This Week on Broadway for July 12, 2026: King Lear @ Hudson Valley Shakespeare

Summary

BroadwayRadio – This Week on Broadway – July 12, 2026

Main Theme & Episode Overview

This episode features reviews and discussions of current theatre productions including King Lear at Hudson Valley Shakespeare Festival, Irish Rep's The Loved Ones, Julia, the Poison Queen of Palermo at Perelman Performing Arts Center, Small at Pershing Square Signature Center, and A Walk on the Moon at the Laura Pels Theater. The hosts—James Marino, Peter Filichia, and Michael Portantier—also reflect on performers, share memorable moments, and discuss intriguing Broadway news and events.

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Podcast Participants

• James Marino (Host)
• Peter Filichia (Playwright, Historian, Journalist)
• Michael Portantier (Journalist, Photographer, Producer)

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Key Discussion Points & Segments

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Sondheim’s Dark Comedy & Maternal Revenge (02:26)

• Peter Filichia shares today’s song from his show tune calendar, highlighting a Sondheim song about a murderous shogun’s mother from Pacific Overtures. He explores the theme of dark humor and mother-child conflict in Sondheim’s work, linking it to Sondheim’s real-life relationship with his own mother.
  • Quote: “Look for comedy in dark places. And that’s advice that certainly Sondheim took.” — Peter (03:11)
• James Marino references a recent interview with Daniel Okrent about Sondheim’s mother and themes of revenge. He mentions Jan Simpson’s new release of "All the Drama" (04:03).

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1776 and Historical Accuracy in Musicals (06:25)

• Michael Portantier recounts watching 1776 and discovering interesting facts about John Dickinson’s portrayal in the musical versus real history, spotlighting Dickinson’s actual patriotism and authorship of lines attributed to Jefferson in the show.
  • Quote: “If you read up on John Dickinson, he was a really stand up guy.” — Michael (07:41)
• Discussion of a 1970 Ed Sullivan Show clip featuring “Molasses to Rum,” a searing number on slavery broadcast into American living rooms.
  • Quote: “John Cullum sings all of ‘Molasses to Rum’ on the Ed Sullivan Show in 1970. I was flabbergasted. It’s a very intense, graphic number about slavery. And there it was in America's living rooms.” — Michael (09:18)
• Peter Filichia provides behind-the-scenes Broadway trivia on cast changes and casting choices for the Ed Sullivan performance (10:33).

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King Lear at Hudson Valley Shakespeare (13:39)

• Peter Filichia reviews the new King Lear in Hudson Valley Shakespeare’s semi-outdoor theater, praising Kurt Rhodes as Lear and the supporting cast.
  • Quote: “Kurt Rhodes… is terrific beyond belief in really showing King Lear, who believes in his daughters and then starts doubting his daughters…” — Peter (14:46)
• He notes clever tricks for remembering the difference between Edgar (good) and Edmund (mean), advises attendees to bring bug spray, and appreciates the projection skills of the cast in the open-air venue.
  • Quote: “There’s no amplification, I don’t think. And these actors really can be heard. And that’s something that really is quite nice too — that the human voice is the human voice.” — Peter (17:58)
• King Lear runs through September 17 in Garrison, NY.

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Irish Rep’s The Loved Ones (18:33)

• Michael Portantier lauds Irish Rep’s consistency and reviews The Loved Ones, a new play by Erica Murray featuring Marianne Plunkett and Donna Lynn Champlin.
  • Quote: “They just such a wonderful company… they always seem to do buying productions of plays.” — Michael (18:33)
• Plot overview: Nell (Plunkett) must navigate the death of her son, the presence of his pregnant girlfriend, and the arrival of the son’s widow, with comedy and tension.
  • “I highly, highly recommend this play… there’s so much more to it.” — Michael (22:28)
• The hosts discuss Irish Rep’s clever renovations to address space and sightline issues, especially “the pole.” (23:41)
• The Loved Ones runs through August 2.

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Julia, the Poison Queen of Palermo at Perelman PAC (27:37)

• Peter Filichia reviews this new musical by Jennifer Nettles, both performer and creator, with Mary Zimmerman directing. Nettles plays Julia Tofana, a historical figure who poisoned her abusive husband.
  • Quote: “She gives you damn good reasons why this guy doesn’t deserve to live.” — Peter (27:52)
• He critiques the set design for problematic sightlines and notes that Nettles excels in performance, book, and music, but not lyrics.
  • “It is wonderful music beyond belief. Where does she fail? Lyrics.” — Peter (30:41)
• Recommendation: Sit on the left for this production!
• Julia, the Poison Queen of Palermo runs through August 2.

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Small at Pershing Square Signature Center (33:31)

• Michael Portantier reviews Robert Montano’s one-man show Small, detailing Montano’s journey from jockey to Broadway dancer. Michael reconnects with old acquaintance Karen Schleifer, the stage manager.
  • Quote: "Anyone who does any kind of a one person show where they are the only person on stage talking for an hour and a half… my hat is off to them." — Michael (36:53)
• Emphasis on Montano's athletic, engrossing performance, even for non-horse-racing fans. Highly recommended.
• Small runs through July 25.

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A Walk on the Moon at the Laura Pels Theater (39:16)

• Peter Filichia recaps this musical adaptation of the 1999 film, set during the 1969 moon landing at a Catskills bungalow colony, where a housewife contemplates an affair.
  • Quote: “It’s one of those two and a half stars out of four musicals. Everybody in it does the job quite well.” — Peter (42:56)
• Michael Portantier is critical of the characters’ likability and the structure of the musical.
  • Quote: “A fatal flaw… is that those two main characters to me came across as very unlikable.” — Michael (44:11)
• Lively debate over character motivations, empathy, and choices.
  • Notable exchange:
    Peter: “You gotta have a past, right? But this is a story about a woman who… was a teenage girl and then suddenly I was married… and I didn’t have any time to grow.” (51:23)
    Michael: “But I ideally, that happens before the marriage.” (51:19)
• A Walk on the Moon runs through August 22.

