This Week on Broadway for August 3, 2025: Steel Magnolias @ Bell Theater

Summary

BroadwayRadio Podcast Summary Episode: This Week on Broadway for August 3, 2025: Steel Magnolias @ Bell Theater
Release Date: August 3, 2025
Host: BroadwayRadio

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1. Episode Introduction

The episode begins with a warm welcome from James Marino, who introduces the guests Peter Felicia and Michael Portantier. They provide brief biographies, highlighting Peter's accomplishments as a playwright, journalist, and historian, and Michael's role as a theater reviewer and photographer.

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2. Celebrating Maria Karnileva

James Marino opens the discussion by commemorating the 105th birthday of Maria Karnileva. He shares a memorable anecdote about her engaging interaction with Georgia during a 100th-anniversary celebration, highlighting her vibrant personality and lasting impact.

"But the way she just spoke, put her hands up like as if she were jogging down the aisle was just so endearing."
— James Marino [02:21]

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3. Upcoming Shows and Personal Announcements

James Marino announces his upcoming performance at 54 Below, titled Peter Foolisher and Friends. He expresses excitement about sharing personal theater experiences and performing alongside notable stars such as Penny Fuller.

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4. Featured Production: Steel Magnolias @ Bell Theater

James Marino provides an in-depth review of Steel Magnolias currently running at the Bell Theater in Holmdel, New Jersey. He praises the stellar cast, including Charlotte Danbar as the protagonist's mother and newcomer Eve O’Brien as Shelby, whose authentic portrayal left a lasting impression.

"Charlotte Danbar is wonderful as the girl's mother. Wonderful, so tender and caring and loving."
— James Marino [09:55]

He discusses director Nate Patton's effective staging, particularly a pivotal moment where laughter transitions into poignant emotion upon Shelby's death.

5. Spotlight on Can I Be Frank @ Soho Playhouse

James Marino reviews Can I Be Frank at the Soho Playhouse, a comedic tribute to Frank Meyer, an early AIDS activist. The show combines humor with heartfelt moments, earning praise for its ability to balance laughter with serious themes.

"Morgan has done a great job in making this situation funny. Even though he starts off by quoting Frank Meyer's castigation of Liberace..."
— James Marino [19:11]

Despite minor critiques regarding character authenticity, the overall reception is positive, highlighting Morgan Basiches' performance and the poignant inclusion of Paula Stewart's video testimonial.

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6. Review of Wildcat @ 54 Below

James Marino delves into Wildcat at 54 Below, commending the show's vibrant score composed by Cy Coleman and Carolyn Lee. He highlights standout performances, particularly Mary Lou Henner and Jenna Lee Rosen in the number "Hey, Look Me Over."

"The only song from the show that really became a fair size hit was hey, Look Me Over."
— James Marino [28:54]

He reflects on the show's history, noting Lucy's performance challenges and the enduring quality of the musical score despite the original production's shortcomings.

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7. Sexy Laundry @ Cape May Stage

James Marino discusses Sexy Laundry at the Cape May Stage, celebrating its international success and the insightful direction by Roy Steinberg. The play explores the dynamics of a long-term marriage with humor and honesty, resonating deeply with the audience.

"Only think that science tells us that men reach their sexual peak in their 20s and women some decades later."
— James Marino [39:21]

He praises the authentic performances by Bill Timoney and Georgette Riley Timoney, emphasizing their chemistry and comedic timing.

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8. Gina Gilda @ 59 East 59

James Marino reviews Gina Gilda at 59 East 59, a portrayal of Gene Wilder and Gilda Radner's tumultuous relationship. While appreciating the cast's efforts, he notes areas for improvement, particularly the integration of dialogue from The Producers and the characterization of Gilda.

"At one point we have dialogue directly from the movie The Producers, word for word."
— James Marino [50:10]

He encourages further development to enhance character authenticity and narrative coherence.

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9. Ginger Twinsies @ Orpheum Theater

James Marino provides a critical review of Ginger Twinsies at the Orpheum Theater, highlighting the show's comedic elements but expressing strong disapproval of its insensitive joke about AIDS.

"A joke about AIDS is still much too on target recent to have it be the butt of a joke."
— James Marino [53:01]

While acknowledging the performers' talents and costumes, he strongly recommends excising the offensive content to respect the audience and the subject matter.

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10. Damn Yankees @ Arena Stage

James Marino explores the upcoming revival of Damn Yankees at Arena Stage, focusing on the substantial revisions to the original book by Will Power and Doug Wright. He raises questions about the timing and setting changes from the struggling Washington Senators to the early 2000 Yankees dynasty.

"The upcoming revision will reportedly retain the original score with a book gently retooled for its first major revival in the 21st century."
— James Marino [57:14]

He critiques specific plot points and character developments, suggesting that certain elements weaken the show's overall impact.

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11. Bull Durham @ Paper Mill

James Marino briefly mentions the long-anticipated musical adaptation of Bull Durham set to premiere at Paper Mill in October. He expresses excitement over finally seeing the beloved movie transformed into a stage production.

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12. Social Media Buzz: Cynthia Erivo in Jesus Christ Superstar

The hosts discuss the viral videos of Cynthia Erivo performing "Get Up, Get Down" in the concert production of Jesus Christ Superstar at the Hollywood Bowl. They commend her powerful performance and the high production quality, noting the inclusion of stars like Adam Lambert as Judas and Mary J. Blige filling in for Josh Gad as Herod.

"I didn't think I needed to see or hear any woman in the role of Jesus, but she has undoubtedly delivered a brilliant performance."
— Peter Felicia [67:51]

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13. Upcoming Events at Town Hall

James Marino highlights several exciting performances at Town Hall, including:

• John Cassavetes Opening Night in Concert featuring talents like Sarah Bareilles, Laura Benanti, and Rufus Wainwright, benefiting the ACLU.
• Disney and Pixar's Coco in Concert Live to Film, scheduled for November 1st, promising an immersive musical experience with live vocals.

He emphasizes the historical significance and the diverse programming that Town Hall continues to offer.

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14. Discussion on Ed Sullivan Theater

The hosts engage in a lively debate regarding the potential transformation of the Ed Sullivan Theater back into a legitimate Broadway venue. They discuss the building's reduced seating capacity, historical significance, and the challenges involved in such a transition.

"It's confusing why they reduced the seating from 1200 to about 300."
— Peter Felicia [76:20]

They speculate on the feasibility and potential investment required to restore the theater, mentioning Andrew Lloyd Webber's interest in the venue.

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15. Brain Teaser

James Marino presents last week's brain teaser, challenging listeners to identify a musical based on a detailed clue involving Tony-winning books and a play that closed in Philadelphia. Although the transcript reveals an incomplete or cryptic question, the participants encourage listeners to submit their answers via email.

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16. Musical Moments: Fiddler on the Roof @ College of Staten Island

Peter Felicia shares his delightful experience watching Fiddler on the Roof at the College of Staten Island. He praises the direction by Bronwyn Fugate, the stellar cast including BJ High as Tevye, and the overall production quality. He contrasts this community theater rendition with a less favorable Broadway revival, underscoring the former's authenticity and emotional resonance.

"This was 10 times more satisfying than the last Broadway revival... it just was a lovely, lovely, beautiful production."
— James Marino [89:24]

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17. Episode Conclusion

The episode wraps up with the hosts encouraging listeners to subscribe via broadwayradio.com or Patreon for exclusive content. They also invite listeners to participate in the brain teaser by emailing their answers.

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Notable Quotes

1. James Marino [02:21]:

   "But the way she just spoke, put her hands up like as if she were jogging down the aisle was just so endearing."

2. James Marino [09:55]:

   "Charlotte Danbar is wonderful as the girl's mother. Wonderful, so tender and caring and loving."

3. James Marino [19:11]:

   "Morgan has done a great job in making this situation funny. Even though he starts off by quoting Frank Meyer's castigation of Liberace..."

4. James Marino [28:54]:

   "The only song from the show that really became a fair size hit was hey, Look Me Over."

5. James Marino [39:21]:

   "Only think that science tells us that men reach their sexual peak in their 20s and women some decades later."

6. James Marino [50:10]:

   "At one point we have dialogue directly from the movie The Producers, word for word."

7. James Marino [53:01]:

   "A joke about AIDS is still much too on target recent to have it be the butt of a joke."

8. James Marino [67:51]:

   "I didn't think I needed to see or hear any woman in the role of Jesus, but she has undoubtedly delivered a brilliant performance."

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Conclusion

This episode of BroadwayRadio offers an extensive overview of current Broadway productions, insightful reviews, and engaging discussions on theater-related topics. Whether you're a seasoned theatergoer or a casual fan, the hosts provide valuable perspectives and recommendations to enhance your Broadway experience.

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For more details on the discussed shows and to access links mentioned, visit broadwayradio.com.

Transcript

[Peter Felicia]

To our prosperity.

[Michael Portantier]

To good health and happiness.

[Peter Felicia]

And most important, to life.

[Michael Portantier]

To life Lhiam Lihim L' Iam to.

[Peter Felicia]

Life is to the father I tried to be to stole my plan to.

[Michael Portantier]

Be great Let I am to life.

[Peter Felicia]

To life Lehim Lahayam Lahiam to life. Life has a way of confusing blessing.

