Banana for the Ride tickets
• Alan Turing and the Queen of the Night info
• Mamma Mia! tickets
• Jerry Adler obituaries & IBDB/IMDb
• Subscribe to Broadway Radio

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Conclusion

This episode is a celebration of current shows, critical perspectives on humor and adaptation, and a heartfelt remembrance of Broadway’s past through the life of Jerry Adler. Theatergoers of all stripes will find insight and entertainment in this detailed review of NYC’s bustling theatrical scene.

Transcript

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[Peter Filicia]

I simply have to face the fact.

[Barbra Streisand (singing)]

He touched me Control myself and tried to act as if I remember my.

[Peter Filicia]

Name.

[Barbra Streisand (singing)]

Cause he touched he touched me and suddenly nothing is the same yes, he touched me he touched me I Nothing, nothing, nothing is the same.

[James Marino]

Hello and welcome to Broadway Radios this week on Broadway for Sunday, August 24, 2025. My name is James Marino, and in the broadcast today we have Peter Felicia. Michael is on vacation this week up in P town and he will be back next week, so never you fear. 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 also has columns at Masterworks Broadway, Broadway select, in many other places. Hello, Peter.

[Peter Filicia]

Hi, Peter.

[James Marino]

What is the show tune for Today?

[Peter Filicia]

Well, you know, so many of the dates that I chose were opening dates of shows or birthdays or even the day the reviews came out. But this is a very different one because what I did for August 24 was talk about the day that a marquee was installed on a Broadway theater. And that was for Once on this island back in 1990. So the song for today is We Dance, the opening song of Once on this island. Because I don't think it's impossible that when Lynn Ahrens and Steve Flaherty went to the Booth Theater and saw the marquee up, they did a little dance of joy to see their first Broadway marquee. There would be many others and we were hoping there's going to be many more still. But nevertheless, this was the first one. And you never forget your first time.

[James Marino]

That is wonderful. We don't often look back to yesterday. We can never go back to before.

[Peter Filicia]

That song's a real achievement. I mean, really, it's one of the best. Yeah, it really is. I mean, it's such a smart idea and boy, Marin Mazzie really delivered it well. So, yeah, it's a highlight for me. It really is.

[James Marino]

And coming up again soon yeah, at Lincoln Center.

[Peter Filicia]

That's right. Yeah.

[James Marino]

So I bring up we can never go back to before because yesterday was Leroy Reams birthday. Yes, indeed. And he holds a page on your calendar, doesn't he?

[Peter Filicia]

He certainly does and certainly deserves it. He was with 42nd street for a long, long time. He would come, he would go, he would come back, and they were always glad to have him again. Lee Freud was also in the original cast of Sweet Charity and yet left after not many more than days after the opening because he got a much better job in Las Vegas that paid more. And Bob Fosse said, look, if I were you, I'd go, too. I'm not the least bit angry with you. And he proved it some years later by hiring him for the Sweet Charity movie. I mean, you know, that wasn't a case of, that guy will never work for me again. So that really did show how much admiration Bob Fosse had for Leroy Reams.

[James Marino]

Okay, so let's move directly into our review section, where you spent, hopefully, a beautiful and clear evening in Central Park.

[Peter Filicia]

Is.

[James Marino]

Is that true?

[Peter Filicia]

I was there.

[James Marino]

What was it like?

[Peter Filicia]