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Broadway Outdoors & Other News (54:08)

• Broadway Performers at Clinton Cove Series — Free concerts in a Hudson River park, featuring Max Von Essen, Ali Stroker, Mandy Gonzalez and more. (54:23)
  • Quote: “To see Max Von Essen and Billy Stritch for free in a lovely park, you know, by the Hudson. What’s wrong with that?” — Michael (54:41)
• Death of a Salesman in Australia — Anthony LaPaglia stars as Willy Loman, with rumors he might take the role on Broadway. Details provided for Melbourne and Brisbane runs. (56:40)
• Sound of Music at Lincoln Center — Michael Musto reports rumors of Patrick Wilson and Heather Headley cast as Captain Von Trapp and Mother Abbess, respectively. (58:54)

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Notable Quotes & Memorable Moments

• “Look for comedy in dark places. And that’s advice that certainly Sondheim took.” — Peter Filichia (03:11)
• “John Cullum sings all of ‘Molasses to Rum’ on the Ed Sullivan Show in 1970. I was flabbergasted.” — Michael Portantier (09:18)
• “Kurt Rhodes… is terrific beyond belief in really showing King Lear.” — Peter Filichia (14:46)
• “It is wonderful music beyond belief. Where does she fail? Lyrics.” — Peter Filichia on Jennifer Nettles (30:41)
• “Anyone who does any kind of a one person show… my hat is off to them.” — Michael Portantier (36:53)
• “You gotta have a past, right? But this is a story about a woman who said, I was a teenage girl and then suddenly I was married and I didn’t have any time to grow...” — Peter Filichia (51:23)

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Timestamps for Important Segments

• 02:26 – Sondheim, maternal revenge, and dark comedy
• 06:25 – 1776 and accuracy in historical musicals
• 13:39 – King Lear at Hudson Valley Shakespeare
• 18:33 – Irish Rep’s The Loved Ones
• 27:37 – Julia, Poison Queen of Palermo at Perelman PAC
• 33:31 – Small at Pershing Square
• 39:16 – A Walk on the Moon at Laura Pels Theater
• 54:08 – Broadway Performers at Clinton Cove & news
• 56:40 – Death of a Salesman in Australia
• 58:54 – Sound of Music Lincoln Center casting rumors

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Additional Notes

• All productions discussed have varying run dates; see show notes for ticketing/times.
• Hosts reminisce on Broadway history, critique set design, and share advice for theatergoers (like where to sit for optimal views).
• The episode closes with musical moments: Max Von Essen singing "Stairway to Paradise" and Stephen Lynch from The Wedding Singer original cast recording (62:29, 64:34).

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For more details, links, and contact info, visit broadwayradio.com.

Transcript

[Hiker 1]

Awkward time to ask this, but. Hey, did you download the trail map?

[Hiker 2]

Yeah. No, I don't need to.

[Hiker 1]

I don't understand. You're trusting your signal out here.

[Hiker 2]

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[Peter Filichia]

Whoa.

[Hiker 1]

I don't trust my carrier that much.

[Hiker 2]

We'll just use your phone as a flashlight.

[T-Mobile Announcer]

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[Max Von Essen]

I'll build a stairway to paradise With a new step every day I'm gonna get there at any price Stand aside, I'm on my way I've got the blues and up above it's so fair Shoes go on and carry me there I'll build a stairway to par with a new step every day all you preachers who delight in panning the dancing teachers, let me tell you, there are a lot of features of the dance that carry you through.

[James Marino]

Hello and welcome to Broadway Radio's this Week on Broadway for Sunday, July 12, 2026. My name is James Marino, and in the broadcast today we have Peter Flish 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 tune for today 366 songs to brighten your Year is available at finer retailers. Hello, Peter.

[Peter Filichia]

Hi.

[James Marino]

So, Peter, what is our show tune for today?

[Peter Filichia]

Well, you know, as I did try to find songs that would brighten your year and it would seem odd that the song I'm talking about today involves a murder, because that doesn't seem very brightening. But nevertheless, it's a Sondheim song. So are you really surprised that there's an edge to it. No. In 1853, four days after Commodore Perry's USS Susquehanna arrived in Japan, the shogun's mother is very displeased that her son has taken no in the previous 96 hours. So she poisons him. So now, Sondheim had written many difficult mottas in his time. Rose and Gypsy and Domina and Funny Thing. And he was very frank about the fact that his own mother was a bit of a problem. Well, more than a bit of a problem. I'm using a euphemism. But anyway, when you really come down to it, Rose and Domina, even though they had a number of conflicts and issues with their children, kind of compared to the shogun's mother, who has to be considered the toughest of all these women because, I mean, she killed her son. I mean, she poisoned him at the last line of the song that she sings is really very effective and she gives the reason why she does it. But anyway, Lehman Nangle, when he was running the BMI workshop, always said, look for comedy in dark places. And that's advice that certainly Sondheim took or even told Lehman that he should tell his students that. But anyway, this is certainly humor in a very dark place.

[James Marino]

A couple of weeks ago I mentioned last week that Jan Simpson's summer reading. On her list is a Daniel Akren's new book, Sondheim Art Isn't Easy. And we interviewed Daniel for Janet and I's discussion on the summer reading. And Daniel talked about Sondheim's mother and Sondheim how he one of his themes of writing was often revenge. So I wonder if some of these things were revenge writing against his mother. But it was. It was a great discussion with Daniel Akrent and Jan a couple of weeks ago. It's in our feed if you take a take a look back in our feed. Also, Jan's new All the drama came out for the general public. It's been out for a few weeks for Patreon members. The this month she Talked about the 1980 Pulitzer Prize for drama, Tally's Folly by Lanford Wilson. We chatted about it for a few minutes last week as well. So take a look at that if you're interested. It's available to everybody. Also with us is Michael Portantier. Michael has been a theater journalist for more than 50 years. He's the founder and editor of Cast out albumreviews.com He is also a theatrical photographer whose photos have appeared in the New York Times and other publications. And he writes reviews of cabaret [e-mail] Additionally, Michael is known as a producer and director of shows at 54 below the Laurie Beachman Theater and other venues as well as being a decent at the Carnegie hall and a an occasional conductor on the Long Island Railroad. Michael.

[Michael Portantier]

Wish I had that last job from my retirement.