[James Marino]

And bruising us Drink what I am.

[Peter Felicia]

To lie I would like us to be joyful Even where our hearts lie echoing on the floor how much more.

[James Marino]

Could we be joyful when there's really.

[Peter Felicia]

Something to be joyful for? Life to life that I am to sight O my daughter, My wife gives.

[James Marino]

You something to think about Something to.

[Peter Felicia]

Drink about.

[Michael Portantier]

Hello and welcome to Broadway Radios, this week on Broadway for Sunday, August 3, 2025. My name is James Marino, and in the broadcast today we have Peter, Felicia and Michael Portantier. Peter is a playwright, journalist and historian with a number of books. Peter's new Day by Day Desk Calendar, A show tuned for today. The 366 songs to Bright New Year has been released. Peter also has columns at Masterworks Broadway, Broadway select and many other places. Hello, Peter.

[James Marino]

Hi, Peter. Yeah, What?

[Michael Portantier]

Happy Birthday.

[Peter Felicia]

Yeah.

[James Marino]

Not to me, but to Maria Koliba. She was born in 1920, so she'd be 105 today if she was still with us. Of course she's not. But the reason I chose Happy Birthday for this date is not just because it was her birthday, but because she sang a song in Zorba called Happy Birthday in which a woman is dying and recalls her birthday when she was young. It's a very nice song and it's a very good idea. We know her mostly, though, I think from Tessie Torah, which is a nice pun on the musical term Tessatura in Gypsy. But really.

[Peter Felicia]

And one other thing. One other big thing.

[James Marino]

Right, Keep talking. You mean Fiddler? Yeah, yeah. She won Tony for playing Golda in Fiddler. She must have been terribly disappointed when the cast album of Gypsy came out because she did record her section of you Gotta have a Gimmick, but it wasn't on the original cast album on the lp. But it did get back on the cd, which was really nice. But here's what's interesting about Maria Karnileva. Her actual surname at birth was Dove Golenko. Her parents changed it to Doahalanik. I mean, I don't know why they thought that was better. But anyway, when she became a founding member of the American Ballet, she. She chose Karnilov, then changed it to Karnilova when asked why? She said she wanted to honor her mother's maiden name. But records show that her mother's maiden name was Sholonskaya. So a woman's entitled to have a little mystery about her. That's fine. So. But anyway, my fondest memory of Maria Karnileva was at the 100th anniversary of Georgia's birth. And she and Georgia, surving her husband, were at the aisle, waited to be seated and they were talking. They had a wonderful relationship. It was really great. It only ended with her death. But they were talking animatedly and the usher was waiting to bring them to the seat. And they weren't paying attention to the usher because they were so engaged in conversation, having a wonderful time, laughing, joking, whatever. Finally they realized that the usher was waiting to take them down. And the way she just spoke, put her hands up like as if she were jogging down the aisle was just so endearing. So that's my favorite memory of her, aside from her wonderful performances. But to see her jogging down that aisle is something I will never forget. So anyway, August 3rd, Maria Karnileva, 105 years ago. And we're very grateful it happened.

[Michael Portantier]

Also, you are otherwise engaged tomorrow night.

[James Marino]

I am tomorrow night at 54 below. I will be there. The show, I didn't call it this, but they called it Peter Foolisher and Friends, which I'm very honored to have. I'll be telling stories about my theater going experiences. And we'll have Karen Mason, we'll have Leroy Reams, we'll have so many other people. Penny Fuller. A good deal of nice stars have come out to help me and sing songs based on the stories that I tell. I dare say that my story about Gypsy will either be hilarious or will bomb terribly. I'm really not certain how it's going to go over. I may have to shorten it because I'm a little gun shy that it's going to be considered in somewhat dubious taste. But I hope it isn't. I think there's an excellent chance that people will laugh at it. But we shall see what we shall see. You may see some flop sweat early in the evening. But we shall shall see what we shall see. But I, I am raring to go tomorrow night at 54 below 7 o' clock and wish me luck.

[Peter Felicia]

Well, that is quite a teaser.

[James Marino]

I suppose it is.

[Michael Portantier]

That teasing voice we just heard is Michael Portantier. Michael's a theater reviewer in SES. He's the founder and editor of CastAlbumReviews.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.

[Peter Felicia]

Hello.

[Michael Portantier]

Hello. And you are working on your own production of Celebration, the Songs of Tom Jones and Harvey Schmidt, happening over at the Lori Beachman on September 9th. So you have just about four or five weeks or so until it happens.

[Peter Felicia]

Yeah, I think they. I think they're. As I think I said last week, I wouldn't say that they are underrated as a composing team, but maybe underappreciated, you know, because I think I actually. I think I said all of this last week because maybe their quantity of their output is not as great as some of the others, but the quality certainly is. Is there. So I think.

[James Marino]

Let me ask you this, Michael.

[Peter Felicia]

Yeah.

[James Marino]

Will you do anything from Grover's Connors?

[Peter Felicia]

Yes.

[James Marino]

Yeah. I mean, when I heard that Jones and Schmidt were going to be musicalizing Our Town, I thought, wow, that is the perfect team for this show because they were unconventional. They were inclined to be unconventional, and certainly our tone is an unconventional play. And so I really thought it was going to be sensational experience. And I'm told I never saw it, but I'm told that in Chicago it was a big hit and things were going well, and then Mary Martin was announced to be the stage manager. That's the character.

[Peter Felicia]

Not right.

[James Marino]

Yeah. And then that didn't happen. She fell ill and. And then it all fell apart. And as I understand it, I'm not sure this is true. The rights were pulled from them. Do you know about this, Michael? Was the. Were the rights pulled?

[Peter Felicia]

I had heard that also, because. And that's, like, the only explanation for. Well, you know, why. Why did they never try it again?

[James Marino]

Yeah. Really. But, I mean, I've heard some songs, and they're really hauntingly beautiful, and I'm not surprised that you've included that in the show.

[Peter Felicia]

We're actually planning to do two.

[James Marino]

Good.

[Peter Felicia]

From that score. Yeah, good.

[James Marino]

Who knows? Maybe it'll spur somebody to get rights and revive it. You may very well be very helpful in making that happen.

[Peter Felicia]

Well, we'll see.

[James Marino]

We'll see. Yes, we will. Yeah.

[Michael Portantier]

So Christmas in July, slash, August. Here we have not only one, but two episodes of Jan Simpson's different podcasts. All the drama. Dinner with friends, the 2000 winner for a Pulitzer Prize for drama, is now out for Patreon members, and it's going to be available for everyone next week. And breaking news, just as we were setting up this morning, Jan Simpson Sent me in her latest stagecraft, where she spoke with Carrie Gitter about their show, Gina Gilda, which is a penguin rep show. That's at 59. He's 59. And that'll. I just got it a few minutes ago. We'll figure out how to get it out this week. So, you know, two shows, must have been two. Two new podcasts from Jan Simpson could cause an earthquake in New York. So there was an earthquake last night in Manhattan. Actually, northern New Jersey. Felt in Manhattan, felt on Broadway. Both of. Just let it roll off you like rainwater.

[James Marino]

We live to tell the tale. No, I didn't feel it at all.

[Peter Felicia]

What time did you say, roughly?

[Michael Portantier]

I think it was 10 o' clock or something like that. 10pm and so I was back in.

[James Marino]

My apartment, but I didn't feel a thing.

[Peter Felicia]

I was on the street and I didn't feel any.

[James Marino]

Yeah.

[Michael Portantier]

Were you on the street where you live?

[James Marino]

Yes, I was.

[Michael Portantier]

Okay. Have you often walked down that street before?

[James Marino]

You know, I was. I was almost on that street at that time. I was at a show called Lord Nil, which is about an escape artist. It hasn't happened yet, so we'll talk about it some other time.

[Michael Portantier]

All right, so. But you were in Holmdel, New Jersey, where you saw an unexpected production of Steel Magnolias starring quite the cast. So tell us about this.