Well, I was there Wednesday night, and as I got there, it was drizzling, you know, and. And nobody was really concerned. I mean, the place was pretty full, even though rain had been predicted. And again, drizzling little drops here and there. Nothing severe, you know, so. So we all sat down and kaboom. Whoa. Did it start boring? And yet we all sat there in hopes that it would stop. Because sometimes, you know, when you really have tremendous rainstorms, they don't last long. So that's what we were hoping for. But literally 45 minutes later, we sat there. During that period of time, the cast came. Much of the cast came out and said, look, you know, we feel terrible about this, but we really can't go on. And they really couldn't, because, I mean, it's one thing to sit there, but that stage was so slicky wet, you know, that they would have killed themselves on it. And what they did do was do a little bit of entertainment. They sang a few songs before everybody went home. So they gave us something. So that was indeed Wednesday night. So I went on Friday night. And I have to say that it's a perfect summer show. They really did address the issues of having a good time. And it was very farcical, very broad. But truth to tell, I've never been a fan of Twelfth Night, and I don't find it so hilarious that a guy comes out dressed in garters and yellow stocking that I, I don't see that as particularly funny. Peter Dinklage did what he could with it. And I hope this isn't politically correct to say this, but I'm going to go out on a limb on this. But you know, part of the thing is that in Twelfth Night, Malvolio is rather a stick. You know, he's, he's, he's very officious and an efficient and all this. And they play a trick on him and they make him believe that there's a woman who is very much in love with him. And he responds tremendously. But, you know, considering the fact that Peter Dinklage is a little person, it really seemed like they were really picking on him. And I thought that was non traditional casting that didn't work for a very different way that non traditional casting often doesn't work. For example, in the Notebook, when indeed we had three different sets of characters, old, middle and young. And it was hard to tell who was who because of the non traditional casting. Some were black, some were white, and not necessarily in a logical fashion. So, so, but anyway, very, very broad, no question about it. And that the audience was adoring it and I'm very glad that they did. You really can't default the performances at all. I mean, this obviously was the choice of to Sahih Ali. And again, you know, the public is never wrong, it's often said, and they certainly responded tremendously. One of the nice things about it is we're dealing with twins, fraternal twins. Viola and Sebastian are involved in a shipwreck. They get separated and as a result each thinks the other has died. Every reason to believe so is the terrible shipwreck. But you know, usually with mistaken identity things, we really have to suspend our disbelief because the two characters really don't look much like each other. Well, they certainly solved it in this production because Lupita Nuongo and Junior Nuongo, who are brother and sisters, they're not twins, but they're brothers and sisters. So as a result, they did resemble enough, enough that this was the most successful Twelfth night of the 22 productions I've seen that that did the twin thing the best. So that was very effective. Of course, you can't get away with the fact that they dress the same. And how did that happen? You know, it's not that they took their clothes off the ship or anything like that, but they dress the same. And you know, some years ago, Nikki Silva did a version of the Boys from Syracuse and he addressed this issue beautifully. Now that production was raked over the coals, no question about that. But the one thing he did right was have his twins go to a haberdashery and say I want some new clothes and purse said, well, here's what everybody's wearing this year. And so as a result, you know, they dress the same. So no such thing happened in this Twelfth Night and there wasn't a place for it. But nevertheless, I want to applaud Nikki Silver for coming up with that very good idea. Anyway, you know, it's a very truncated Twelfth Night. It's 110 minutes, no intubition. And a lot of things were deleted, including the meticulous writing of the letter in which Malvolio will think that he's the object of her affection. But no, no, that was really glossed over, which was really surprising. But. But nevertheless, I have to really say that John Ellison Conley is Sir Toby Belch Sometimes Shakespeare wasn't terribly subtle, no question about it. And Jesse Tyler Ferguson, both very, very funny as he was Andrew AGU cheek Very, very funny. So that was good. Sandra O was a lovely Olivia, just lovely. And really had the patrician values. Daphne Ruben Vega sensational is Maria who really puts that Malvolio plot in motion. So. So really quite, quite accomplished. Beautiful lighting beyond belief. Just Bradley King, who's one of our most valuable lighting designers, certainly came through here. But I also want to give a shout out to Michael Thurber who composed and wrote his own orchestrations and was the musical director. There were. I remember Barry Kleinbort, who's a big shot in cabaret, the world of cabaret, said sometimes I think Twelfth Night was the first musical because it has six songs in it and certainly we had six songs here and very, very, very, very nicely done. And I was tremendously imp with. With the music that really was. Both had a contemporary nod and yet wasn't out of period either. And that's a very hard thing to do but very, very effective. So I like that. Amazingly. Oh, let me give a shout out to. To an actor simply known as B lowercase B playing Antonio I. I don't think I've ever seen this performer before but boy, there are some performance who really grasp realism in the best sense of the word that they don't seem to be acting for a tenth of a second. That they really are people, genuine people. And this actor was very, very effective in doing that. So it's a hot ticket. It only runs till September 14. It's the only Delacorte show we're getting this year, they spent millions of renovations and most of it went to the seats, their new seats. Of course you don't expect plush seats because of course there's rain that comes down, as I can attest. And so they have to be plastic seats. And Linda brought a cushion with her and which wasn't a bad idea. Also there was a tall person ahead of her in front of her. So as a result she was able to see better because of that cushion. Wouldn't it be nice if there were like a sports stadiums retractable roof?

[James Marino]

I was just going to say.

[Peter Filicia]

Were you? Yeah, yeah, that would be nice. And. But that's not where the millions were spent and I understand the dressing rooms are substantially better too. So that's nice for the actors. So. So a popular hit this Twelfth Night.

[James Marino]

Any, any spotting of the raccoons? Are they back?

[Peter Filicia]

No, not a one. No. I know that more than one reviewer has mentioned the raccoon that was there on opening night, but no, no, they were very shy that night. I remember one time a cat came on the stage in the middle of a show and it was so amazing. The cat came on, just stop and froze. Say, wait a minute, I come here every time and this. What's going on here? I mean it's really. What. Paul was literally poised in the air. The cat just didn't put it up. Something's wrong here. I. So I've never seen a raccoon, but that's, that's it. A cat. That's the best I can do.

[James Marino]

So you saw cats at the Delacorte?

[Peter Filicia]

That's right.

[James Marino]

Okay.

[Peter Filicia]

That's right, yeah.

[James Marino]

All right. So as you mentioned, this is playing at the Delacourt through September 13th and we'll have a link to that in the show notes. A couple of weeks ago, Peter and I both saw Take a Banana for the, for the Ride, Jeff Ross's new one person show at the Nederlander. So Peter, tell, tell us about this.