[James Marino]

You know, nobody ever retires from the Long Island Railroad. They always go out on disability.

[Michael Portantier]

That's true.

[James Marino]

That's a Long island joke. You know, they get paid forever. Long Island Railroad conductors forever and ever. So Michael, you have, you're going to be on the railroad little conducting a little business out on Long island this weekend.

[Michael Portantier]

Yeah, I'm in just a couple hours. I'm leaving on the LIRR to head to Northport to see the Wedding Singer, one of my favorite shows, one of my favorite flop shows at the Engement Theater in Northport and so I'm really looking forward to that. I'm still mystified by why that show failed on Broadway. I thought it was just great. And by the way, I just wanted to do two little more postmortems on 1776, the production that I just was in on Staten Island. You know, production photos are coming in and videos and stuff and so I'm getting to enjoy those. But Also I found two absolutely fascinating YouTube videos. One is a video made by a history professor named Jim Jared Frederick and he goes through, I think it's maybe about a half hour long video, all of the accuracies and inaccuracies in 1776. And he like I guess many of the rest of us is completely forgiving of the inaccurate, the inaccuracies because the book is so strong as written by Peter Stone, just so magnificently suspenseful and strong and compelling. But it is interesting to learn things. One thing that fascinates me is that I guess Stonefeld somebody had to be the villain in 1776, you know, sort of the focus of the villainy. And for some reason he chose John Dickinson. But if you read up on John Dickinson, he was a really stand up guy. He, he wanted independence. He just was. Wasn't sure if maybe the country was ready for it at that time in terms of like what consisted of the army and other reasons like that. It's not that he, it was oh gosh, I love England. It wasn't that at all. He just, he was a little more conservative, considerate, you know, moderate in terms of that. But it has this for the he, he wrote, he wrote two, well one piece in the show that is attributed to Jefferson that Little bit that Adams quotes in. But Mr. Adams, where he's reading something supposedly written by Jefferson, blah, blah, blah, and we are resolved to die free men rather than to live slaves. And then he even says Thomas Jefferson on the necessity of taking up arms. No, it was John Dickinson.

[Peter Filichia]

How funny.

[Michael Portantier]

Yeah. And then, and then at the end, this is more of a neutral statement, but it's a wonderful quote in the book. Stone has John Hancock say, we are about to brave the storm in the skiff made of paper and how it will end, God only knows. No, Dickinson. Dickinson said it. So really, really great guy. And the other video you've got to check out. I didn't know this existed until two days, about 12 minutes of 1776 on the Ed Sullivan show in 1970. Almost all of the original cast still in a few. A few replacements. They do Sit Down John. All of Sit Down John. They do the tableau at the end where they're signing the declaration and then believe it or not, John Cullum sings all of molasses to rum on the Ed Sullivan show in 1970. I. I was flabbergasted. It's a very intense, intense graphic number about slavery. And there it was in America's living rooms.

[Peter Filichia]

Well, you know what else was interesting about that clip on Ed Sullivan is the fact that in Sit Down John, Benjamin Franklin is there. Now, he was not there in the actual number when it was performed on stage because he. Focus. You know, you. He was such a recognizable character, especially, you know, 50 odd years ago. So the thing is, they did want to save him because the second scene opens, there he is sitting down and you say. And the audience gurgles with pleasure.

[James Marino]

Yes.

[Peter Filichia]

They recognize that it's Ben Franklin and they didn't want to waste that. Musicals are marathons. You got to pace yourself. And they were very smart. But for Ed Sullivan, obviously, the actor playing Ben Frank, hey, come on, can I be in it? I want to be in the Ed Sullivan Show. They said, yeah, sure. So that's what probably happened.

[Michael Portantier]

Exactly. And also the actor happened to be Roy Poole, who was the understudy for Howard De Silva, but wound up going on early on in the show and actually wound up making the cast album because De Silva had a heart. I believe it was a heart attack.

[Peter Filichia]

It was a heart attack, but I don't think it was Ray Poole. It was Rex Everhardt that.

[Michael Portantier]

Oh, wait. Oh my gosh.

[Peter Filichia]

Isn't that right?

[Michael Portantier]

Yes, you're right, you're right. It was Rex Eberhard in the, in. In the Ed Sullivan clip. It is Roy Poole who had. Wait a minute. All right, I'm sorry. Now I've convinced myself. Maybe it is Rex Everhardt. Anyway, it's not Howard De Silva.

[Peter Filichia]

No, it's not. No.

[James Marino]

And.

[Michael Portantier]

And he doesn't do anything in the clip. He's just sitting there amongst them. I'm sorry. I'll have to look that up again. I just know for a fact it's not Howard De Silva.

[Hiker 1]

Awkward time to ask this, but. Hey, did you download the trail map?

[Hiker 2]

Yeah. No, I don't need to.

[Hiker 1]

I. I don't understand. You're trusting your signal out here.

[Hiker 2]

I'm trusting T Mobile. They have the best network. And if we end up in bumtots nowhere, well, we've got T satellite for backup.

[Peter Filichia]

Whoa.

[Hiker 1]

I don't trust my carrier that much.

[Hiker 2]

We'll just use your phone as a flashlight.

[T-Mobile Announcer]

With America's best network and T Satellite, we're keeping you connected in places you never thought possible. And if you switch today, you get free phones for zero down and only 25 bucks a month per line for four lines. Find out more@t mobile.com or visit your local store.

[T-Mobile Legal Voice]

Best mobile network Based on analysis by OOKLAB Speed test intelligence data 2h 2025 with 24 monthly bill credits and 4 eligible port ins on essentials for well qualified customers with auto pay taxes, fees and 35 connection charge per line credits and imbalance too if you pay off earlier. Cancel Contact Us Finance Agreement example $299.99 Moto Edge 5G required T Satellite available with compatible device in most outdoor areas in the US where you can see the sky included with experience beyond your $10 a month. However, News Monthly cancel anytime visit t

[James Marino]

mobile.com all right, so Peter, you headed up to Hudson Valley Shakespeare. We talked about Hudson Valley Shakespeare a few weeks ago and you had mentioned back then that you were going to go see production up there. You saw King Lear. So tell us about this production.

