BroadwayRadio: This Week on Broadway – January 25, 2026

Episode Theme: A Wide-Ranging Review of Recent New York Theatre, with a Focus on "Data" at the Lucille Lortel Theatre

Main Theme & Purpose

This episode, hosted by James Marino with Peter Filichia and Michael Portantiere, offers listeners a lively roundtable of the current New York theater scene. The core of the episode is Peter’s in-depth review of Matthew Libby’s new play "Data" at the Lucille Lortel Theatre, contextualized within a rich discussion of Broadway and off-Broadway news, notable musical performances, and some backstage drama, including a Met Opera controversy and several cabaret and regional highlights.

Key Discussion Points & Insights

1. Show-Tune for Today: Celebrate "Bring It On" and Ariana DeBose

• Peter selects "We Ain't No Cheerleaders" from "Bring It On" in honor of Ariana DeBose’s birthday (01:31).
• Reflects on DeBose’s early Broadway work and connections between creative teams (Lin-Manuel Miranda, Amanda Green) (03:31–04:56).
• Quote (Peter Filichia, 04:48): “That’s the way she looks at life... I’ve got a trophy and all you got is friends. I think that’s a terrific perception.”

2. Reflecting on the 2012–13 Season

• The hosts reminisce about "Bring It On" and other notable productions from that time (Matilda, Kinky Boots, Chaplin, Annie) (07:03–10:11).
• Discussion of the challenges of opening shows in August versus April, noting the “carb-loading” effect of April openings (10:26–11:18).

3. Main Review: "Data" at the Lucille Lortel Theatre

• Peter’s Review (11:35–14:37):
  • "Terrific beyond belief"—a sharp, naturalistic ensemble drama set in a tech company, Athena.
  • Highlights Justin H. Min’s understated performance, alongside Sophia Lillis and the rest of a strong cast.
  • Praises “real” dialogue, nuanced character motivations, and palpable tension about ambition, sabotage, and ethical dilemmas.
  • “There are so many pauses that are just the right length when people just don’t know what to say... very, very galvanizing.” (13:27)
  • “Will you indeed sell your soul to a company that goes against everything that you want?”
• The show runs through March 29. Michael hopes to reschedule after missing due to a rescheduled Philharmonic concert (14:50–15:36).

4. Metropolitan Opera’s "Carmen" Production Drama

• Michael delves into a controversy over unapproved set cuts and director/designer names being omitted from credits (15:55–24:25).
  • “At every moment, there’s that disconnect... It never fits the music and it contradicts the libretto time and time again.” (19:22)
  • Despite production woes, the singing (especially Michael Fabiano and Aigul Akhmetshina) was “absolutely incredible.”
  • Discussion of the implications of the production’s abrupt changes and potential legal fallout.

5. "Going Bacharach: The Songs of an Icon" (Cabaret Review)

• Peter and Michael critique the show’s musical director for show-stealing behavior, despite his virtuosity (27:55–33:40).
  • “He has an ego the size of Rhode Island, which I’ll grant you, is not a big... but for an ego, it’s very, very, very big.” (29:21)
  • Both praise his musicianship but wish for less self-indulgent stage presence.

6. "The Emmetts" at Birdland

• Michael discovers a new favorite duo: Emmet Cahill and Emmett O’Hanlon deliver a crowd-pleasing cabaret set of Broadway and pop standards (36:48–41:31).
  • “...unbelievably charming and amazing voices... I think the evening was really meant as an introduction... in New York who don’t necessarily know who they are yet.”

7. "Edward O’Donnell’s Box" at Rizzoli Bookstore

• Peter attends this interactive solo storytelling show where the audience picks which object’s story is told next (42:04–45:45).
• Unsure if the story is fact or fiction, but finds the format engaging and the performer a “very, very excellent raconteur.”