[Peter Filicia]

I'd never heard of this guy before and most of the people I talked to never had either. There are some clips at the beginning of the show that shows that he's been on TV here, there and everywhere. And he's very famous for enjoying roasting people. So that's not my type of humor at all. And so as a result, I didn't respond to any of that. He also roasts a few arbitrary people in the audience. In fact, ironically enough, Linda wanted to leave after about 95 seconds and she said, I don't Dare to, because I know he's going to make a big deal of it when I go up the aisle. So he does interact with the crowd. So if you're in the first row, prepare to be insulted. And of course, don't take it personally. He's just choosing arbitrary people to unleash a joke that he has in his repertoire that he's used a million times. But anyway, you know, I came away thinking about George Carlin, a comedian I really, really admired who really made a career out of perceptions that are truly, truly universal. And for example, just one out of literally hundreds, you know, did you ever burp and taste a hot dog that you had eaten three days earlier? And we've all had that experience. I mean, so that's the type of thing George Carlin did. What Jeff Ross does more than anything else is tell us about his family, his eccentric family. And frankly, I didn't find it terribly interesting to hear about his mother's quirks and his father's quirks and their difficulties here and there. So I was really quite bored by all that. I'm also wondering how this guy got to Broadway. I mean, obviously people believe in him, but as I say, people I know just don't know who he is. And I do understand that he is not selling well. Somebody posted on all that chat that his average ticket price was astonishingly low. And so I don't. I don't know how long he's going to be there. I can't imagine it's going to be for any length of time. But if you're the type of person who likes shock jock type humor, I think you'll have a good time. But I think it's one of those shows. I was paying attention to this with. The laughter drifted off little by little by little by little as he started talking about his family. He even talks about his pets and we see pictures of his pets. So in a way, it's sort of like looking at somebody's home movies. And when you don't know the people involved, you're just not that interested. So that was my take on. Oh, you do get a banana at the end of the show. Not in the lobby. You have to go outside to get it. But the banana was good.

[James Marino]

So funny you say that because I had heard about the banana thing at the end of the show. We didn't get one at ours. Maybe they ran short on banana.

[Peter Filicia]

So did you pay attention outside? Because that's where it was on.

[James Marino]

Yeah, no, 21st Street.

[Peter Filicia]

No. Okay. Yeah. And it took they're not grossing well, so maybe they drop the banana free thing. Could be.

[James Marino]

So I think that's a really apt point you bring up about watching a old family movie with people you don't know. Because I think until you just said that, I was like, ah, that's the metaphor I was looking for.

[Peter Filicia]

So.

[James Marino]

Yeah. And it's interesting because I've talked to a lot of people about this and people who are comedy insiders think it's the sun and the moon, the stars and the moon. Well, the sun is a star, you know, and people. But actually I spoke to some Jeff Ross fans and the fans were like, they came for what he is known for, which is this insult comic part. And. And so it was like. It was like folks did. I. I think they missed the expectations game. I didn't know. I didn't know what to expect going in to see Jeff Ross. I. I really didn't know who he was.

[Peter Filicia]

Sure.

[James Marino]

And then after watching the. The clips at the top of the show, I'm like, oh, I've seen him on the periphery and I'm not really a comedy guy. I don't go to comedy shows and things like that. But I have seen him before here and there. And it's somewhat of an interesting life. But, you know, you go to a Broadway show and you spend hundreds and hundreds of dollars to go see it and you hear about all these people dying and, you know, it definitely wasn't a toe tapper.

[Peter Filicia]

No.

[James Marino]

So it's only running through September 28th. I think that we will probably see this show up somewhere on a streaming service. I think that that is probably what they're.

[Peter Filicia]

Yeah.

[James Marino]

They're shooting for. And it's. And it's, you know, direct from Broadway is always a selling point.

[Peter Filicia]

It sure is successful.

[James Marino]

You know, Jeff's triumphant run on Broadway.

[Peter Filicia]

Absolutely true.

[James Marino]

So it might be that Broadway was not the end goal here. It could be.

[Peter Filicia]

Sure.

[James Marino]

You know, you know, came to Broadway as part of a larger plan. And, you know, they have two musicians on stage plus a camera person that got billing in the program. You ever seen a camera person get billing in a program? And so, you know, Jeff Ross, I think, take a bit out for the ride.

[Peter Filicia]

Yeah, I think you're right. That's exactly what they must be going for because, you know, I have seen Direct from Broadway for shows that really lasted like four performances, so. So, yeah, it still packs a wallop with a lot of people. So.

[James Marino]

Yeah.

[Peter Filicia]

Good, good. You know.

[James Marino]

All right, so you, moving on, Saw Alan Turing and the Queen of the Night over at the Players Theater. So tell us about this.