[James Marino]

Yeah, really. Who would expect in Holmdel, New Jersey, to see Charlotte Amboise, Nancy Opal, Amy Spanker and Kathy Fitzgerald, all of whom have had wonderful reputations in New York. In fact, Andrew DePrisco, who runs the Bell Theater in Holmdel, announced before the show that these people added together have been in 70 Broadway shows. I mean, it's really added up, you know, so it's really very, very impressive to hear that they've appeared in so many productions. So really, credit to director Nate Patton, who knew these ladies and said, please come to Home Dell and make it happen. And they indeed did. So it's a terrific production of a terrific play. We've known it for a long, long time. Since it opened at the Lucille. Well, actually, the WP Theater before. I'm sorry, the WPA theater. WP Theater is something else entirely, though it wouldn't have been out of place at the WP Theater either, in the sense that it's an all female cast, though it was written by a man who. The story of his sister, I'm sorry to say, which didn't turn out as well as it should have. But anyway, it's the best plays make you laugh and make you cry. And this is what happens with Steel Magnolias. You're very moved by the story of this young woman who has been told that she should not have a baby, but she wants to be a mother more than anything else in the world. And she shouldn't have a baby because she has some real kidney problems. And her mother does have a kidney that would seem to match, but, well, who knows what's going to happen after that operation. One of the most effective things that can happen in this play, which was missed in the Broadway production, it was brilliant. Off Broadway in the original production. But when the Broadway production happened some years ago, I'm sorry to say the director missed a very important point because I guess people know this play well enough that I can say this. Shelby, the young woman, has died. And the people in the beauty parlor where it all takes place in the Southern beauty parlor, they're all very sad, of course, that Shelby has died. But as time goes on in the beauty parlor, they. There's something to laugh about and they start laughing. And the thing is, that's when the girl's mother comes in and they're so embarrassed that they were laughing because it was just a freak thing that somebody said something funny. They're laughing and they're so embarrassed. And Nate Patton, the director, really did a wonderful job of making that moment freeze. Time stopped. It was incredible to see this happen. So Charlotte Danbar is wonderful as the girl's mother. Wonderful, so tender and caring and loving. And we have to remember that she was best known as a dancer and a musical performer. But here she is really showing the actress acting chops. Nancy Opal White, wonderful as well. So is Kathy Fitzgerald, who's the real tough lady who comes in and always has something nasty to say, just seems to hate the world. And yet. And yet. So Amy Spanger, wonderful as the owner of the beauty shop, who certainly has to deal with this, that and the other thing, and certainly is very concerned about getting everybody to look the best that she can. She really cares. And that's what's so wonderful, this character and Amy Spanger got that. But I have to tell you, somebody brand new to me, Eve o', Brien, magnificent as Shelby, magnificent, so, so honest, so, so real. Nothing actory about her at all. So I think you, you're going to hear from her and she's going to be at least as famous as the other members in this cast. So a terrific production. By the way, if you go to the Bell Theatre in Holton Elder, New Jersey, it's in a big, enormous mall. It looks like an office building, and I think there are offices in there. It looked to me. But the bottom part is a mall with a very nice restaurant and a very nice ice cream place. Let me tell you. I certainly wouldn't miss that. And. And the theater is downstairs, and it's a very, very happy, commodious space. It has stadium seating. So even though I was in row I and there is a row high in this theater, most theaters don't have a row I because it's confused with one. It's. The sight lines are terrific. The set is certainly top notch. So it really was a terrific experience. So if you're in the Jersey Shore area, please make it happen. They're going to run a few more weeks because I think you will really be REM of what a wonderful play Steel Magnolia is and what a wonderful production in Andrew DiPreco's theater.

[Michael Portantier]

All right, so I was checking this out, and the Bell Theater. Do you know why it's called the Bell Theater?

[James Marino]

Does it have anything to do with at&t?

[Michael Portantier]

Yes, ma bell and at&t. You know, the Bell Labs in Axelrod. I mean, AT not AT Axelrod. Axelrod is the performing arts center that the Bell Theater is in, but Homedale, New Jersey. You know, it was just the center of the Ma Bell and AT&T's origins and.

[James Marino]

Oh, really?

[Michael Portantier]

All the developments.

[Peter Felicia]

Yeah, that's right. Yes.

[Michael Portantier]

Yeah. So I was wondering. I was like, is it named after somebody? It's actually named after the Bell Company. Back to Alexander Graham Bell, I guess.

[Peter Felicia]

Also, would it be annoying if I. If I make a pronunciation correction?

[James Marino]

Oh, please do.

[Peter Felicia]

Yeah, it's. And especially because I love her so much. It's Charlotte Damboise.

[James Marino]

In other words, it sounds like it's plural.

[Peter Felicia]

Well, because. Because there's an e at the end of it. That's why it's d' Amboise and not d'. Ambois.

[James Marino]

Okay.

[Peter Felicia]

And her. And, you know, of course, her father was very, very, very famous. Yeah.

[James Marino]

Yeah. So, yeah, fine. Good to know. Thank you. Yeah.

[Michael Portantier]

So we've covered other things from. We've covered other things that were from that theater. I'm trying to look here.

[Peter Felicia]

Oh, really?

[Michael Portantier]

What else? Let's see. Was there a Sunday? Peter, you. You saw Sunday in the park there?

[James Marino]

No, not that. Same place, different place. Yeah, yeah, this. I. I understand why you would assume that, but Axelrod, I think, is a completely different place, so.

[Peter Felicia]

Oh, Axelrod. I've been to Axelrod, and.

[James Marino]

Yeah, you have yeah, that's. That's a. That's a bigger theater than this one.

[Michael Portantier]

Ah. Because I'm looking at their website, Bell Theater at Bell Works. And when I went to get tickets, it says the Axelrod Performing arts Center at 100 Grant Avenue in Deal, New Jersey, which is.

[James Marino]

Yeah. Oh, different. Yeah.

[Michael Portantier]

And then it says. And it says next to IT, Bell Theater, 101 Crawford's Corner Road Home, Dell. Okay, so. All right.

[James Marino]

Yeah. But Andrew DePrisco was associated, or may still be, for all I know, with the place in Axelrod, so I can understand the confusion.

[Michael Portantier]

Yeah, it's. It's odd that it's on their website. So anyway, this one was in Homedale. Great. So we'll have a link to that in the show notes. They've got a little YouTube video and some production photos if you want to check it out. And there's that. So, Peter, you also saw Can I Be Frank at the Soho Playhouse. So tell us about this.

[James Marino]

Michael, I'm going to ask you this. Did you know Frank Maja?

[Peter Felicia]

A little bit.

[James Marino]

Did you?

[Peter Felicia]

Just a little bit, yeah.

[James Marino]

Could you tell me what you knew about him or how did it happen?

[Peter Felicia]

Or, you know, he really was mostly a neighbor to me. I'm sure I met him, but I can't give any details.

[James Marino]

Oh, I see.

[Peter Felicia]

I'm very curious to hear what you're going to say about the show.

[James Marino]

Yeah, sure. Well, apparently there was this very wonderful man named Frank Meyer. At least we're led to believe that as a result of this show. Can I be frank? Because here we do have Morgan Basiches. And Michael, I won't be surprised if you can correct me on the pronunciation of this one, too. It's spelled B, A, S, S I, C, H I, S. Maybe it's bakischis. But anyway, he certainly is an admirer of this man who was an early AIDS activist and certainly succumbed to the disease. But. But at the time, he had. He certainly made a big deal of how important this issue was when the government was certainly ignoring it. So this would sound like it would be a very serious endure show. It is. Not one hint of that would be the fact that Sam Pinkleton, who directed O Mary and got to Tony for his troubles, certainly knows his way around a comedian comic situation. And indeed, Morgan has done a great job in making this situation funny. Even though he starts off by quoting Frank Meyer's castigation of Liberace for never coming clean about being gay or having aids, he really took him to task and felt that it was one of the reasons why people did not take AIDS seriously, that you needed celebrities to do this. When a celebrity comes out and has a problem, people pay more attention. And indeed that was a big problem. So Frank Maya, he says, was one of the first out gay comedians on network tv, which is pretty interesting. I mean I, I didn't know that he died in 1995, but here it is 30 years later and somebody who isn't well known to the public is getting his due now. So I think it's really quite nice. But the show is only supposed to be about 75 minutes, but I dare say it was longer because the audience was laughing so much. It was really wonderful to see people respond to this and when it got serious they soberedly were quiet and that was quite wonderful as well. So I think this is a very successful show and I think you will have a good time at it and you'll also have a sobering time at it. And again, what I said about Steel Magnolias, a show that can make you laugh and make you cry, is certainly a success. And can I be frank, to be frank, is a success.

[Peter Felicia]

I just looked him up and sent we can put it in the show notes a clip of Frank Maya on the Dick Cavett show in 1990.

[James Marino]

Is that what it was? Yeah. I can't say that he's specific about what the show was, but I'm glad to know that that's what it was. And good for Dick Cavett who also shows up. We'll be talking about.

[Peter Felicia]

Well, I haven't watched this through yet, so I'm not sure if it's that same clip you were talking about, but he, this is right, sure, yeah.

[James Marino]

Who knows? Yeah, but I, I, I get your point.

[Peter Felicia]

And now that I see him, I, I, I definitely remember seeing him on tv. And yes, that was quite groundbreaking in those days.

[James Marino]

Wow.

[Peter Felicia]

Needless to say.

[Michael Portantier]

Okay, so can it be Frank at the Soho Playhouse. We'll have a link to it in the show notes. Both Michael and Pet. 54 below to see. 54 below sings Wildcat. Michael, why don't you tell us about this to start?

[Peter Felicia]

Yeah, this is a show, this is one of those shows. I actually own the album, but I don't hardly ever listen to it. Just one of those shows. I never really got to know that. Well, and no excuse for that, because it is Cy Coleman and Carolyn Lee who are a great, great team. Cy Coleman worked with, with many fabulous lyricists over the decades and mostly women. And mostly women. And as I mentioned, after we went to see the show. The other night, I was out talking with Ben Jones, who was in the show, and my friend Kenny Rotz, and I told him about how I interviewed Psych Holman once. It was around the time when the Life was being done on Broadway. And also there was that. That All Star concert version of Sweet Charity that was done, I believe it was what was then called Avery Fisher.

[James Marino]

That's right.

