BroadwayRadio: This Week on Broadway for August 31, 2025

Featured Guest: Adam Pascal
Main Theme: Jukebox Musicals, Directing Foreigner's Musical, and Adam Pascal’s Theater Journey

Overview

This episode centers on a rich, candid conversation with Broadway star Adam Pascal, known for his roles in Rent, Aida, and many more. The hosts (James Marino, Peter Filichia, Michael Portantiér) delve into Adam's directorial work on a new jukebox musical built around Foreigner’s catalog, his thoughts on what makes these shows succeed (or fail), and his unique entry into musical theater. The episode explores broader industry trends, the development and artistic challenges of bio and jukebox musicals, and Adam’s reflections on his career, influences, and family.

Key Discussion Points & Insights

1. Adam Pascal’s Directorial Debut: Foreigner Musical

[05:08–07:32]

• How Adam Got Involved:
  Long Island University invited Adam to join their visiting artist program for theater students. As an add-on, they offered him the chance to direct the world premiere of a new Foreigner musical.

  • “I was incredibly honored...I jumped at the chance...It almost literally fell into my lap.” (Adam Pascal, [06:02])

• Development Process & Book Challenges:

  • Adam inherited a book (script) he rejected for lack of viability:
    “I read it and I said, I can't do anything with this. If you go out into the world with this, you're going to lose and I don't want to be the loser attached to it.” (Adam Pascal, [11:45])
  • He worked with writer Stephen Garvey to build a new story, set in the 80s, with a more comedic tone, focusing on the importance of a strong book in jukebox musicals.

• Artistic Philosophy on Jukebox Musicals:

  • Cautions against overloading a show with too many songs:
    “The first version of this original script...had 35 songs in it. Where’s the room for the book?” (Adam Pascal, [15:20])
  • Believes story comes first, with hits used strategically, not just for nostalgia.
  • Inspired to avoid classic pitfalls, focuses on clever integration of songs:
    “The importance of the story is what’s important…not cramming Foreigner down everybody’s throat every second.” (Adam Pascal, [16:41])

• Questions Broadway as the Pinnacle:

  • “The business model of a successful musical going to Broadway and having Broadway be the pinnacle of its success I think is broken…I don’t see Broadway as necessarily...the final stop on a journey for music.” (Adam Pascal, [18:14])
  • Highlights the value of regional and international audiences for new musicals.

2. Approach to Directing and Lessons from Experience

[07:32–10:47]

• Influence of Michael Greif (Director of Rent):

  • “He was, you know, and continues to be a mentor in that regard and a great friend.” (Adam Pascal, [07:46])

• What Makes a Good Director?

  • “I think I’m really good at working with actors…I know how to talk to actors, and I know how to explain what I’m trying to get from them.” (Adam Pascal, [09:50])
  • On giving line readings to actors:
    “Don’t ever give an actor a line reading...I’m always like, no, no, give me the line reading and tell me how to do it. I don’t want to sit here for 10 minutes while you try...to not offend me.” ([10:00])
    Adam advocates for clarity and direct communication.

3. Foreigner, the Band: Personal Connection and Production Details

[19:32–24:09]

• Adam’s Early Fan Days:

  • “Some of my earliest memories of...being a singer...was Foreigner. ...I was a huge fan.” (Adam Pascal, [19:38])

• Band’s Current State:

  • “The current lineup...has no original guys in the band...But the band sounds better than they ever did.” ([21:01])

• Funding and Community Engagement:

  • Foreigner is doing an “unplugged” concert at the Tillis Center, proceeds from which will fund LIU’s production of the new musical, involving students and a local high school choir.
    “So the budget for our production...is coming from them and coming from this concert.” (Adam Pascal, [23:54])
  • The musical is as much an educational process for students as a professional project.