[Peter Filichia]

Yes, I may. Good on my promise. The attraction of King Lear, of course is quite enough to get anybody anywhere. But one of the reasons I went is because Hudson Valley Shakespeare has a new theater. It's very much like their old theater which was a semi outdoor theater. You do have a roof, so if it rains you're not going to be in trouble. But the sides are all exposed. And for the new theater, which is in a different place, you have a wonderful view of the river in the mountains. So that's quite good too. It's a hard top down. It Was canvas before. So it's very nice. It's bigger, which is good, because a lot of people should go and see King Lear. And certainly I have a feeling they're going to have a lot of tickets sold for the next one, which is Les Mis. They've done in rep with as yous like it, so until the end of September, you can get there and actually see three shows, which is really quite nice. So. But of course, what we're really interested in more than anything else is, of course, is King Lear any good in this production? Yes, it is quite good. The artistic director of the theater, Davis McCallum, has done a fabulous job casting it beautifully. Of course, every production has to rely on its Lear. And Kurt Rhodes, who has had some Broadway and off Broadway experience, is terrific beyond belief in. In really showing King Lear, who believes in his daughters and then starts doubting his daughters, and then real, oh, wait, these. These ladies aren't nice people. At least two out of three of them. And Helen Cespeed, who plays Regan, and Katie Hartke, who plays Goneral. Certainly, they're quite the bitches, no question. As time goes on. On the other hand, you know, King Lear could be looked at as a very different type of story. Here's a guy who. Who gives his daughters two of them anyway. He wants to give them to all three. But Cordelia doesn't play ball with way that he wants her to. He gives them all this land. And it's one thing for you to show up and visit your daughters and stay a while and, you know, I mean, there's no question that that can become wearing. But Leo shows up with a hundred people. I mean, really, that's a lot, you know, I mean. And the daughters try to negotiate with him. You know, how about 50? How about 25? You know, I mean, really, you know, who really would welcome 100 people? So it's funny, because there's another hundred, another hundred people. That always flummoxes me. And that's Cyril de Bergerac beating 100 people solo, killing them all. I mean. Well, anyway, a terrific production. All those people are wonderful. And so, of course, is Melissa Mahoney as Cordelia, which is kind of interesting, because here's a lady who has a career, a genuine career, doing stuff for kids. Um, she puts on a red nose and is a clown. But here she has to be a serious lady. And she really does a very good job of that. Very good job. Of course, we have to wonder why Shakespeare drove us crazy by calling one character Edgar and one character Edmund. And you know, you could drive a person crazy with that, you know. So on the way up, Linda and I decided that indeed, the way to remember is that Edgar has a G in it. So he's the good guy and Edmund has it eminent and he's a mean guy. So, so that's. That should help you for the rest of your lives when you see King Lear. But you're not going to do much better than you are right now at the Hudson Valley Shakespeare in the New theater. I will tell you, Bing, bring bug spray. Okay. It's not a bad idea to do that because, ooh, those flies love to rest on your body and take what they want from you. So, so do bring bug spray. Wow. Just sitting there on a nice night and having that as a backdrop. And by the way, there's no amplification, I don't think. And these actors really can be heard. And that's something that really is quite nice too that the human voice is the human voice and is very powerfully done.

[James Marino]

All right, so King Lear at Hudson, Hudson Valley Shakespeare in Garrison, N.Y. a little bit upstate is running through September 17th. We'll have a link to that in the show notes. Plus they got some pretty good videos on their website, so I've included one there. Michael, you were over at Irish Rep to see the Loved Ones. So tell us about this.

[Michael Portantier]

Yeah, as I've said repeatedly, I love the Irish trip. They just such a wonderful company. They always seem to do buying productions of plays and even though of course the quality of the plays varies somewhat, I would say not all that much, rarely if ever do you see a stinker there. And I agree. Yeah, you know, so all praise to Charlotte Moore, the artistic director. And I really should find out how to pronounce his name. The Last name is O'Reilly, first name is Kieran or Ciaran.

[James Marino]

I think so. Yeah.

[Michael Portantier]

C I A r a n O'Reilly producing artistic director. So now they've come up with the Loved Ones by Erica Murray and directed by Nicola Murphy Duby. And it's a fantastic new play that also has the benefit of an amazing cast. I would have gone to see it. I planned to go see it as soon as I heard that Marianne Plunkett was in it. Really one of my favorite all time actresses who doesn't work as much as I would like. But lately she has seems to have been busier. Yeah, she was in of course the Notebook. Then another of my favorites who I don't see that often, Donna Lynn Champlin and then two others who I'm not familiar with, but who are both absolutely excellent. Claire o' Malley and Alana Raquel Bowers, who I've seen in a couple of things. And the place and time is a farmhouse in West Clare in the present day. And the situation, it is just those four. There is a woman who lives in the house and her name is, is Nell. And the place starts in Media res. Does everyone know what that means?

[Peter Filichia]

Sure. Like, thanks.

[Michael Portantier]

You're just plunked down in the middle of. You can tell us like that. A very, very intense conversation is going on. And the conversation is between Nell, played by Marianne Plunkett, and Gabby, played by Alana Raquel Bowers. And it turns out that Gabby had been romantically involved with Nell's son, who has just died unexpectedly. And as if that wasn't enough, Gabby is pregnant. And visibly pregnant, by the way. So that's the catalyst for the show. Marianne Plunkett, as or as Nell, is trying to figure out how to deal with this. I mean, she's got a lot that's being thrown at her at once. And initially Gabby, the pregnant young woman, says, well, you know, I'm not going to keep it. But she still has to figure out what to do. She has no money. She's hoping she can stay with Nell for a while. And by the way, Nell lives in an old farmhouse that is she's sort and Airbnb at the moment. Which leads us to one of the other four characters is the one played by Donalyn Champlin. Her name is Cheryl Ann, and she's just a tourist who's very much a, you know, kind of goofy, free spirit comic type, lots of really great comic work from Donald Lynn Champlin. And then the fourth character is Orla, who is. Who was the wife of the dead man. And she is just finding out about all of this as well. So it's a fraught situation. Needless to say, I think the playwright and the director and the actors all do a really expert job of moving back and forth between drama and what almost you might say is a little bit of soap opera ish drama to, you know, to really intense scenes, but then also so much comedy. And it's one of those plays where there's a wonderful thing that can happen where there'll be a very dramatic moment and then suddenly there's a really sweet moment of comic relief. But it all seems very natural, you know, not manipulated, not schematic. So I highly, highly recommend this play. As I said, I would have recommended it for Marianne Plunkett alone to begin with, but there's so much more to it. And the Irish Rep, if you haven't made their acquaintance yet, you really should keep your eye on them because they, as I said, their consistent track record is so, so, so excellent.