[Peter Felicia]

With. You know, and so that was an amazing thing. Anyway, I got to interview him in person at his home, and I asked him at one point, I said, you've worked with so many wonderful women. Was that. I said, was that a conscious effort on your part? And he gave. What Ben said is probably the best answer he could have given. He said, I just worked with whoever was the best person available at the time, you know, so that's. He was a real mensch psychoman. Aside from being such a great talent.

[James Marino]

An equal opportunity collaborator.

[Peter Felicia]

Yes, yes, very much so. Yeah. So anyway, I personally don't know Wildcat that well, but I, you know, I. I do have the album, and I put it on occasionally, and it's for the score. I think it's fair to say the score is much better than the book, which is a kind of a silly story by and Richard Nash, who is far more famous, and deservedly so, for the Rainmaker, which of course then became the musical 110 in the shade. But it's a story about a female oil prospector who's hoping to strike it rich in a Mexican border town in 1912. So, of course, you. You write a show like that and you think, well, Lucille Ball, you know, and she apparently was very game in the beginning, but I guess when someone has not done that kind of a performance schedule for their entire lives, and one is now, what was she, 50 then? Yeah. Well, anyway, she was not a young woman, you know, proved too much for her, especially since she was not a trained singer to. To put it mildly. And then she started to miss performances, and then the show closed for a while, and then it was going to reopen. But it. It only had, I think, 171 performances, so it was not considered a hit by any means. But there are lots of great pleasures in it. And certainly this production, produced by Charles Kirsch and hosted by Charles Kirsch and directed by Charles Kirsch, and with Michael Levine as musical director and pianist, they got amazing people, starting with. I reviewed the show in my new gig as a reviewer for NightLifeExchange.com and what I said was, the first clear indication of the high level of talent on hand was the opening number, Oil, lustily delivered by Noah Barnes, Mike Cefalo, Quinn Corcoran, and Bruce Landry, all so vocally gifted and bursting with stage presence that one could easily imagine any of them as the young leading man of many a golden age musical. This fabulous foursome continued as the show's male chorus throughout the evening. And Kirsch and Levine followed the pattern of their previous musicals in concert by splitting up the songs of the principals and supporting roles among various singers. So instead of one person singing the role of Wildcat Jackson, you had several, and et cetera for all the other roles. And of course, the only song from the show that really became a fair size hit was hey, Look Me Over. And on this occasion, that plum was handed to Mary Lou Henner as, quote, unquote, Wilde and Jenna Lee Rosen as her sister Janie. And they were both really fantastic, very energetic presentation of the number. And also, of course, I guess it goes without saying that Mary Lou Hender's voice is considerably richer and better than Lucy's. So that was a big, big hit with the audience, as you might imagine. And, you know, this never hit me before for some reason, but what do you think of this, Peter, as I was. Well, as they were performing it, and then after they performed it and then after the show was over and I. And I. And I looked back and said, well, you know, that that was definitely the best number in the show, it occurred to me that, you know, maybe it's a trunk song because. Because, yeah, because it's a wonderful song, but when you think about it, there's nothing in the lyrics that really has anything specifically to do with a specific plot. It's. It's just a very, you know, enthusiastic kind of look at Me song. And, you know, I'm. I'm gonna do what I want to do, but it could have been in anything, so I wonder. I. I suppose it's too late now.

[James Marino]

No, I'll. I'll tell you the story I heard, okay. It's been printed a few times, actually. They. They were, I think, even starting rehearsals, they didn't have it. But out of the blue, Carolyn Lee said to Cy Coleman, psy. Really using your own instincts, what would you. What would you do for an opening number for Lucy? I mean, come on, what would you do? I mean, if. If you really needed an opening number? And he just sat down and played the first bars of what would become hey, Look Me Over. So I don't believe it. Was. Well, of course it could have been a melody he had from way back when. It might have been a trunk melody, but it wasn't a trun song, so I'm told. I mean, you know, this is the story that has been made public many times, but it could very well be that it's a song he had in his head and always wanted to use it. But, but all things considered, I do believe that it was close to a last minute insertion.

[Peter Felicia]

Well, I'm glad I brought it up because I didn't know any of that. But. And it was actually the lyric that mostly that made me think it was a trunk song just because it has just, you know, it's, it's so that's true. It's very generic.

[James Marino]

Right. It could be in any show. I agree with that. Yeah, yeah.

[Peter Felicia]

Anyway, so. But Mary Lou Henner and Jenna Lee Rosen did a fantastic job with it. The show had Ryan Andes in it, who is the grandson of Keith Andes andis Andes, I'm not sure, but who played opposite Lucy in the original production. And he got to sing one of his grandfather's songs called what Takes My Fancy. Oh, no, I'm sorry, no, you've come home. What Takes My Fancy is a duet that was just absolutely put over a hundred percent by Lenny Wolp and Luba Mason. They really had a fantastic, fantastic cast for this show. Charles Kirsch is amazing the way he's able to get these people corral them to be in these shows. Seth Sykes and Nicholas King sang Angelina into Far Away Angelina in particular. Very beautiful song you're a Liar, which I, I called a challenge duet. I, I guess that's, that's fair. Was done brilliantly by John Bolton and Eve Plum. Eve Plum, AKA Jan from the Brady Bunch, who has a really good voice. I, I never, I'm not sure that I've heard her sing before. And one day we Dance was sung beautifully by Ben Jones and Jenna Lee Rosen. And the male quartet also did Tall Hope with Ryan Andes as the soloist and Corduroy Road. Then also in the show we're singing other songs were Sara Zahn, Eileen Graff, Ruth Gottschall and Paula Leggett Chase and Joe Newsom did a song called Tippy Tippy Toes which is probably not a really great song, but they just, just brought every ounce of energy and talent they had to it. And I would say it was one of the highlights of the show. And another highlight was a non musical moment because they got a video, a video testimonial or remembrance From Paula Stewart, who is now in her late 90s, and who played the role of Janie opposite Lucy when the show is done on Broadway. So. So that. That made it even more special. And I. I just thought it was a fun night and love to hear Peter's thoughts.

[James Marino]

Yeah, well, unlike. Unlike you, Michael. Boy, I knew chapter and verse of Wildcat. It was a favorite original cast album of mine.

[Peter Felicia]

Okay, great.

[James Marino]

And, boy, there was no lyric that was a surprise, except for the songs that didn't make the album, partly because of time constraints and partly because they were dropped out of Temple. So that Angelina song you mentioned was certainly one of them, and Far Away From Home is another. But. And of course, what was brought up is, ironically enough, as time went on, Lucy dropped two songs, including the title song, Wildcat. I mean, who would expect a title song of a musical to be dropped? But she was getting exhausted. And yes, the reason it closed is because she just ran out of gas and was getting injured. Ken Mandelbaum, in his book Nonsense Carrie, makes a very good point about it when he said that she. She wanted a week off and she took a week off and she left town and she had a glorious vacation. And as all of us know, when you take a vacation, it's so much harder to go back to work. And by that point, she had washed her hands of Wildcat. She really didn't want to do it anymore, and she could easily afford to do it because she had given the entire $400,000 to fund the production. So that's what it cost in those days to do a musical so she could pull the plug. She was the sole investor, so she would take the loss. It wasn't. She had an obligation to any of her investors, but I think it's a terrific score. She's often been criticized, and rightfully so, for bringing a little Lucy Ricardo into the mix. And you will hear that at the end of youf're a Liar on the original cast album, where she wails the way that Lucy Ricardo did whenever she was crying, whether they were crocodile tears or genuine tears. So. So that's on the album. Also, as time went on, she would say to a character, you remind me of Fred Mertz. Which indeed, was certainly not something Wildcat Jackson would say. But it is a terrific score. And partly because of as much as we love Cy Coleman, Carolyn Lee was a unique talent. She had what is known as signature. That's a term used for lyricists when you can tell from the lyric, who wrote the lyric, and she was. Was Earthy you know, don't pass the plate. When I figure whenever down and out, the only way is up is just one example of many. But in my mother's litter, I'm the independent critter. I mean, these are earthy remarks and she certainly had earthy remarks in her other shows. Certainly in Little Me, when the butler bottles the tea, I mean, there's something about that that's so wonderful. And in Hound Outdoor Jones. Watch your bloomers, Mabel. I mean, you know, that's, that's earthy. So. But I think Wildcat is a terrific score and a terrific album. And yes, it is true that Lucy did not have a voice that was much better than Lucy Ricardo's for that matter, but, but she's so game and it's so wonderful that these recordings in those days were made immediately after the opening when she still believed in the show and still wanted to do it. So that's really. As for Paula Stewart's video, I wasn't quite sure that I believed her when she said that in 1959 and 1960 she didn't know who Lucille Ball was. Isn't that true, Michael? That was part of the video.

[Peter Felicia]

Yeah. That was a very strange moment because.

[James Marino]

I mean, Lucy was a household name by that point through this TV series that took the nation by storm when it was introduced. Everybody on Monday night at 9:00 clock was in front of their TV sets tuned to CBS. So I mean, that was very strange how, however credit where it's due, this lady did not seem as if she was in her late 90s, did she, Michael? I mean, it was amazing almost to the point to which I thought she dragged out a video from way back when and, and had it shown. So what was really great were those force male singers. I mean, their sound was terrific.

[Peter Felicia]

I know, I know.

[James Marino]

Incredible.

[Peter Felicia]

Yeah.