[Peter Filicia]

Well, we all learned about Alan Turing from Breaking the Code when it played on Broadway and indeed got either a movie or a TV special, I don't know which. I think it was a tv, I think, was videotaped rather than filmed. But Alan Turing, of course, was somebody who did break the code that the Nazis had and was tremendously respected for that. But what he was not respected for, needless to say, was the fact that he was gay. And we're Talking about the 40s, obviously, and that was not a good time to be gay. And as a result, it. The way he was treated, the way he was mistreated, the way the law treated him, was enough to drive him to suicide at the mere age of 41. And really, what. This is really something, when you think about it, that such a brilliant mind had to be lost because of that situation. So this is a very serious life. This is a musical. I didn't know that going in. I didn't expect that. I didn't know that. And the music is all over the place. It's. It really embraces a lot of forms, even going to Gilbert and Sullivan. So it's very ambitious. So I think that's pretty good. The lyrics are very good, too. Very good indeed, in the sense that, you know what I always complain about rhymes. No, they're very good, so. And they're full of characters, so I thought that was good, too. Ironically enough, though, it seemed to me that there wasn't enough put on the emphasis that he broke the code. It seemed to be glossed over, and you would think that that would be an enormous production number, at least a solo number of I Can't Believe that I Did this, But I Did, or something like that. So I was very surprised that that wasn't stressed. What was really stressed here was the fact that when he was young, he fell in love with a guy who died early and he never got over it. And frankly, I hate to come down on Next to normal here, but one of the things that bothered me in Next to Normal was the fact that the mother never got over the loss of the child when she had another child. Usually my experience with people is that people have lost a child, are so glad to have that new child, that that really helps amazingly. And I'm more interested in people who get over things, rather people who just can't get over things. It is important, I think, in life to move on. And as a result, the fact that he was just so in this show was so obsessed with losing this guy. His first love was really the focus of the show more than anything else. The Queen of the Night thing was a very strange thing. It was his imaginary person. He did become friendly with his boyfriend's mother and that turned into the Queen of the Night business, which was confusing to me. I may have missed the point, but anyway, a very strange show. Sometimes very effective, sometimes not. The actor playing Alan Turing was very good, a young man, and I guess he'd have to be young if he died at 41. Right? So very, very good. A lot of the cast was hit or miss. There was a very strange three person chorus that came out at the beginning and it really thought, oh God, this is going to be so bad. And it wasn't. But they, they came out with masks and did a number that didn't get it off to a good start. So if you go, don't get flummoxed by the fact that these three people are coming out to greet you. And, and, and it's, it's quite a, a bad beginning. So. But if you stay, I think you're going to see a very, very good performance by the actor played Alan Turing. Why aren't I mentioning him? Because they don't have playbills and I haven't had the time to do the QR code. But if you have the time to do it, by all means find out his name because I think he's going to be Malcolm Holmes. Thank you.

[James Marino]

Malcolm Holmes played Alan Turing.

[Peter Filicia]

Well, he's terrific. Yeah, he's terrific. So there you have it.

[James Marino]

All right, so one thing I can't easily find on their website is when it's playing through. Oh, through August 31st.

[Peter Filicia]

Okay, so a little bit time left.

[James Marino]

Yeah, yeah. At the Players Theater in the West Village. So go check it out. Also next up, I finally got around. Yeah. I went to Mamma Mia. But Peter, you also had something else that you forgot to mention last week about Mamma Mia. So why don't we start there?

[Peter Filicia]

Well, yeah, and what's really interesting to me about Mamma Mia. Is that an inordinate part of the show, really, more often than might be expected, showed people in middle age sort of making fools of themselves in the way that they try to act young, in the way that they dance and move. It seemed to me that happened like about every five minutes. You would, the audience would really revel in the fact that here's this middle aged woman or middle aged guy trying to do dance steps or. And was something I Didn't notice. The first few times I've seen Mamma Mia. This was the sixth time I saw. I've seen it, so. But that really stuck with me this time. Did you notice that, James, by any chance, that there's a lot of that going on?

[James Marino]

No, I didn't.

[Peter Filicia]

Okay. Yeah, I think it's true, though. So. So that's the thing that I didn't mention last week with Mummy Reen. As the week went on, I said, oh, I should have mentioned that. So now I have.

[James Marino]

So. As longtime listeners may remember, this is not my favorite show. And it's the underlying property. I just think. I just think the book is terrible. I love abba. I love the music. The cast was amazing. Yeah, yeah.

[Peter Filicia]

I have to say, the music has stayed with me. I mean, it's. It's. It's amazing to me how when I'm walking down the street, suddenly one of those songs will invade my head. So, yeah, yeah. I think the music is very good too. I really do. Yeah. Of all the jukebox musicals, I think this may be the one where I've enjoyed the music more than others. Where I've enjoyed. I mean, certainly I have no issue with Beautiful or Jersey Boys, which I think are very, very good shows. Very good. But nevertheless, this music has stayed with me more than I. Than those songs and those shows which were fine. But this. I'm amazed that so many days later I'm still hearing that song where the word devotion is in. I don't know what the name of it is, but anyway, so does that Take a Chance On Me? Is that what it's called?

[James Marino]

Anyway, Take A Chance on Me is one of the songs. Yeah, yeah.