[Peter Filichia]

What's really interesting to me about Irish Rep is that here they are in this very small space and ticket demand was so great that they had to build a balcony. Oh my God. You know, they also had an obfuscating pole. That used to be a problem, but they've worked around that too, and, and now the pole's still there, but they've worked around it in such a way that it's. It's not a problem in the way that it used to. Yeah, quite worthwhile.

[Michael Portantier]

They've also increased their restrooms, although they're still not quite adequate.

[Peter Filichia]

But it's not ideal. No, but there are twice as many as they used to be.

[Hiker 1]

Awkward time to ask this, but. Hey, did you download the trail map?

[Hiker 2]

Yeah, no, I don't need to.

[Hiker 1]

I. I don't understand. You're trusting your signal out here?

[Hiker 2]

I'm trusting T Mobile. They have the best network and if we end up in bumtots nowhere, well, we've got T satellite from back up. Whoa.

[Hiker 1]

I don't trust my carrier that much.

[Hiker 2]

We'll just use your phone as a flashlight.

[T-Mobile Announcer]

With America's best network and T Satellite, we're keeping you connected in places you never thought possible. And if you switch today, you get free phones for zero down and only 25 bucks a month per line for four lines. Find out more@t mobile.com or visit your local store.

[T-Mobile Legal Voice]

Best mobile network Based on analysis by Ooklab Speed Test intelligence data to H 2025 with 24 monthly bill credits and 4 eligible pour ins on essentials for well qualified customers with autopay plus taxes, fees and $35 connection charge per line credits and imbalance due if you pay off earlier. Cancel Contact Us Finance Agreement example $299.99 Moto Edge 5G required T Satellite available with compatible device in most outdoor areas in the US where you can see the sky. Included with experience beyond under $10 a month. Auto renews monthly. Cancel anytime. Visit t mobile.com exactly.

[Peter Filichia]

But do keep that in mind. You know, I'm very glad that I have an aisle seat there and intermission comes because I'm the first one in line knowing that if I'm not the first one in line, I'm going to them in line very soon.

[Michael Portantier]

Actually, you know, for the Record? I think there were four.

[Peter Filichia]

Are there?

[Michael Portantier]

Because there's two upstairs.

[Peter Filichia]

Oh, I've never been upstairs.

[Hiker 1]

Yeah.

[Hiker 2]

Okay.

[Peter Filichia]

That's great to know. Oh, very interesting.

[Hiker 1]

Yeah.

[Peter Filichia]

All right. So good.

[James Marino]

Every time I think of Irish shrimp, I think of that pole.

[Michael Portantier]

Yeah.

[Hiker 1]

Oh, yeah.

[James Marino]

What. What shows they could do in there that could include the pole? I was thinking that, that. That redwood show.

[Peter Filichia]

Oh, yeah, right. Yeah, that's right. I think.

[James Marino]

I don't know if it's Irish, though. Irish trees or some sort of thing there. All right, so the loved ones at Irish Rep. It's running through August 2nd. We'll have a link to that in the show notes.

[Hiker 1]

Awkward time to ask this, but. Hey, did you download the trail map?

[Hiker 2]

Yeah, no, I don't need to to.

[Hiker 1]

I. I don't understand. You're trusting your signal out here.

[Hiker 2]

I'm trusting T Mobile. They have the best network. And if we end up in bumtots nowhere, well, we've got T Satellite for backup.

[Peter Filichia]

Whoa.

[Hiker 1]

I don't trust my carrier that much.

[Hiker 2]

We'll just use your phone as a flashlight.

[T-Mobile Announcer]

With America's best network and T Satellite, we're keeping you connected in places you never thought possible. And if you switch today, you get free phones for zero down and only 25 bucks a month per line. Line for four lines. Find out more@t mobile.com or visit your local store.

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[James Marino]

mobile.com Peter, you spent a little time downtown with Julia of Palermo, the poison queen of Palermo. Yes, indeed. Yeah, which is a new musical. So tell us about it.

[Peter Filichia]