[James Marino]

I mean, every voice was marvelous. And when you heard them singularly, you could tell that they really had great voices. I mean, predict brilliant futures for these guys who look good and sounded great. So I was, you know, it's funny, I'm getting chills right now thinking about it. I mean, that.

[Peter Felicia]

Yeah, because, you know, I mean, it's, you know, it's somewhat easy to get people to do these one night things for very little money if they're going to have a big showcase or two or three solo number, you know. But to get these four, you know, who, who basically functioned as an ensemble and had very little solo to sing. Yeah, it was an incredible luxury, I thought.

[James Marino]

I mean, this, you know, free zone where you feel like ginger ale has invaded your shoulders and the chill goes up. I just got it while remembering these guys. They were so good. Not that everybody else wasn't. I mean, it was just great to hear these ladies rip into these songs. It was really quite, quite fine. But I dare say that there were a few sales of the original cast album that happened on Masterworks Broadway, for which I write a column every Tuesday. And I'm going to write about this because. Reminding people of what a phenomenal score, a debut score, really, for both, when you come right down to it, because yes, indeed, Cy Coleman wrote a few songs for reviews along the way and Carolyn Lee wrote a few songs, but not all of Peter Pan. But this was each of the first full score that every song had their name on it and that, that it's quite a score and I am delighted, I was delighted to be reacquainted with it.

[Michael Portantier]

Okay, so another one night only at 54 below. And so check them out. We'll have a link to it in the show notes if you want to see any more information about it. Peter, you were down at Cape May Stage, I'm assuming cape May, New Jersey, sort of Atlantic City.

[James Marino]

Yep, 40 miles away.

[Michael Portantier]

All right. To see Sexy Laundry.

[James Marino]

I mean, doesn't this sound like one of those comedies that used to open on Broadway on Thursday and close on Saturday? But ho, ho, ho, who's had the last laugh here? Playwright Michelle Rimmel has had the last laugh because Sexy Laundry has played London Terrace, Zagreb, Budapest, Wakapakaru. That's in New Zealand and in Warsaw. It opened in 2012 and it's still playing there. Okay. It's in rep with other shows, but still, that's no small achievement. So now it's the Cape May stage, where the artistic director Roy Steinberg has given it a production that really explains its worldwide success because it's about a long term marriage. And the couple recently marked its 25th anniversary. I won't say celebrated, I'll say marked because the gas has gone out of it. And what Michelle Rimmel has really talked about is the fact that the irrefutable fact that science tells us that men reach their sexual peak in their 20s and women some decades later. And here it is some decades later in their marriage and Alice really wants Henry to do it with her. And Henry just, just isn't that interested anymore. We don't even get the impression that he's interested in other women. He's just not interested that much in sex. But she is. And she figures, well let's go to the hottest hotel in the city. Maybe that heat will rub off on. On Henry. So it does sound silly in some ways, but I'm telling you, some of the lines in this play really rang of such truth, truth, Even little things like Henry saying, we're busy people, that that's an excuse he gives, that they just don't have time for it. There's a discussion of whether she's sad about this or mad about this. Mad, of course, meaning angry, not crazy, though she will drive Henry crazy during this 90 minutes. It's she. She talks about fantasies. Let's talk about our fantasies. Well, he doesn't want to do that. He's embarrassed. And it's very interesting when she finally gets him to talk about his fantasies. It's a very romantic fantasy rather than a sexual fantasy. And we don't feel he's holding back. He's really telling us what he's thinking about. Ironically enough, one of the fantasies involves his children that he thinks of his grown children. He'd like to think of his grown children to think of him as funny and wise. Yeah, that's a fantasy all right. So, well, how is this supposed to get me in the mood? He asks when she wants to give him a massage. Must I relinquish one pleasure to have another is. I'm telling you, even the word croutons got a laugh, proving the long held theory that words with a K sound funny in it. Nothing ever measures up to what's in your mind, he tells her. But she has quite a few pungent statements as well that really, I don't want to keep going along because we're going along wrong. I hate what we don't do anymore. While he's saying I have to be happy with what I have. While she says, remember when we didn't care if we got enough sleep? These are all good perceptions. And I'm telling you, it was something to watch. The Cape May audience full of married people, probably of the same age or older, nodding their heads in recognition in between the laughs that they were getting. Okay, but you have to have a good couple to do the loves. And Roy Steinberg was very smart in getting a genuine married couple. Bill Timoney and Georgette Riley Timoney. They haven't quite been married 25 years, but they have been married 23 years. And so they really were able to get into these characters and they were astonishingly funny and moving. What's really something about Ms. Timoney is the fact that. Fact that she has a scene where she has to deliver dialogue while pretending to be on a treadmill. So she's actually running in place while delivering a long speech. I mean, this is exhausting. And yet she does it without seemingly breaking a sweat and getting a lot of important information out. So, because there is talk about exercise as opposed to sex, you know, that we do hear that that's a substitute in some ways, but certainly not every way. So. So she's really, really terrific. She has a wonderful side of her mouth delivery. She has a delicious giggle. And while the character occasionally could seem like a bubble head, certainly both her performance and the dialogue takes it away from that one. That seems to be a danger of happening. Now, Mr. Timoney, he was in the recent Broadway revivals of Pearly, Victorious in Our Town, and here he is. If. If they make a biopic of Johnny Carson, this guy's got to play the lead. I mean, I'm telling you, he reminds me so much of him, but he has a wonderful delivery in every line that he has. He knows exactly how to deliver a line. And a simple line like, I'm a man, I'm telling you, I just didn't do it justice. He does, but the way he gets it out has so much in it that it was flabbergasting to me how wonderfully moving it was. So he is terrific. Funny. He has great comic timing, but he also has great sensitivity. So I will grant you that if you go to see a show called Sexy Laundry, you would think it would be a full performance flop. It is not. And it's running for a few more weeks at Cape May Stage, a great place to be. Cape May is such a wonderful town. Certainly seeing the Victorian houses is a thrill. The Washington. Washington Street Mall is great fun, too. Great ice cream there, too. And so. And if you're a bird lover, boy, this is the place to go. I mean, David Sibley, who's the greatest authority on birds, says that this is his favorite bird place in the entire world. And believe me, he's written so many books that I guarantee you that his opinion means something. So even if you think that watching birds is for the birds, I don't think you'll feel that about Sexy Laundry.

[Michael Portantier]

Okay, Sexy Laundry, May Stage is running through August 24th, and we'll have a link to that in the show notes. Peter, back in Manhattan, you were at 59 East. 59, just slightly on the east side of the island. You know, we don't very often go to the east side of Manhattan, do we?

[James Marino]

No, no.

[Michael Portantier]

But parking at New armory.

[James Marino]

Yeah, but 50 90s, 59th is really, really, really made a go of it, needless to say. I mean, it always seems to be so busy. I go there quite a bit and I imagine everybody else does too. I mean, there are what, three stages? But this is on the main stage, which is again, a nice stadium seating venue. It's Theater A, as it's called. And by the way, not that they've asked me or they've even indicated anything, but if theaters A, B and C would like naming possibilities, I think that the theater would be grateful to have somebody pony up some money to have theaters named after them. But in the meantime, let's talk about Jean and Gilda, which of course is about Gene Wilder and Gilda Radner, who started off making a movie and they didn't get along. And eventually they did get along and they did get married and of course, divorce. It didn't end well. Not because of divorce, certainly, but because she got quite ill. So one of. I'll, I'll make two observations here that I think are significant. At one point we have dialogue directly from the movie the Producers, which of course, Gene Wilder played Leo Bloom directly, word for word, word for word. And neither he nor she acknowledges it. All we needed was lines saying, wait a minute, that comes from the Producers. That's what you're quoting. That would make it believable. But the fact that it was meant to seem like arbitrary dialogue was very, very strange and not very significantly interesting to me. All right, the other thing is Gilda Radnor is supposed to be conceived as a comic genius. Genius, fine. But I took issue when she said, when she got angry with him, what am I, chopped liver? Now, you know, if somebody is a comic genius, I think she might say something like, what am I, chopped Torosis? But I, I don't believe that Gilda Radnon would succumb to that well worn cliche. So I think those are two things that should be addressed by Carrie Gitter, who wrote the show. And certainly I kind of take any problems with the two people performing it. Jonathan Randall Silver very much resembles Gene Wilder, but certainly has his speech patterns and delivery. So he's very successful. A tiny bit less successful is Jordan Kai Burnett, who doesn't look nearly as on target as, as he does. Again, she's close, but he's closer. That's all. I mean, and, but she's fine in the role, no question. And some of this has to go to credit to Joe Brancato, who directed. Now this comes from Penguin Rep, a marvelous theater that's made a go of it for decades up in Stony Point, New York. Who would expect a theater in Stony Point, New York, could really succeed? But as I've always said about Joe Brancato, and I mean this, I will never forget being at a Talk Back after a show there, and he's calling on people in the audience. Charlie. Yes. What do you have to say? Alice? Yes. What do you have to say? He knew every person who was in the audience. And I think that's one of the reasons why Penguin Rep has succeeded. And so it's very nice that they're bringing shows to New York again. I have nitpicks with this show, but there are nits to pick. So I hope this show goes forward, and I. I would be very pleased if the two people in it would go forward with it. But I do think those two things should be addressed. Let's see a little more originality from the character of G. Radnor. And let's have an acknowledgment that Mel Brooks wrote what these two people are dealing with.