[Peter Filicia]

So anyway, so, yeah, you know, I. I like the music too, so. And I'm not really critic them for making people look silly, but I couldn't help noticing that this was an important component. So people who've been following Broadway for a long time know that this owes a great debt to a 1969 movie called Born of Sarah and Mrs. Campbell, where three men believe that they have a daughter in Italy, supposedly based on true story that a woman who slept with three guys wrote them and said, we have a daughter. Can you give me some money? And she really turned out to have a lot of money as a result of that. And Carmelina, the Alan J. Learner Burton Lane musical from the late 70s, was essentially a musical that. But they never credited buenos Air and Mrs. Campbell, but it was that. And those two properties really are better at telling the story than this one. I've always been flummoxed by the fact that with the DNA testing. Did that bother you at all, that there was none of that, that. That never came up?

[James Marino]

No. You know, DNA testing is usually when fathers deny. And all three of these fathers embraced, you know, so, I mean, I guess they could have if they felt like it was a scam, but I don't any of the three fathers felt it was a scam. And. And it seemed like they still all really wanted to be a part. I hope this isn't a spoiler.

[Peter Filicia]

The other thing in Bo, Senator, Mrs. Campbell, they all. And which is 1969, long before DNA testing. So that's not an issue there. They all. I'm not remotely sure if they're the father, but they choose to believe it, though. Telly Savalas plays somebody who's been married to Lee Grant for a long time, and they haven't had children and nobody's been tested, but they each believes the other is the person who's responsible for not being able to have children. But Telly Savalas, in his mind, knows that he once impregnated a woman, so he knows it's not his fault. And for him to come to terms with the fact that it made he who is sterile was a very important part of that picture. And, you know, we think of Telly Savari as Kojak and, you know, mean guys in so many movies, but he was so tender in this picture. It's really worth tracking down if you can find it. One of Sarah. Mrs. Campbell. So I. I really recommend it much more than I recommend Mamma Mia. Frankly. But nevertheless, I'm sure your audience had as good a time as mine did, right?

[James Marino]

Oh, our audience just. Just. You could. Ate it up. They loved it. They were there for it. They knew all the songs and they were shrieking from the. From the first note of the. The. The beginning of the show. Yeah, it was.

[Peter Filicia]

I don't think they're going to close February 1st.

[James Marino]

I don't think so either.

[Peter Filicia]

I can't imagine why they would. I mean, really. So that'll be very interesting to see, but I can imagine that they would close this cash cow on February 1st.

[James Marino]

Yeah, it's. It's very interesting. I want to say something, and I hope that it's taken in the right way.

[Peter Filicia]

Yeah, boy, I know the feeling.

[James Marino]

Go on. Okay. This is an amazingly talented cast, I felt like. And somebody asked me if I liked. They knew that I saw Mamma Mia this week, and they asked me what I thought and I was like, oh, it's just, I really don't like the show. And they were like, oh, was the cast bad? I was like, no, no, no, no, no. Cast is absolutely amazing. It's just that the underlying property. Good. And, and I've used this analogy before, but I'll, I'll, I'll state it again for those who may not have heard it. Is that like the worst NFL football team has world class athletes on it? Yep, absolutely. It's just that it does, you know, it's, it's just like the sum of this less than the whole. The whole is less than the sum of its parts. And Mamma Mia. He's got a totally amazing cast and astounding talent on that stage. And oh my God, they are good looking. They are just some of the best looking people I have ever seen. And that's what I didn't want people to take the wrong way. I was like, I was like, wow, there's, there, there, there's not a clunker up there. So it's enjoyable. It's a fun evening. Don't go in looking for a deep book. Go in looking for amazing dancing. I mean the choreography. Not much has really changed since it originally came to Broadway and I actually saw it in London before it came to Broadway. And then I saw it on Broadway and then I saw a tour a few times and for a show that I really don't like, I've seen it a lot of times.

[Peter Filicia]

Times.

[James Marino]

So yeah, Mama Mia. As Peter said, it's playing Scheduled through February 2026. But I just, you know, if they keep selling the way that they're selling right now and they are sold out, totally sold out. I don't see why they would close it. And, and we mentioned last week, I don't think I see anything behind it scheduled for the Winter Garden. So I don't know. I can imagine that they will extend. So we'll see what happens. All right. This morning I saw the sad news that Jerry Adler had passed away. And I said, wow. You know, I know Jerry Adler mostly from television and film, but I, you know, I'd seen him on Broadway once or twice in my life. And so I went to IBDB and he had 40 some odd credits.

[Peter Filicia]

Most famously for the Sopranos.

[James Marino]

Yeah, the television show the Sopranos on hbo. Yeah. And that's where I remember seeing Jerry last. But. So Peter, tell me about some thoughts about Jerry.

