BroadwayRadio – This Week on Broadway for January 11, 2026: Marc Kudisch
Overview
This episode features an in-depth conversation with acclaimed Broadway actor Marc Kudisch, delving into his recent ventures into modern opera, reflections on his Broadway career, the evolving landscape of musical theater and opera, and his views on creativity, risk, and the future of the performing arts. The hosts—James Marino, Peter Filichia, and Michael Portantier—guide the discussion, offering news, reflections, and a lively rapport with Kudisch as he shares candid anecdotes, industry insights, and updates on his current projects.
Key Discussion Points & Insights
1. Marc Kudisch's Journey into Opera
[07:46]–[12:35]
- Kudisch recently performed at the Prototype Festival Gala, participating in the unveiling of a "song book" for new American opera works.
- He discusses a shift in creative risk from Broadway to the world of contemporary opera:
"When I first got on Broadway...there was a commitment to dramatic work in musical theater that pushed boundaries...that has waned quite a bit. Where I have discovered it more and more is in the world of modern opera."
(Kudisch, [09:25]) - He highlights the lack of a modern equivalent to the classic collections of American arias, noting Prototype Festival's efforts to fill that gap.
2. Classical Roots and Artistic Training
[11:01]–[12:35]
- Kudisch didn’t sing when he first arrived in New York and was initially focused on dramatic theater.
- He received mentorship from theater legends like Joshua Logan, Edward Albee, Zoe Caldwell, Hume Cronin, and Jessica Tandy.
3. Contemporary Opera at the Met & Beyond
[12:35]–[15:07]
- Praises recent operas at the Met, especially Grounded by Jeanine Tesori (which he helped workshop).
- Applauds the trend toward English-language, narrative-driven opera, and calls out Jake Heggie’s Dead Man Walking as a highlight.
- Observes:
"People need to adjust their idea of what they think opera is. So do opera companies, to be honest...Opera was just the popular music of its day."
(Kudisch, [14:23])
4. Reflections on Defining Roles and Performing
[15:07]–[17:23]
- Asked about iconic roles like Sweeney Todd, Kudisch emphasizes his preference for original works and process over repetition:
"I don't know how much I love performing or how much I've ever loved it, really...I am fueled by the engagement and the conversation of it."
(Kudisch, [16:29]) - Recalls Hand to God as a favorite project for its unpredictability and audience engagement.
5. Transitioning from Broadway to Opera: Preconceptions & Artistic Choices
[17:23]–[20:25]
- Broadway actors moving to opera often face skepticism, but Kudisch found that his dramatic process and willingness to make bold, story-driven vocal choices ultimately won over his opera colleagues.
- On performing A Little Night Music in opera contexts:
"To sing Carl Magnus with 40 plus pieces behind you in the orchestra is really exciting. And you're only going to get that in the opera world."
(Kudisch, [19:49])
6. Creating Opera, Process, and Modern Innovations
[21:44]–[26:59]
- Contrasts Broadway’s preview and development process with opera, where opening nights can double as previews.
- Describes involvement with original operas like Anatomy Theater (David Lang) and Trade (Emma O’Halloran), both noted for their Grammy nominations.
- Stresses the collaborative nature of theater and urges opera to embrace organic evolution in performance.
7. The Surge in New Works & Opera as a Cultural Bridge
[27:27]–[35:02]
- Notes the current Grammy opera category includes three new works for the first time, emphasizing the vibrancy of new opera.
- Suggests that opera is now a place for urgent, boundary-pushing storytelling.
- Reflects on the economic and risk aversion factors impacting Broadway, contrasting them with opera’s spirit of reinvention.
"Things are being fueled more and more by fear, less and less by...courage and risk...We need to...reconsider what the structure is, what the costs are. In my opinion, I think the Tony Awards should extend its time...to Off-Broadway."
(Kudisch, [29:09])
8. On New Audiences & the Future of the Art Form
[34:15]–[36:44]
- Opera is not "the new Broadway," but rather a creative bridge—"a place to see something that excites you in a new way".
- Kudisch observes that in Europe, opera has broader, younger appeal due to accessibility and public support.