[Peter Felicia]

That is so strange that. About how long of an excerpt would you say it was from the Producers?

[James Marino]

It's the scene early in the show, early in the Producers, where Zero Mostel throws water at him. I'm wet. I'm wet. You know that scene? Yes. I'd say at least. Least ten lines.

[Peter Felicia]

Boy, that. That's.

[James Marino]

Yeah, Isn't it? Isn't it? Yeah. Oh, I'm glad you agree.

[Michael Portantier]

Okay, so Gina Gilda at 59 East 59 is running through September 7th, and we'll have a link to that in the show notes. Finally, in the review section this morning, Peter, you saw Ginger Twinsies. Did you get a red wig?

[James Marino]

No, this is a musical parody of the Parent Trap. More parody of the remake with Lindsay Lohan than the original with Haley Mills. But. And to me, the mumic was quite sophomoric. What it reminded me of was a not so good Hasty Pudding Show. There have been wonderful Hasty Pudding shows. Believe me, I still have fond memories of A Hit and A Myth and all the Queens Men, but. And with character names like Walter Wall Carpeting, they're very. They can be very funny. But some of them are real misfires. And this one seemed to me very, very sophomore human. But the one thing I hated beyond belief, and I mean hated. And I think it should be excised immediately. There's a joke, joke, a joke. Wanting to get a laugh about aids. Now, here's the thing. Obviously, these this was written and conceived by people who are young and didn't go through this. But for those of us who remember the AIDS crisis, and I wish these people had gone to see the Inheritance, which at the end of the first section had a long sequence about what it was like when you were hearing your friends and relatives or even strangers had it and whether where they were in their decline. I mean, so the fact that we always hear the comedy is tragedy plus time. But I think a joke about AIDS is still much too on target recent to have it be the butt of a joke. So. So that's what I hated about Ginger Twinsies. Very well performed, no question about it. Excellent costumes, no question about it. But boy was I turned off by that remark.

[Michael Portantier]

Okay, Ginger Twinsies is at the orpheum Theater through October 26th. We'll have a link to that in the show notes as well. Michael, our friends down at Arena Stage are doing a production of Damn Yankees coming up up. So tell us about this coming up production.

[Peter Felicia]

Well, I've already got my tickets for opening night for two reasons. The cast is pretty great, but also I am so curious as to how the show is going to be revised for this production just based on what little we've read already. If I may quote the beginning of the Playbill article on it. An all star team has been assembled for Arena Stage's upcoming premiere of a new adaptation of Richard Adler, Jerry Ross, George Abbott and Douglas Wallops, Damn Yankees with a revised book by Will Power and Doug Wright and new additional lyrics by Lynn Ahrens. Sergio Trujillo will direct and choreograph the revival playing the company's fish Handler stage this fall 9th through November 9th. And then there's a little background on the original production. The upcoming revision will reportedly retain the original score with a book quote gently retooled for its first major revival in the 21st century, moving the action from the struggling Washington Senators baseball team to the turn of the century. That that is, you know, year 2000 Yankees lineup who dominated the sport with three back to back World Series wins. So first of all, if I understand correctly, the Joe Hardy character is now going to be playing for the Yankees. And to begin with, I don't know how the title is going to fit in with that. So I'm very curious about that. I don't know the extent to which the book and the lyrics are going to be revised again. It's described as gently retooled, but somebody online I'm pretty sure it was. Seth Kristenfeld reacted to the description and he said what's gentle about that? I mean it sounds like a major major so many reasons why this show was originally written and set in the mid-50s. You know, would would need to a huge overhaul in order to work in the year 2000. So also interesting that they this production is going to be done in Washington D.C. but they have rewritten the book apparently so that it's set at a time when Washington had no baseball team because this was between the time time that they had the Senators and then later the Nationals. So that seems rather ironic, doesn't it? Anyway, but the cast sounds so good. Robin McClure as Applegate, Ana Villafanye as Lola, Jordan Donica as Joe Hardy, Quentin Earl Darrington as Joe Boyd, the older incarnation Brianna Marie as Meg Boyd, Alicia Umfrey, Doris as Gloria Thorpe, Niall Joshi as Van Buren, Kenan Carter as Welch, Rayanne Gonzalez's sister and Sarah Ann Sillers as Doris. All of those character names are from the original and another reason I'm excited to see it is my friend Giuseppe Bosilio, who has been a guest on our podcast, is going to be in the ensemble. So I'm going for those reasons. But I'm so curious as to what they're going to do with this. Thoughts, Peter Based on just what I've.

[James Marino]

Just said, 112 thoughts about this first off, there was a production at the North Shore theater in Beverly, Massachusetts some years ago where Joe DePietrio rewrote it, and it made much more sense to have the Yankees and the Red Sox be the two teams in question. Because even though the Yankees have watched the flow with the Red Sox talks far more often than not, not exclusively, people are still smarting about 2004, and some people are still celebrating about 2004. But but the situation makes much more sense because they really are considered the one of the biggest rivalries in all of sports. So it made sense. However, there is that line in you got to have heart. A great slugger we haven't got well. Indeed, during the 50s, the Red Sox did have a great slugger whose name was Ted Williams. He was the last player to hit over.400. He hit.406. I believe it was in 1941 and nobody has done as well since. By the way, that wasn't enough to make him the most valuable Player of the year because Joe DiMaggio was, because he had it in 56 straight games, another record that's never been broken. So anyway, there were problems there. I do agree that it would be A little icky to have it set when Ted Williams left the team to fight in Korea, but nevertheless, that would at least explain a great slugger we haven't got. But there's much more sense in having the Red Sox and the Yankees be the rivals. Okay. However, I have had problems with Jamie Yankees, as much as I love the score since the first time I ever saw it in any incarnation, because here's Joe Hardy, who came out of nowhere and people are doing some investigating, especially Gloria Thorpe. And Applegate isn't above saying that he was really Shifty McCoy who took a bribe and was banned from baseball because, of course, Mr. Applegate is the devil and he wants to keep him in hell for his now and for forever. So. So they're going to have a benefit to Joe Hardy's fans are going to really rally behind him and hope that he can be reinstated. So they're going to have a benefit. This was a famous George Abbott thing only a year before in the pajama game when Babe was fired, they had a benefit for her, you know, and so anyway, there's an irrelevant song called who's Got the Pain? Which had to do with the mambo, which was a craze then. It was. It was a big dance craze at the moment. So. So when. So you want to give a big number to Gwen Verdon playing Alola, fine. Yeah, we understand. However, let's go back to when Joe Hardy is trying to get on the team and there he is and there. It's not a game, understand? This is just batting practice. So he gets up and he hits one home run after another. Okay, that's fine. That's terrific. However, all the ball players start singing Shoeless Joe from Hannibal, Mo. And isn't it wonderful that this guy is so terrific? Came along. Always going to be, you know, you don't know that there's profound difference between batting practice and a real game. There have been players. In fact, Arthur Miller wrote a play called the man who had all the Luck about a player who was really terrific until he was in front of a crowd and then he couldn't pitch. He was. He just got stage fright. So as a result, you don't know if this guy is going to be terrific. No. Shoeless Joe from Hannibal Moe should be the number that they do at the benefit. That's what it should be. So, I mean, so I've had a million problem problems with. With things like that and Damn Yankees. So. So as a result, I do believe Damn Yankees needs work, but. And I also think that you gotta have Heart should be a number that Joe Hardy sings after he's. The team is really getting on the right track. He should sing you Gotta have Heart. That I think that would be wonderful as well. But of course it's so easy to fix everybody else's show. And needless to say, I'm writing this in my new book called Musical Makeovers, constructive criticism for Broadway hit hits and flops, which should be out early next year. But I certainly make a big point of this. But these are things that have always rankled me above Damn Yankees. But it doesn't seem to me that this has been a good decision for all the reasons that Michael just detailed, because he's right on target as far as I'm concerned. And this mystifies me so.

[Peter Felicia]

Well, apparently I was wrong about one thing because it's very confusing. What I just read, I thought made it clear that it sounded like he was now going to be playing for the Yankees. But now I find another line. Here it says, set against the backdrop of the early 2000 Yankees dynasty, when the Bronx was home to a seemingly unbeatable lineup of MLB superstars, a die hard baseball fan makes a deal with the devil to help his rival team clinch the pennant. So that it. So that is basically what happens in the original. But, but I'm still confused because if I understand correctly, this was a time when there was no, there were no Washington Senators and there were no Nationals. So. So I'm not sure what team the rival team is going to be, but I guess we'll, we'll find out about that.

[James Marino]

Given this being done in the arena stage, you would think it would be a Washington team.

[Peter Felicia]

Well, exactly.

[James Marino]

Yeah, but, but nevertheless, if the team's not playing, then it's not playing.

[Peter Felicia]

Then maybe it's going to be about the birth of the Nationals. When did they first. Absolutely. When did they first start?

[James Marino]

I can't say I know.

[Peter Felicia]

Yeah, maybe. Well, we'll see. I mean it sounds interesting, but the.