[Peter Filicia]

Well, I, when I met him, the first thing I asked about was Drat the Cat, a musical that I admire Tremendously. In fact, when Bruce Kimmel did a studio cast recording, because there was no original cast recording, not officially, there's a bootleg that actually came out. But I. I wrote the liner notes for the studio cast album. So I've always been tremendously fond of it and eight performances. Eight performances. Even though Barbra Streisand was trumpeting it with the song He Touched Me. And if you bought the 45, on the other side was a song called I Like him, which also was from the show. Why was Barbra Streisand so interested in this? Because her husband at the time, Elliott Gould, was the leading man. I mean, it must have been so hard to be Elliot Gould because he was the star of I Can Get A Few Wholesale. And then, you know, she was at a minor part, but she turned out to be the star of the show. And here he is now, he gets a chance to be another lead in a Broadway show and it closes in a week and she gets a hit song out of it. So no wonder, two years later, it was all over. But anyway, it was. It was so painful for Jerry Adler because he was a co producer. There were two over the title in those days. That was enough to get a show to Broadway. But maybe it wasn't because they just ran out of money and they had a tough time out of town because Eddie Foy Jr. Was involved with it and then he wasn't. And so it was very, very tough. And he had no other excuse. The fact that we just couldn't raise any more money. We just could not. And we tried very, very hard. We begged Columbia Records to give us more money because they were going to do the cast album and they wouldn't, and we just couldn't. I mean, the reviews were not bad. They weren't raves, but they weren't bad. And all things being equal, if this were a David Merrick show, it would have run, or Harold Prince show, it would have run. They would have found the money and it would have continued. And I think it would have caught on. So it's really a shame. I mean, I've always felt the title was a problem, too. And I brought that up to him and you could tell that he was listening, but he wasn't really agreeing. But the original title was Cat and Mouse, and I think a much better title, because indeed it is about a cat burglar and a police inspector who is quite mousy. So. So that was the first question I asked of Jerry Adler. But I also asked him about My Fair lady because in the original production of My Fair lady, we're talking 1956 now. And by the way, at that point in time he was already 27 years old. He was born in 1929, so he certainly had a good run. But anyway, I asked about My Fair lady and he talked about the fact when they were on opening night New York, he was standing at the back of the house for that performance. He was the stage manager. But that night he took off and he, he had an assistant that really wanted to do the show and everything was going so swimmingly well that he decided okay. And he said that he was there when Mars Hart thought it wasn't going well. And he said, I know, I knew it, I knew it. This is just a New Haven hit, that's all it is. And, and it certainly didn't turn out to be. But he really panicked that he really thought that that was not going to be. He told me when I asked one of his biggest regrets, he said, well, you know, I worked on of the I Sing the revival. There was a very short lived revival back in 1952. Only two months for a show that originally ran 441 performances. Everybody's very surprised. And it was also an election year and of the icing. So he, he thought this was going to be a big smash hit. And he said he was really surprised that he had so little interaction with Ira Gershwin. Of course, George had long gone by that time, so, so that was a problem. He also talked about how difficult it was to work with Orson Welles. Orson Welles did a stage version of Moby Dick. It did play Boston where I was living at the time. But I was, I wasn't working yet and getting five bucks out of my parents to go see a show was always a difficult thing. So, so I missed Moby Dick and Orson Welles, which I would have loved to have seen. But Orson Welles could be very cantankerous. There's a very, very famous series of commercials he was doing that for wine that indeed there's a bootleg of all the times that he purposely screwed up the lines and showed that he didn't care about this at all. You know, you'd see him make a mistake. Cut, take 23. You know, and he wasn't even trying, so I could easily. That's what came to mind when he talked to me about it. He also talked to me about the Girl who Came to Supper. He was the stage manager of that. And that was a show that originally opened with a song called Long Live the King. If he can. Well, the problem was they were in Philadelphia trying out when John F. Kennedy was assassinated. And suddenly Noel Coward had to come up with a new song which wasn't nearly as good, but as Long Live the King, if he can. But, you know, it had to be done. He said, boy, you know, we were all wondering what was going to happen and we all had to pretend that that song that replaced it was really wonderful. In fact, it was a somewhat of a recycled song from something called Operette that Noel Coward had written before. You know, he said to me, I had so many difficult times with so many people because he was the stage manager and I Had a Ball, which Buddy Hackett was in. And when the show wasn't going well, he would fool around like crazy. You always hear about Zero Mostel fooling around as pseudo less. And even fiddler Buddy Harket did a lot of that too. And he said he was so embarrassed the night that. That he mocked Luba Lisa, who got a Tony nomination on stage. At the end of the show, he. Because he didn't get a Tony nomination and Luba Lisa did get a Tony nomination that he mocked her, which was really quite bad. He had wonderful things to say about time for singing. He worked a lot with Alexander Cohen and that was an Alexander Cohen musical. And that was. The musical was kind of ahead of its time because it was sort Les Misy in a way. It's a musical version of How Green Was My Valley, which was very important property. And speaking of Orson Wells, it be How Green Was My Valley film beat out. Citizen Kane is the best picture of the year. So said the Academy when it gave out Oscars. So. But this was a musical version and it was very full of music. The score had many more songs than one would expect in a musical at that time. So in. In a strange way, eliminating a lot of the book and doing more songs, which became very common practice during the British Invasion, actually started with a time for singing and it didn't last long. And he. He really mourned that. He said, you know, audience was just so confused. And so often something that really tries to blaze a trail fails while the next thing that does the same thing does it because