Well, this is not quite the fictional story. I will admit that the way it ends is not what most historians think the way that it ended, but nevertheless, who knows? There are so many tales about this lad, Julia Tofana was her name, who had an abusive husband. And rather than do what Lorena Bobbitt did, she decided to poison him. Now, it's very, very effective in the way that Jennifer Nettles writes the character and writes the situation. While we really do know the two wrongs don't make a right, and you really can't condone murder per se, but. But the fact is, she gives you damn good reasons why this guy doesn't deserve to live. So you have to take that with a shaker full of salt if you go. But nevertheless, problem is that so many times when something like this happens, word gets out and otherwise come to Julie and say, listen, do you mind if I, you know, have some of your poison so that I can do it to my husbands, too? Well, she does turn down one person, and that turns out to be her downfall, because the person certainly who wants to kill her husband, who's the Duke. And maybe that's the reason that Julia doesn't want to get involved that high up that there might be too much of an investigation, because it's never established what happens when these guys disappear when they die. I mean, nobody seems to be prosecuting anybody, or there's no detective on the scene or anything like that, so. But anyway, Julia does not want to give the lady the poison, and that's part of the downfall somehow. It reminded me of when a show is being produced in community theater and a person doesn't get a part, and if they make a change in the show, the person who doesn't get the part squeals on them, you know, to the. It reminded me of that for whatever reason. Okay, so Jennifer Nettles really is. Is a quadruple threat here. Well, no, she's a triple threat because, yes, she's terrific in playing Julia. She's terrific in the book that she's written for Julia. She's terrific in the music that she's written for Julia. It is wonderful music beyond belief. Where Does She Fail? Lyrics. I would say that maybe 3% of the rhymes are correct. So that really bothered me, as longtime listeners knows it know it would. So. But she's very lucky to have Mary Zimmerman, the MacArthur Grant lady, and a wonderful, wonderful director, especially with big projects. Nobody does better than Mary Zimmerman when it comes to painting on a large canvas. And this is a show where it's quite a large canvas and a sizable cast for where we are. We're at the Perelman Performing Arts Center. A lot of people in the cast, and everybody's doing exemplary work, no question about that. But anyway, Mary Zoom really knows how to do good stage pictures. But I'm amazed at the set. Now, the set is very clever in the sense that it's like a bunch of closets next to each other, and Almost every time, time the closet is opened, three closets in a row. Every time a closet is opened, you see a different setting in the background almost every time and there are a bunch of them. So all that's terrific. However, there's a staircase if you're looking at the stage, the staircase to the right. And the thing is, if you were on the right side of this, of the theater, you would have a hell of a time trying to see what's going on in those clothes closets. So I don't know why there isn't the staircase buttressing each side of the the closet, which would be center stage, but it's way to the left if you're sitting in the house. I mean, way to the left. And it's just very strange to me that that would be the situation with the set. So that is a barrier to enjoying the show. So if you're going to go sit on the left side of the house, which is where I was and I was able to see everything except when somebody came down the stairs. But that's not nearly as important to seeing the real action. And the is mostly on the left side of the stage. So I'm very surprised that Mary Simon would approve that set. I'm very surprised that the set designer would design that set. But anyway, that's what the wound up on the Perelman stage. So an arresting story, very well told aside from the lyrics and a dynamic performer by Jennifer Nettle. So this is a lady who I really think, I really think could be a major player, but I wouldn't mind if she got a different lyricist as time goes on. But, and, and she's certainly famous in the world she comes from in the pop world. So I know there are people who have heard of her before and, and like what she does. So they're going to like this quite a bit.

[James Marino]

For those of you at home keeping score, Irish Rip sit on the right side.

[Peter Filichia]

That's right.

[James Marino]

Perriman center for this production, sitting on the left side. Julia, the Poison Queen of Palermo at the Perelman Performing Arts center downtown is running through August 2nd. We'll have a link to that in the show notes. So, Michael.

[Hiker 2]

Yeah.

[James Marino]

You were over at the Alice Griffin Jewel Box Theater at the Perishing Square Signature center center to see production of Small. Peter talked about it previously. So what were your thoughts of it?

[Michael Portantier]

Well, this play was new to me, but it's certainly not new. It's been around for about four years in various places and in fact, small world department. I went to see the, the show and outside of the, in the, you know, the Signature center is quite a large complex of different theaters. And outside of this theater they had an LED display just flashing the, the names of the cast and the production team. And, and I noticed that the production stage manager was listed as, quote, unquote, Curly Karen Schleife. Well, I didn't know her as Curly, but Karen Schleifer is someone I've known for about 50 years since she played Annie in a production of Annie on, on Staten Island. So I was like, oh, gosh, you know, I, I, and then I thought I heard that she was still involved in theater and I guess I heard that maybe she was now working backstage. But obviously it, you know, I, I thought it was 99% sure it was her. And indeed it was. I waited afterwards and she saw me and she actually recognized me first. I didn't know if she would. It hasn't been 50 years since I've seen her. I think I saw her at a reunion or two, but it has been quite a while. And she just saw me and came over and we hugged and talked a lot. So that was a really sweet little moment. But I had gone to see the show because it sounded like an intriguing premise. Stars Robert Montano, who also wrote it, and our listeners may know him as a dancer in many, many Broadway shows. He has danced with Chita Rivera and he has some really, really amazing credits as a dancer, as you can see from his bio. But what I didn't know until this show came about is that he did all of this, that after a career as a jockey because he was very diminutive when he was young and, and very light in weight and that's what jockeys need to be. And I guess he did have a love of horses and a love of riding, so he tried to do that. Well, this is a one person show that chronicles, I would say about 85 or 90% of it is about him, his experiences as a jockey. And then only at the end does he sort of tell us about how he morphed into being a dancer. But the whole story is very compelling. And as I've said again, as I've said repeatedly, anyone who does any kind of a one person show where they are the only person on stage talking for an hour and a half or

[Hiker 1]

whatever,

[Michael Portantier]

my hat is off to them because I just think that is an incredible achievement. But now, having said that, there are different types of shows. And so I recently saw Jesse Tyler Ferguson do True playing Truman Capote. And that Was again, quite an achievement. All those lines, no one else to rely on. And, you know, he did a superb job. But in this case, Small, this is also a very intense story of this person's own life and there's a lot of. A lot of heartbreak in it. And also it becomes a very physical, a very physical show because several times he's sort of mimicking riding a horse and he's doing it full out.

[T-Mobile Announcer]

So he.

[Michael Portantier]

I don't know. We saw him afterwards.

[Peter Filichia]

He.

[Michael Portantier]

He must be wiped.

[James Marino]

He.

[Michael Portantier]

He didn't seem it. He seemed okay.

[James Marino]

He had.

[Michael Portantier]

He was going to do another performance that evening because I went to a matinee. It's just astounding to me that, that someone could have that much talent and stamina.

[Hiker 1]

So.

[Michael Portantier]

And as I said, the story is very compelling. Even if you think you're not that interested in. In horse racing and jockeys, believe me, it's. It's a fascinating, compelling, really, really great story and I urge everyone to see it. Only two more weeks left to this run. It has been running for a while, but if you could try to get down there to the Pershing Square Signature center for this, I highly, highly, highly recommend it.

[James Marino]

All right, so Small is running through July 25th. So you have a couple weeks, as Michael just said, we'll have a link to that in the show notes.

[Michael Portantier]

Peter?

[James Marino]

Yeah, you know, I think that it was during the pandemic that you got serious about walking, right?

[Hiker 2]

Was.

[James Marino]

Was during the pandemic. And you know, it's had a ton of benefit in your life. Life. But you went for A walk on the Moon.