4. Adam Pascal's Path from Rock Singer to Broadway Star

[27:57–33:42]

• Unorthodox Route:

  • Adam did not do theater growing up; he was a rock band musician until 1995, when childhood friend Idina Menzel tipped him off about the Rent audition.
  • On entering musical theater:
    “I just wanted to be Jon Bon Jovi or Bono…That was my path…Never did [musical theater] growing up.” ([28:19])
  • Describes the industry as then rigid, pigeonholing artists into either music or theater, unlike today’s fluidity.

• Career Evolution:

  • Aida and Cabaret allowed growth beyond the “rock musical guy” label.
    “If I’m going to do this, I’d like to explore what it’s like to really sink my teeth into musical theater.” ([31:00])
  • Developed passion for musical comedy:
    “If I had my druthers, that’s where I would continue…trying to make people laugh.” ([33:34])

5. Further Notable and Memorable Moments

On Family and Fame

[33:42–35:27]

• Adam’s two sons are not impressed by his theater connections or celebrity friends—if anything, they’re uniquely indifferent.
  • “Neither. They could care less about either. Honestly.” (Adam Pascal, [34:01])
  • Adam jokes about not fitting the model of a “guy’s guy,” relating more to artistic pursuits.

On Dream Roles

[36:08–36:39]

• Enjoyed performing concerts with Anthony Rapp and floats the idea of the two starring in The Producers as Max and Leo.
  • “Mia’s Max and Anthony as Leo...So anybody out there…bring it back for us.” ([36:30])

On Adapting Iconic Albums for the Stage

[36:40–40:53]

• Skeptical about adapting “heavy” rock concept albums like Pink Floyd’s The Wall or Queensrÿche’s Operation: Mindcrime:
  • “I don’t think so, because...it’s so depressing…there’s no happiness in that record.” (Adam Pascal, [37:01])
• Draws on his Chess experience: sometimes concert presentations are the best avenue for non-traditional theater material.

On Rent and Jonathan Larson

[40:53–41:16]

• Most-asked question:
  • “What was Jonathan Larson like?”
  • Adam only knew him for “probably four weeks,” a fact he finds disappointing.

Selected Timestamps and Quotes

• Getting the Directing Offer:
  “It almost literally fell into my lap.” – Adam Pascal [06:02]
• Rejecting the Original Script:
  “If you go out into the world with this, you’re going to lose and I don’t want to be the loser attached to it.” – Adam Pascal [11:46]
• On Jukebox Musical Pitfalls:
  “I haven’t seen too many things to do, but I’ve seen a lot of things not to do.” – Adam Pascal [15:45]
• Adam's Entry into Broadway:
  “I never did [musical theater] growing up” – Adam Pascal [28:19]

Other Episode Segments (Brief Highlights)

Pen Pals at DR2 ([43:19])

• Peter Filichia reviews a touching production about lifelong friendships, with rotating casts including notable actresses.

Provincetown Recap & Reviews ([46:57])

• Michael Portantiér covers Marilyn Maye’s triumphant return, Nicholas King’s concert, and a production of Vanya and Sonia and Masha and Spike.

The Day I Accidentally Went to War ([54:18])

• Peter reviews Bill Posley’s powerful solo show about his National Guard service and deployment to Iraq.

Play On! at Signature Theatre ([56:51])

• Michael raves about this jazz-age Twelfth Night adaptation using Duke Ellington music, predicting a possible Broadway transfer.

News and Inside Info

• Update on Damn Yankees revival, set in 2000 with the Baltimore Orioles, featuring new lyrics by Lynn Ahrens ([63:41]).

Episode Mood & Tone

Conversational, candid, and layered with personal anecdotes, industry insights, and humor. The hosts and guest riff on both technical and emotional realities of theater craft, history, and modern directions.

Summary

This episode stands out for Adam Pascal’s clear-eyed, passionate, and unvarnished look at the world of jukebox musicals and his own artistic journey—offering listeners practical lessons in creating musicals, the value of story over spectacle, and the ongoing evolution of theater as both an art and an industry. Those interested in musical theater’s future, the hazards and promise of adapting pop music for the stage, and Adam Pascal’s lived experience will find this episode rich and illuminating.