people, the critics are used to seeing first time and now they're up for it. He had nice things to say about Flanders and Swan who when they did at the drop of another hat. Now here's what's interesting to me. If you look at ibdb, you will see that he was production stage manager of the Apple Tree, okay? And he was also production supervisor of at the Drop of Another Hat Again, a two person review of Flanders and Swung, who wrote funny songs. They just sat on stage and did the songs and that was that. That. But here's the thing. I saw the Trio of the Apple Tree at the Shuba Theatre in Boston on a Monday night. I saw at the Drop of Another Hat at the Wilbur Theater the next night. And the following night I saw Mary Martin and Robert Preston and I do, I do with the Colonial. Those were three good days, I'll tell you. But the idea that he was the stage manager of a show while being the production supervisor of a show that was at the same time trying out. I mean I, I guess he was running back and forth from the, the Wilbur to the Schubert, which luckily enough are just across the street from each other. But I'm, I'm sorry to say that I forgot to, to ask him about that when, when I talked to him, I did tell him the story about Little Murders. Little Murders was a Jules Pfeiffer play where Barbara Cook, you know, rare non musical appearance, was brought home her boyfriend, played by the aforementioned Elliot Gould, to meet her parents. And of course they're very interested to find out this guy that she's going to marry. Every, every parent is, you know, this is a big thing. And so if he would. Hill Brune and Ruth White were the parents. And you may not know or remember who they were, but they were very staid people. And so they were disappointed to find out that their daughter was marrying a guy who photographed feces. I'll use the elegant term here. And that's. So that's, you know, at an exhibition you would see various forms of feces. I guess we'd call that unorthodox to say to. Maybe we could call it fecal calligraphy, I don't know. But anyway, so he also insisted Elliot Gould's character did that, that indeed at any ceremony when they got married, the word God could not be mentioned. So anyway, Paul Benedict, I hope you know who that actor was. Very, very funny guy. If there were a musical version of the Archie Comic Strip, he would be perfect Jughead when he was a young man. Because you sort of look like Jughead if you know who that character was. Anyway, so there he is. He, you know, I'm starting to think that wasn't who it was. But anyway, he seemed like that. Anyway, the minister gets up there and he says, I want you to know that of the 200 of or so couples that I've married, only six couples are still together. I mean, imagine he had a wedding ceremony. I mean, wow. You know, so it was a real wild building. Crazy plate. Okay, now at the end of the first act, Barbara Cook is in her apartment and suddenly a car backfires and she faints. And there I am at a Saturday matinee with two matinee ladies next to me. And one turns the other one says, she shot somebody shot her. She was just killed. And I almost said, do you think that Barbara Cook would be in a play? She would, only it was a three act play. Do you think she'd be in a play where she would die at the end of the second act? Don't you people know anything? Why do you even bother coming to the theater? You know, because again, I'm a teenager and I know everything. Everything. Act three started on the day of Barbara Cook's funeral because she had been shot. And boy am I glad that I kept my mouth shut because. But that's what I'll always remember about little murders, even if I don't remember if Paul Benedict played the part. I thought, you know what? It was a year or so later it got done off Broadway. Maybe he did the Off Broadway version. And that's what I'm remembering. And then it was a hit. It only lasted a week on Broadway, but it was a big hit off Broadway. It ran quite a long time. And ironically enough, I saw it on a Sunday, the last Sunday in June in 1969, at Circle in the Square theater downtown, which is now like a flea market type thing, but it used to be on Bleecker street. And I was just a few hours away and a few blocks away from Stonewall. It was that day, ironically enough, that I saw that Little Murders. But, but anyway, Jerry Adler, to go back to Jerry, which is what we were supposed to be doing here. Jerry Adler told me that never thought that this was going to go on Broadway, that he was amazed that Alex Cohen even had anything to. To do with it. He sometimes directed and in fact, when the Unknown Soldier and his wife moved from Lincoln center and Alex Cohen had had terrible problems with the director, John Dexter, who didn't. I mean, really, he was notorious as being a very difficult and ornery man. He was the one who took over and directed the cast and, and. But he occasionally did. I mean, he directed every now and then. He's. He directed Ulysses in Nighttown, a revival of that. He also directed Sammy Khan doing the show. Words and music. And he spoke well of Sammy Khan, you know, when that's A terrible job to have when you're dealing with a guy who's much more famous than you are. Sammy Khan, after all, an Oscar winning composer, certainly had a few Broadway shows, including one hit, High Button Shoes. So, you know, it must be hard when the guy says, no, no, no, we're doing it my way. But he says, sammy Khan really took a lot of advice and it really worked out very, very well. He also spoke well of Peter Usinoff when he was a production supervisor on who's who in Hell, a show that didn't last long, but. And he also said he had his terrible doubts and he tried to. To talk Alex Cohen out of producing. We interrupt this program. This was a show that started off as a drawing room comedy. You know, tennis, anyone, you know, that type of play. When suddenly the doors of the theater sprang open and guys with machine guns entered and set up against the wall and. And you really. That for the first preview, you. You must have really been terrified that this was real. I mean, God almighty, you know, it could be. But when word got out that it wasn't real, I mean, people were enjoying talking back and sassing the guys with the machine guns. There's a very famous performance. A little old lady who knew about it said, go ahead, shoot me. Go ahead. Now you behave. You know, what could they do? They go shoot. I mean, so it was a stupid property, but he really believed in it tremendously so. But it really was mostly his work with Alex Cohen. But you mentioned Taller Than a Dwarf, in which he actually performed. This was a play that Elaine May wrote that indeed Matthew Broadwick and Parker Posey starred in. And yet it couldn't last very long. But, James, do you know that this was actually a rewrite of a play that the Lane made, Had written many, many moons earlier. Do you know about that?