9. Current and Upcoming Projects
[36:44]–[43:08]
- Kudisch is writing more, including co-authoring a Mark Twain play with Dick Scanlon (fellowship at Mark Twain Institute).
- Developing a new musical with Paul Iacono, which evolved from a Batman parody to a satirical, original work after receiving a cease-and-desist.
- Has two new projects with long-time collaborator Michael John LaChiusa.
- Enjoys the freedom and challenge of moving into new creative domains.
10. Anecdotes: Broadway Memories, The Wild Party, and Collaborators
[37:42]–[40:25]
- Looks forward to the Wild Party Encores! revival, proud of its "ahead of its time" storytelling and jazz-opera style.
- Shares admiration for Mandy Patinkin and Eartha Kitt, highlighting their impact on the original Wild Party production.
"Mandy is a force...complicated in his process, but he is also so loving. And his joy of engaging with an audience...is very unique."
(Kudisch, [38:30])
11. Industry News & Commentary
[49:01]–[62:44]
- Discuss death of a Salesman casting: Notable for choosing separate actors for young/adult versions of Biff, Happy, and Bernard—an unusual move.
- The team speculates on the dramatic and practical effects of this new approach.
- News: The Fantasticks is moving to Broadway, reimagined as a contemporary gay love story, with positive reactions to the thoughtful gender-switching rewrite by Tom Jones.
12. Musical Moments & Closing
[66:27]–[68:59]
- Musical selections by and featuring Kudisch:
- Queenie Was a Blonde from LaChiusa’s The Wild Party (with Kudisch’s iconic opening line).
- Kudisch performing "Wanting Things" from Promises, Promises, recorded with orchestra for the Transport Group’s concert.
- Both pieces exemplify Kudisch’s dramatic and vocal range.
Notable Quotes & Memorable Moments
- On the future of creative risk:
"Now it's just totally leaning on, we need a big name...It's suffocating to the creativity of new work and discovering new voices. But in the modern opera world, it's booming."
(Kudisch, [30:29]) - On genre boundaries:
"Opera was just the popular music of its day. That's all it was."
(Kudisch, [14:23]) - On career evolution:
"I guess I'm discovering more and more that it's time to do something else in this industry for me."
(Kudisch, [42:12]) - On creative collaboration:
"Those of us in music theater know that it's a collaboration...there is an ebb and a flow, and agreements between all creatives happening simultaneously in the moment."
(Kudisch, [22:37])
Important Segment Timestamps
- Prototype Opera Festival and Modern Opera: [07:46]–[12:35]
- Mentorship/Training: [11:01]–[12:35]
- New Met Operas/Role of Opera Today: [12:35]–[15:07]
- Sweeney Todd & Performance Motivation: [15:07]–[17:23]
- Broadway to Opera Transition Story: [17:23]–[20:25]
- Process of Making New Opera: [21:44]–[26:59]
- Opera vs. Broadway: Industry Trends: [27:27]–[35:02]
- Contemporary Opera as a Bridge: [34:15]–[36:44]
- Kudisch’s Current Projects & Writing: [36:44]–[43:08]
- Wild Party Anecdotes: [37:42]–[40:25]
- Death of a Salesman Casting Analysis: [49:01]–[55:38]
- Fantasticks Coming to Broadway (Reimagined): [57:23]–[63:27]
- Musical Moments (Wild Party/Promises, Promises): [66:27]–[68:59]
Additional Highlights
- Industry Analysis: Insightful critique of Broadway’s risk-averse structure vs. opera’s flourishing avant-garde.
- Personal Evolution: Kudisch’s candid consideration of motivation, identity, and transition into writing.
- Community & Audience: Emphasis on communal theatergoing as a vital social and emotional experience.
- Encouragement to Explore Modern Opera:
"If you’re looking for something to excite you in a way you haven’t seen yet, I cannot stress enough where modern opera lies in terms of its importance and effectiveness."
(Kudisch, [34:15])
This comprehensive, candid episode offers a fascinating window into Marc Kudisch’s career and the changing landscape of musical theater and opera—highlighting the necessity of risk, innovation, and authentic storytelling in the performing arts.