8. Scott Siegel’s 54 Sings Broadway’s Greatest Hits

• Michael reports a surprisingly packed house despite a blizzard, highlighting standout performances by Ben Jones, William Michaels, and meteorologist-soprano Marina Jurica (46:49–51:59).
  • Praises the addition of young pianist Mark T. Evans to the cabaret world.

9. "Sherlock Holmes: The Great Detective" at Walnut Street Theatre

• Peter lauds Bill Van Horn’s new production in Philadelphia, with a cautionary note about the premature use of the iconic “Elementary, my dear Watson” catchphrase (55:06–59:12).
  • “These things are marathons. You gotta pace yourself... really, there are times when you should save something for later.”

10. Cats: The Jellicle Ball – Broadway Transfer Details

• Update on the set and runway configuration for the Broadway transfer, confirming it will be a scaled-back version due to sightline issues (59:56–63:37).
  • “...it’s going to be a very short runway... if a runway had extended further out into the audience, that would have created a huge problem...” (61:37)
  • On the transfer: “Cats always land on their feet.” (64:23)

11. Other Noteworthy News

• "Lost Boys" casting announcement includes director Michael Arden also credited as lighting designer (64:43–65:17).
• Williamstown Theatre Festival to return in 2027 with Jeremy O. Harris at the helm (66:17–68:38).
• Return of the acclaimed play "Mexodus" to NYC at the Daryl Roth Theatre (69:03–70:17).
  • Michael: “I loved it so much. It was certainly one of the highlights of that season.” (69:41)

Notable Quotes & Memorable Moments

• On "Data":

  • “The dialogue is so real and the acting so natural and the direction so powerful.” (13:13 — Peter)
  • “Will you indeed sell your soul to a company that goes against everything that you want a company to go forward with?” (13:35 — Peter)

• On the Met’s Carmen Drama:

  • “The whole thing is just ridiculous. I don’t get it. There are moments when it works on its own terms, but it never fits the music and it contradicts the libretto time and time again.” (19:22 — Michael)

• On Going Bacharach’s pianist:

  • “He has an ego the size of Rhode Island, which I’ll grant you, is not a big... but for an ego, it’s very, very, very big.” (29:21 — Peter)

• On The Emmetts:

  • “Now I’m a fan for life.” (39:13 — Michael)

• On the "Sherlock Holmes" catchphrase:

  • “...that should be saved for the very end of the show... there are times when you really should save something for later." (58:13 — Peter)

Timestamps for Important Segments

• Opening & Banter: 01:26–11:18
• Data at Lortel Theatre: 11:35–14:37
• Met Opera "Carmen" Drama: 15:55–24:25
• Going Bacharach (Cabaret): 27:55–33:40
• The Emmetts at Birdland: 36:48–41:31
• Edward O’Donnell’s Box at Rizzoli: 42:04–45:45
• 54 Sings Broadway’s Greatest Hits: 46:49–51:59
• Sherlock Holmes at Walnut St Theatre: 55:06–59:12
• Cats: Jellicle Ball Updates: 59:56–63:37
• Lost Boys, Williamstown, Mexodus News: 64:33–70:17

Additional Segments

• Brain Teaser & Musical Moments: Closing tradition continues with a Sondheim-inspired brain teaser (71:21–72:49) and sample tracks from “The Emmetts” (73:05–75:12).

Overall Tone

The hosts are conversational and warm, balancing thoughtful analysis with humor (notably in their banter about cats always landing on their feet (64:23)), affectionate nostalgia, and candor about both the highs and lows of the shows they review. There’s a shared sense of excitement about live performance—whether in a big house or a bookstore backroom—anchoring the episode.

For Listeners Who Haven’t Heard the Episode

This summary covers all principal productions and controversies discussed, the unique character and chemistry of the podcast hosts, and sharp insights on why certain shows connect (or don’t), both in content and execution. Listeners will come away updated on New York’s theater buzz, new work "Data" as a standout, the resilience of cabaret, and some essential industry developments.

End of Summary