[Peter Filichia]

I did go to A Walk on the Moon, a new musical that Anne Marie Malazo wrote with Pamela Gray, based on Pamela's movie, A Walk on the Moon. So here it is. It's at the Laura Pels Theater where Roundabout puts on it shows. Though this is not a Roundabout production. This is a rental. Just as Joy was last year. So about a group of Jews who go to the Catskills, which used to happen a lot way back when and when they used to be all sorts of places like Grossinger's. But this is a much more modest place that these people go. But Gene shepherd used to call the vacations of the humble because they're in a little bungalow and there's. You're not gonna see Eddie Fisher entertaining at this place as you would Grossinger in those days. So. So befitting a guy who makes his Living Fixing TVs, which, when you think of it, considering the fact that the show seems to be taking place in 1969 still, somebody really relied on much more. Today we seem to throw out our TVs when they don't work. But back then, you know, TV repairman showing up at the house was read with the same seriousness as a doctor showing up at your house, you know, because after all that, TV was important anyway. That's how he makes his living. And it's a story of the. This couple where they just married too young. And now the wife, Pearl, is pretty frustrated at the fact that she. Well, to quote a Cy Coleman song from I Love my Wife. She wonders about someone wonderful I missed. And someone wonderful does show up at this show and is she going to have an affair or is she not? I mean, she does love her husband, but boy, you know, it's been a long time with him. They have the teenage daughter who's quite the pill, and that's a euphemism. They have a little boy too, who isn't a problem yet because he's not yet a teenager. We'll see what happens in a few years. But anyway. So why is it called a walk on the moon? Well, partly because it's taking place in 1969 on that weekend when Neil Armstrong did take his walk on the moon. And everybody, of course, is very interested in that as well. I was wondering if they were going to bring up the fact that Ted Kennedy had that incident with Chappaquiddick when Mary Jo Kopechny fell off the Chappaquiddick Bridge. And that's very quickly alluded to. And nothing more is made of. Happens at the top of the second act and then you don't hear anything more about it. But they're much more interested in Neil Armstrong taking this small step. That's a big step. And so does Pearl. She takes a small step that. It's a big step and will indeed the mar. Survived. Well, the thing is, the best musicals do have big characters and big events, and these are not big characters. And the idea of only having a farewell is big to her, I'll grant you, is something we've seen a lot of. So there's a too much of a familiarity about this show. Even though the work is of fine quality and the music is right for the characters. Very right indeed. A pop rock score that does sound like 1969. So it's. It's one of those two and a half stars out of four musicals. Everybody in it does the job quite well. No question about that either. And one does have to admire everybody in the cast. So fine. You, you go, you see it, you leave and an hour later you're hungry again.

[Hiker 1]

Awkward time to ask this, but. Hey, did you download the trail map?

[Hiker 2]

Yeah. No, I don't need to.

[Hiker 1]

I. I don't understand. You're trusting your signal out here.

[Hiker 2]

I'm trusting T Mobile. They have the best network. And if we end up in bum tots nowhere, well, we've got T satellite for backup.

[Peter Filichia]

Whoa.

[Hiker 1]

I don't trust my carrier that much.

[Hiker 2]

We'll just use your phone as a flashlight.

[T-Mobile Announcer]

With America's best network and T Satellite, we're keeping you connected in places you never thought possible. And if you switch today, you get free phones for zero down and only 25 bucks a month per line for four lines. Find out more@t mobile.com or visit your local store.

[T-Mobile Legal Voice]

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[James Marino]

Visit t mobile.com Michael, how about you?

[Michael Portantier]

Well, this is based on a 1999 movie which I saw and have very little memory of. So I guess that's not a great sign. But I. I'm going to have to re see the movie and check how many, you know, what was changed and what was kept the same in terms of the plot points because I don't even remember. I think a fatal flaw of this adaptation is that those two main characters to me came across as very unlikable. The woman who is in the middle of the action Pearl played by Talia Seskower. The thing is, she does honestly seem to be very much in love with her husband. Husband. And also, you know, she has her two kids and initially she's attracted to this blouse man Walker, played by Sam Gravett. You know, just a physical attraction because he's supposed to be really hot and all of the women are like oh my God, look at him. So that's all natural. But she, you know, initially we think she's going to resist him because she really does love her husband and her. Um. But then it turns out that the. The reason she ends up in Walker's arms is, I mean, this is how it came across to me. Just because her husband was unfortunately stuck in the city one weekend, the weekend leading up to the moonwalk, because his boss insisted he stay in the city rather than, you know, go, go away for the weekend, because he is so assumes that people's TVs are going to be breaking down and, and he's going to be in very high demand. So that's how it came across to me, that she decides to sleep with this guy because her husband, whom she loves and she obviously still has a good sexual relationship with, couldn't make it one weekend. And I don't think that's very sympathetic. On the other hand, and looking from the other direction, Walker, the Blouse man man, when he first asked Pearl her name, she says, my name is Mrs. Cantrowitz. So she tells him right from the start. And he knows that there's a woman and there's a family and seems to have no compunctions whatsoever in stepping in there, as it were. So I, I, to me, I, I, I actually went to see the show with Steven Brinberg and I said, we turned to each other after act one and I said it reminds me very much of the Bridges in Madison county, but there are big differences there. I think you feel much more sympathetic to those characters because that woman was transported from one world to another, a completely different one. She also married very young, she's living in a farmhouse in the middle of nowhere, she's quite lonely and it's just a very, very different situation that the way those two characters come together. So it's, it's interesting to compare the two of them. Another thing Stephen told me, because Stephen sees everything he saw. Two previous versions of this musical, except this one has been revised. If I understand correctly, the Anne Marie Milazzo heavily revised the score at some point. And so I don't know how much because obviously I did not see the other two. But one wonders if, you know, if she improved it or not. I thought a huge mistake was that the end of the Act 1, Act 1 ends with we see Pearl and Walker about to consummate their love. You know, it's sort of upstage and then a scrim comes down. So that's the big, the big moment of the end of act one that leads us into act two. But then when act two opened, she was singing a sort of a, a self empowerment song. And I thought, oh, this is a horrible place for a song like this. She should be ruminating about what she's just done and thinking it and thinking if it was a tremendous mistake. And in fact, there's a scene like that right after she sings her, her female empowerment ballad. So I don't know, I don't think that maybe Anne Marie Malazzo and the book writer Pamela Gray, maybe they, maybe they need to, maybe they should have seen more musicals before they wrote this one because there's some basic mistakes that they make that, you know, I think we really do it in. Great cast, though. Andrea Burns, always love her playing the mother of the, of the guy who's being cuckolded. Sophia Palano, this really sweet, very talented young guy named Oscar Williams in the role of Ross who dates, starts dating the daughter of the couple in question. And oh, Sam Gravett, I should not give him short shrift. He's. He is the son of Debbie Shapiro and Bo Gravett and has already done a few things spectacularly handsome, really great actor. Has an has in. There is no end to where he might go in musical theater and theater in general. So catch him in the early stages and you'll be able to say sometime in the future. You could say, well, you know, I saw him when he was just starting out.