[James Marino]

Iron irony is the Washington Senators in essence din with the pennant some years after Damn Yankees, in essence, because the team moved to Minnesota and Minnesota twins, I think 1965 maybe won the pennant, but they didn't win the World Series. That's always been a problem with the novel too, that Joe Hardy disappears in the show as well. Then Joe Tardy disappears after winning the pennant. Yeah, well, the big prize in baseball is not the pennant, it's the World Series, you know, so, I mean, you know, I mean, so always been bizarre to Me, because I don't think there's any baseball fan who has been satisfied when a team wins the pennant. Now they're looking forward to those next four to seven games when they can win what is known as the World Championship, even though it was only the United States. That. But the World Series, which I always felt was misnamed, but that's another story.

[Peter Felicia]

I do love the fact that the, the, the book on which all of it was based was called the Year the Yankees Lost the Pennant.

[James Marino]

Right.

[Peter Felicia]

I just think that's so cute because, you know, in other words, it was, it was news when they didn't win. You know, it was like a major occurrence. And that's. I think that's cute. One last thing. On the casting of, of this show, which, as I, as I said, I think sounds great, but as far as Jordan Donica as Joe Hardy and Quentin Earl Darrington as older Joe, Joe Boyd, a friend of mine said, this will be the first time in history that older Jo. Joe is better looking and has a better body than younger Joe. I. Quentin Earl Darrington's shout out to you from my friend who said that.

[James Marino]

I saw a production of St. Peter's High School in New Jersey where there was Joe Boyd. And when Joe Hardy emerged, unlike Joe Boyd, he was black. And you know, that makes great sense because the best players have been black. I mean, I think that's a great idea and that should happen. Happened in this production, especially in Washington, which has a great black population. What was I doing in St. Peter's High School? You're asking. Seeing Damn Yankees. I was asked to go there because parents called me up, said, listen, that daughter is playing Lola and she's driving us crazy because she won't listen to our advice. We're giving her advice about what she should do with her life, and she just won't listen. So would you please come and see her and see if she really is any good? Because we know that she could be a superstar where she wants to be a lawyer. I mean, you usually don't hear that. You said the other way around. I went, the girl was terrific. Afterwards, the parents came up to me and said, see, See, wasn't she? Yeah, she was great. She was phenomenal. Yes, indeed. The girl came out. I said, you were great. Now go be a lawyer because that's what you want to do. They were furious with me. And that lady is now on the Supreme Court. No, that's not true.

[Peter Felicia]

That lady is now Sonia Sotomayor.

[James Marino]

Right.

[Michael Portantier]

So I. Peter, when you were talking about a picture losing his mojo. I thought of Bull Durham.

[James Marino]

Yeah, that's coming up.

[Michael Portantier]

And that is coming up at Paper Mill coming up in October. And so we have a lot of baseball musicals to think about in, in the immediate future here. So. Yeah, I mean, I just looked at my database here. Bull Dorm's been kicking around for a long time.

[James Marino]

It has. What it all comes down to is you really just need to find the right people who believe in it. You know, that's what it really is. It doesn't mean the show isn't good. It just means that there has to be an ideal fit and somebody really believes. And that's obviously what Bulbul Durham has found now. And I'm very happy for it because it's a terrific movie and we'll see what happens.

[Michael Portantier]

Okay, so other things in the news, Michael. So much of social media is, is flooded with videos of Cynthia Erivo singing Get. So tell us about why we're seeing that.

[Peter Felicia]

Well, this is a production, concert production of Jesus Christ Superstar that's happening this weekend at the Hollywood Bowl. And I think the, I think the last performance is tonight. Only three, I think. But of course, the minute the first one happened, video clips started to appear. And I have to say, I mean, I, I, I, I personally, personally don't think, I didn't think I needed to see or hear any woman in the role of Jesus. But, but I have to say she, you know, I mean, there was never really any doubt that she would give a brilliant performance vocally and acting wise. And certainly I think that applies to her Gethsemane. So I think you'll find it's a very well shot video of the entire number and I think it's definitely worth watching. So we're including a link to that in the show notes. The cast also includes, I didn't explore further to find out if there are other clips, but the cast also includes Adam Lambert as Judas, who apparently is also amazing. Philippa sue as well. Mary John Stamos filling in for Josh Gad as Herod. Because Josh, I think had some kind of an injury. I, I did read that he was scheduled to be back today for the final performance. Wonder if they'll do a pro shot. I don't think they've done pro shots of any of the previous Hollywood bowl concerts and there have been some really star studded ones. But even if it's not pro sh shot, I think you're gonna probably get to see a lot of it on YouTube through, you know, amateur clips. And it's Definitely, definitely worth the time in my opinion.

[Michael Portantier]

Okay, so, yeah, the, the videos are flying all over the place. The one that I've seen looks very professional. So.

[Peter Felicia]

Yeah, actually, yeah, the, the one I did, I mean, I think it was amateur, but it was very steady and the quality was excellent. So, so I'm not sure.

[Michael Portantier]

Well, I mean, if, if that's the target market of directors of photography for video and film and television, certainly Hollywood is the right place to find the people that would have the right equipment to do that.

[Peter Felicia]

Good point, good point.

[Michael Portantier]

Hey, we need to get them over to the Town hall this year for the upcoming new season, right?

[Peter Felicia]

Yeah, they had a big announcement of their new season and it sounds like some really exciting things. Most of all, the, on September 15th at 7:30pm they're going to present John Cassavetes Opening Night in concert. And, and I'm sure some of our listeners know Opening Night is the first stage musical with music, lyrics and orchestrations by Rufus Wainwright. Based on the classic 1977 film, the Musical had its world premiere in London in spring 2024 and has a book and well, has a book and was directed in London by Ivo Van Hove. Now, since, now since this is going to be a concert presentation at Town Hall Hall, I, I, I, it's not unclear. It's unclear if Evo Van Hove is involved directly. I'm thinking maybe not, but who knows? Anyway, the cast. The cast, are you ready? The cast will include Sarah Bareilles, Laura Benanti, Darren Criss, Patti Lupone, Elizabeth Teeter and Rufus Wainwright. And the evening will benefit the aclu, which certainly can use all the help of it can get in these very difficult times. So I think that sounds like an amazing event. But they also have several other things of interest coming up. I just noted a few. They're doing Disney and Pixar's Coco in concert live to film. So apparently they're showing the film, but the music will be performed live live along with a film, including the vocals. I mean, I, I've seen many films done by, for example, the Philharmonic where, where the orchestra plays along. But, but in those cases when they, when they were musicals, they, they would keep the vocals from the film. And usually they weren't musicals anyway. They're show films like Star wars and I'm going to see Psycho at the Philharmonic coming up. So this, this would be a new experience for me to have the music perform live, including singing. But I really loved that movie. I don't know if you, either of you guys saw it. I Thought it was so wonderful and so sweet and I, I've always said that I think it would be a prime candidate for stage musical adaptation. I think maybe, maybe Disney will get to it at some point. Although I have heard and it seems that they've been dialing back greatly their theatrical. Yes, yeah. But anyway, maybe this will spur something. Who knows? Also coming up at Town hall. Oh, Coco in concert is November 1st. Annagus Stiers, sugar and booze, December 5th, 15th. I really like Anaga Styer. Taylor Mack I guess does an annual holiday show there and he's going to be doing one again this year. Anaga styr is December 15th. Taylor mack is December 19th and 20th and then world premiere of Body and Soul. Town hall has commissioned Vernon Reed to compose a new original score for the African American cinema classic classic Body and Soul. So I think all of those sound very interesting and those, that's only a small fraction of what's coming up at the Town hall, which is one of the most venerable halls in New York City that thank God, has survived the wrecking ball along with Carnegie Hall. And there's so much history there. When you go there and just look at the walls and see the, the plaques and posters on the walls of people who performed there from Marian Anderson to Paul Robeson to, and, and it was also back in the day it was, it was most famous as a lecture hall. So there were a lot of non musical performers who spoke there over the decades. It's just, just a great, great place that really should be patronized.

[Michael Portantier]

So we didn't talk about this ahead of time, but I want to throw this out there to ask your thoughts about it. Not so much the cancellation of Colbert, which we can discuss for hours about why and how and things like that, but the Ed Sullivan Theater.

[James Marino]

There has been some noise that, that may become a legit house again.

[Peter Felicia]

Yeah, One thing that interested me was I read, and I'm sure you all did too, that now I don't have the numbers in front of me, but originally it was something like, something like 1200 seats, but then reduced to, I think it said 300, about 300 for, you know, for its incarnation as a TV studio. So did they just, I mean, aside from everything else, did they just close a mezzanine or a balcony?

[James Marino]

I, I, I was in there just once. There was a very strange show called Dream Stuff. Do you remember this?

[Michael Portantier]

No.

[James Marino]

It ran there for a long time, like over a year I think in the 90s before David Letterman set that theater, wasn't he? Yeah.

[Michael Portantier]

Yeah, yeah.