[James Marino]

No, I did not.

[Peter Filicia]

Okay. So tall than what was produced in 2000. But in 1962, a matter of Position was the name of the play that opened in Philadelphia. Elaine May wrote it, and starring in it was Mike Nichols. Don't forget that they had a comedy routine that was very, very successful. Did a show on Broadway that was successful, and we're a beloved comedy team. When each decided, we've done a. We've got about as far as we can go. Let's do something different. She said, okay, I'll write a play for you. And in 62, it closed in Philadelphia and did resurface as Taller than Dwarf. Now, what's really interesting is that only a year later, Mike Nichols had A tremendous success directing Barefoot in the Park. And Elaine May never reached the success. Well, of course she did win a Tony a few years back. But I, I think we'll all agree that Mike Nichols had a far superior post Nicholson May career than Elaine May did. So it must be very hard to have that experience. But anyway, that's when Jerry Adler was performing. So, so here's a guy who, you know, performed, who directed, who was production supervisor, who was a stage manager and his career lasted from 1951 when he replaced in as a stage manager and gentleman for a blonde. So all the way to 2015 when he was a performer in Fish in the Dark, the play that Larry David wrote that Jason Alexander did for a while. So that's quite something. He could die a very happy man for all that he accomplished.

[James Marino]

Yeah. So the Times has a wonderful obit on Jerry Adler. I'll include in the show notes as well as links to Jerry's IBDB and IMDb, which is just a life's work. Just.

[Peter Filicia]

Yeah, really.

[James Marino]

He touched all different parts of the industry in so many different ways. Not just as an actor, but as a director and a producer and a supervisor and all. All an amazing and amazing life. So cheers to that. All right, so that wraps it up for today. Before we get onto the brain teaser, I want to remind everybody that you can subscribe to these broadcasts by going to the front page of broadwayradio.com there's a subscribe link that way each and every time there's a new episode of this Week on Broadway be automatically downloaded to Apple Podcast view. Of course, you don't have to listen to us in Apple podcasts. There's many ways to get us. One of the ways is Patreon. That's P-A-T-R-E-O-N.com BroadwayRadio is one way that you can support all of Broadway radio shows and get a few extra benefits. Bonus shows that are not available anywhere else get us a little bit earlier than everybody else and a direct connection to us. Contact information for Peter and for Michael and for me can be found in the [e-mail] as well as links to some of the things we've talked about today. So Peter, do you have an answer to last week's brain teaser?

[Peter Filicia]

Yeah, what I was asking was 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. Now it's amazing to me how many people thought it was Closer than Ever because indeed, Closer to Never was an off Broadway show. It didn't play Broadway. Indeed, therefore it didn't win a Tony. And there is a song called Closer Than Ever in Closer Than Ever, so that would be fine. The only flaw was the fact that neither Maltby nor Shire won Tony's for songwriting. Certainly Maltby has for being involved with Ain't Misbehaving and Miss Saigon. But no, I guess he didn't win for Miss Saigon. But anyway, you get my point that he, he has, but David Shire has to settle for an Oscar. So. So that's not the correct answer. But what was really was that so many people said, I love that book. And the book was by Joshua Rosenblum, whose son got married yesterday and I was at the wedding and it was great to show him emails of people saying, great book, you know, so, so in case you don't know the Closer Than Ever book about Maltby and Shire, by all means, get it. So what's the answer to the question? Okay. The book that details the collaboration between Jerry Bach and Sheldon Harnick is called To Broadway With Love. And that was the name of the song they wrote for the musical that briefly played at the 1964 World's Fair. Okay. Did Tony Janicky get it? No. Paul Witty? No. Julia Green? Nah. No. Only Sean Logan? No. Brigadude? No. Ingrid Gammerman? No. Sean Logan. And only Sean Logan was the only one to get it. So that's, that's pretty impressive indeed that, that he was able to come through with it because this was a tough question. I'll be the first to admit it. Let's see if this one's easier for people after intermission. This performer had literally only a walk on. And yet the windows, cards, posters and cast album had this performer listed above the title. Title about whom are we talking? What's the show?

[James Marino]

If you have an answer for this, email [e-mail] we'll let you know if you're on the right track. So on behalf of Peter, Felicia and Michael Portantier, who will return next week, this is James Marino saying thanks so much for listening to Broadway radios this week on Broadway. Bye bye.

[Peter Filicia]

Bye.

[Barbra Streisand (singing)]

I never dreamed it could be. He's foolish, unworldly and yet appealing. I like him. He's fond me A to Z. I like him. I like him and he likes me.

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[Peter Filicia]

Stage and the site is live that.

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