[James Marino]

So before David Letterman took over, there was a show that, in fact, I think the show had to get out because David Letterman was coming in. I think it was called Dream Stuff or something like that. And it was a very, very strange show. I did go. But I really got the impression that so much of the theater was changed into a lobby and. But, oh, it was about 300 seats. That sounds right to me. But I was very sur. Because, of course, this was the Hammerstein Theater at one point, a long, long time ago, maybe a century ago. But nevertheless, I was very surprised to see that was so reduced. But it was so. I. I think it would take a lot of work to make it a legit theater. But, you know, they claim we need theaters. I'm amazed that the Ziegfeld Theater, the movie theater, didn't become a legit theater when indeed it stopped being a movie theater. It has to be cheaper to renovate made an existing building than to start from scratch. It just has to be. I mean, I know nothing about construction, but that much I feel secure in saying.

[Peter Felicia]

Yeah, but also on that note, it would be probably easier to do it to the Ed Sullivan than to the Ziegfeld, because the Ed Sullivan was originally built, you know.

[James Marino]

Yes.

[Peter Felicia]

As a. As a legit theater. And so acoustically that's fair. You know, whereas that, The Ziegfeld, of course, was, you know, was always. That zeld was always originally intended as a movie.

[James Marino]

Movie theater. Yeah, that's fair.

[Michael Portantier]

I want to say that the Ed Sullivan Theater might be a little bit different than any other theater, like if the Times Square Church Hellinger were to come back, because when Letterman and then Colbert moved in there, they gutted the whole thing and. And made all the improvements, you know, bathrooms and air conditioning and electrics and things like that. So I think it might be an easier transition. I don't have any inside information about this, but if it were to be possible for, you know, one of the major landowners to step in there or somebody who won the Powerball to permit purchase that and make that into a legitimate theater, that would be interesting to me.

[Peter Felicia]

Well, didn't we. Haven't we heard that Andrew Lloyd Webber was in the market for a theater and that he had shown interest in the Mark Hellinger.

[James Marino]

Yes, we have heard that.

[Peter Felicia]

Yeah. So note to him.

[Michael Portantier]

Oh, yeah, yeah.

[Peter Felicia]

I am a little surprised, Peter, that you're saying you feel like that they increased the lobby greatly.

[James Marino]

It seemed it to me.

[Peter Felicia]

I wonder why they would have done on that.

[James Marino]

Yeah.

[Peter Felicia]

For a TV studio.

[James Marino]

Well, I guess the feeling is that they. No, I don't know. I'm giving up right now.

[Peter Felicia]

Okay, that's fine.

[James Marino]

Fair.

[Michael Portantier]

You know, it's, it's all about selling merchandise, as we learned in Spaceballs.

[James Marino]

There's something to be said for that too, isn't there?

[Michael Portantier]

So maybe they need a larger lobby to sell T shirts and hats. So. All right, so that wraps it up for this week. Before we get on to our brain teaser and our musical moments, I want to remind everybody that you can subscribe to these broadcasts by going to the front page of broadwayradio.com there's a subscribe link. That way each and every time we have a new episode of this week on Broadway, it'll be automatically downloaded to Apple Podcast for you. Of course, you don't have to listen to us in Apple podcasts as many ways to get us. One of the ways is Patreon P-A-T-R-E-O-N.com broadwayradio. And if you quickly sign up this week, you'll be able to get all of Jan Simpson's exclusive podcasts in our Patreon feed, where she has all the drama, dinner with friends, the 2000 Pulitzer Prize winner for drama, and the stagecraft Carrie Gitter on Jean and Gilda. So get over to patreon.com contact information for Peter from Michael and me can be found in the show [e-mail] as well as links to some things we've talked about today. So, Peter, do you have an answer to last week's Brain Teaser?

[James Marino]

Believe it or not, I do. He won multiple Tonys for the books he provided for musicals, but he also wrote a play that closed in Philadelphia. If you take the first two words of that floppy title, you'll have the name of a person who has never appeared on Broadway, but one who did provide voices for a play that opened in the first decade of the new century. Received one and only one Tony nomination, but that one nomination resulted in a win. Well, I'm talking about you. Wheeler won Tonys for A Little Night Music, Candide and Sweeney Todd. But he also wrote an out of town disaster called Rich Little, Rich Girl. Rich Little provided the voiceovers for Hollywood Arms, which received a Tony nomination and a win for Michelle Michelle Park. Tony Janicki was again first, followed by Isaac Blebbins, Sean Logan, Juliet Green, Ingrid Gammerman, Alan Loder, Brigad, Sam Taylor, and Fred Abramowitz. This week's the musical title was all of one word. It referred to the first Name of its main character who had three names. The play on which it was based gave the first and middle names of that character. Character, but not the third. And here's a hint. The musical opened approximately eight and a half years after the play had opened. I almost said the play, the musical opened approximately a number of years. That was the basis of a Tony winning musical. But I thought that would be too hard. I'm just leaving it at eight and a half. So life's hard enough. What's the name of the musical, the play and the full name of the character?

[Michael Portantier]

Anytime you say eight and a half, don't you automatically have to say nine the musical?

[James Marino]

Well, that's it, you know, I mean, so just life's hard enough, you know.

[Michael Portantier]

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

[Peter Felicia]

Well, I went to see a lot. Lovely production of Fiddler on the Roof on Staten Island. It was done at the College of Staten island, which, believe it or not, I had never been to before. In its current incarnation, where it has been for quite a few years now, they are now located on this site of the. Well, the formerly infamous site of the old Willowbrook State School. Sure, many older New Yorkers remember that story, but the facility itself, the venue is that in which this show was done was quite wonderful. Apparently. It's. I was told it's about 450 seats and beautifully equipped and state of the art stuff in it. And then I was told that across the hall is a thousand seat concert hall that I've also never been into. So I'm gonna have to kind of pay more attention to what goes on there. But this is a revival of. They used to do summer theater apparently at the College of Staten island before the pandemic. And then that put an end to it until now, and now it's been revived, produced by Charlie Sedenberg and directed and choreographed by Bronwyn Fugate, who played Adelaide when I did Guys and dolls at the St. George Theater, which Peter.

[James Marino]

Saw and Michael was really good. Anyway, go on.

[Peter Felicia]

Thank you again. But, but she, I, I knew her this, that was the first time I worked with her as an actress when she was playing Adelaide. And I thought she was great. But I knew she also directed high school shows at Curtis High School. I hadn't gotten the chance to actually see anything, but this was a major, major community theater production with a Very large cast of one of my favorite shows. And Ronman did just a brilliant job directing and choreographing it, despite the fact that apparently she. She had some sort of an injury during the rehearsal process and she had to rely on an assistant to actually, you know, get. Get up there and show people what she wanted to do. I mean, can you imagine? It's hard enough to direct and choreograph Fiddler, you know, without having an injury. So brava to her for pulling through on that. Musical direction for this show was by Donna d', Amelio, who conducted Guys and Dolls when I was in it. And the cast was full of people who I have worked with some as long as 45 years ago, not to mention sometimes their children and even in a couple of cases, their grandchildren. I would say I Knew at least 50% of the people in this huge, huge cast, and it just was so well done. And, and, and all of the leads were great, including a fellow named BJ High as Tevye, whom I saw probably 25 years ago as Sid Sorokin in the Pajama Game at Wagner College. Well, he has morphed into someone who could very, very, very credibly play Tevye. And he has the voice, you know, he still has the voice that he displayed as Sid Sorokin, but now it's deeper and richer. And it is nice to hear it. Teva, who. Who does have a very strong singing voice, as well as all of the. The charisma and the acting ability and the comic brilliance that's needed for that role. So he was really great. And I. I got to see him very briefly afterwards, and I went up and said, you were fantastic in this. And also I saw you as Sid in Pajama Game at Wagner. And he goes. He goes, oh, so you're a longtime fan. But anyway, that was. That was fun. Lee Tenenbaum as G. Golda Seidel, Amelia Gordon Huddle, Allison Kuhn and Cava Ms. Katie Micah, who I know because she's, again, the granddaughter of someone I've worked with for almost half a century, but she has some. Some professional credits. She works, was in gypsy with Patti LuPone. She was in how the Grinch Stole Christmas on Broadway and the national tour of Billy Elliot the Musical, which she was in with my aforementioned friend Giuseppe Brasilio. So that's the kind of level of talent they have here. Many of the other people have no professional credits. But. But, you know, as I know Peter will be the first to agree, sometimes you find incredible, incredible talent in community theater. And this, this was one of the. It was so, so well directed and so well choreographed and, and the whole thing moved so beautifully. And it, it just. Any minor flaws in it were completely, completely overlookable because just they got all of the major things right. And I'm going to tell you, and I'm not exaggerating, this was 10 times more satisfying than the last Broadway revival, which every time I think about just almost makes my blood boil because I really disliked it so intensely. If you could see this, which you probably can't unless you can get to Staten island by 2pm today, I think you might agree it just was, was and is a lovely, lovely, beautiful production of one of the greatest musicals ever written.

[Michael Portantier]

Okay, so on behalf of Michael Portentier and Peter Felicia, this is James Marino's saying. Thanks so much for listening to your Broadway radios this week on Broadway.

[Peter Felicia]

Bye.

[Michael Portantier]

Bye.

[James Marino]

Bye.

[Peter Felicia]

Bye. Thanks, guys.

[James Marino]

Matchmaker, matchmaker Planning on Ma? I'm in no rush maybe I learned Playing with matches A girl can get hurt so bring me the fighting of mine I see.