[Peter Filichia]

I will say this. Yeah, I'm a little more sympathetic to the situation because a woman I used to work with made a very potent statement, one that I, I really do agree with when she talks about being married to her husband and all this. And she said she was very happy with her husband. But you've got to have a past because you do. If you don't have a past, a sexual history and a lot of adventures, you do wa what you missed and what you really should do is sow those wild oats so that when the right one comes along, you will realize that this is the right one. And you've missed nothing by having all those other people who didn't amount to a hill of beans. So my experience with Elizabeth Field telling me that, I think that resonated with me and I think that's really quite, quite true.

[Michael Portantier]

Oh, yeah. But I ideally, that happens before the marriage.

[Peter Filichia]

Yeah, indeed. You got to have a past. Right. But this is a story about a woman who said, I was a teenage girl and then suddenly I was married and suddenly I was a mother and I didn't have any time to grow, you know, and I had sympathy with that. But I understand where you are coming from too, Michael. Yes, indeed. Yes, indeed. There are two sides to every story. At the very least,

[James Marino]

it sounds like an A to any excuse Hahaha.

[Peter Filichia]

You've got to have a past.

[Michael Portantier]

She also keeps. One more thing. She also keeps waffling this Pearl character. And that, that, that made her more annoying to me at one point. She come after the first time they sleep together. She comes to Walker and says, I can't do this. I am married. I have children. And he's like sitting there and kind of accepting it that, you know, all right, this is over. It was fun. This is over. Then she falls into his arms and starts kissing passionately. They almost did. They almost did it as a. A comic moment. Like the way that she turned on a dime. And I thought

[Peter Filichia]

I bought that too. I think people do say that they don't want it when they really want it and they feel they have to do the right thing by saying that they don't want it.

[Michael Portantier]

But boy, no, no, absolutely. But. But the way it was staged as such a complete turnaround, it seemed comic to me and that seemed inappropriate. You can. You made it. Disagree.

[Peter Filichia]

No, but I guess I'm saying is, and I always do say this, the best comedy is the true comedy. And I, I do believe that even though, yes, that was a comic moment. We left because we understood it, so.

[Michael Portantier]

Oh, I see.

[Peter Filichia]

Yeah. So anyway, but. Well, the fact that we're really talking about it this much into this detail in case that there's more there than I thought when we started, when I saw it, because I thought it was pretty profound. Perfunctory.

[Michael Portantier]

Yes.

[James Marino]

You know, they could have thrown in that. Don't stop, don't.

[Peter Filichia]

Right, exactly. Right, exactly. Yeah.

[James Marino]

All right. A walk on the moon at the Laura Pels at the Harold and Miriam Steinberg center for the theater is running in a couple of more weeks. What. What was the date on that? August 22nd ends on August 22nd. We'll have a link to that in the show notes. So a few little tidbits of. Of things before we run off into the rest of our day. Michael, you. Some people are going to be singing on the docks, aren't they?

[Peter Filichia]

They.

[Michael Portantier]

Oh, yes, yes, yes. This is a series that I believe last year was the first iteration of.

[Hiker 1]

It is.

[Michael Portantier]

Isn't that right?

[James Marino]

I think so, yeah.

[Michael Portantier]

And let me just get the link up here. Sorry. It's called Broadway Perform. Well, it's Broadway Performers at Clinton Cove. If you don't know where Clinton Cove is, it's lovely little park just sort of north of where Intrepid is docked and those other peers there on the. On the Hudson. And first bit of good news, completely free and here is the schedule. Monday, July 13th, that's tomorrow. Max Von Essen featuring Billy Stritch. That one was postponed from last year because Max unfortunately was rained out. And I remember that night because I was going to try to go but then it became obvious that that wasn't going to happen. But to see Max Von Essen and Billy Stritch for free in a lovely park, you know, by the Hudson. What's wrong with that? Then we have on Monday July 20th, these are all at 6:30. Ali Louise Bourski. And on the 27th, Monday the 27th we have Ali Stroker. And on Monday August 3rd we have Jay Harrison Guy. And on Monday August 10th we have Mandy Gonzalez. So we're including the link to the schedule in the show notes so you can check it out. The only one I went to last year was Adam Pascal and Anthony Rapp. And it was really a great, great concert. So I highly recommend. Recommend them.

[James Marino]

Yeah, it's a, it's a great find. Especially Monday evenings. Yes, if it's a nice day, it's, it's great. So all you need is ice cream and then after you're there you can run back down to the Intrepid, jump on the Concord and head to Australia because what is happening in Australia? Tell you, Michael?

[Michael Portantier]

Oh, well, I, you know, I didn't get the details on this, but Anthony La Paga is.

[James Marino]

I have the details if you need it.

[Michael Portantier]

Oh, good, good, good.

[James Marino]

Okay.

[Michael Portantier]

He's. He is doing Death of a Salesman in the role of with Willy Loman. And I am hearing rumblings that he may replace Nathan Lane in the Broadway production. I didn't even know if there were any plans to replace place Nathan Lane and if maybe that the show would just close whenever he left. But that is what I'm hearing.

[James Marino]

Yeah. So in Australia, in Melbourne they're doing 14 performances from 11 August to 22 August and in Brisbane they're doing 11 performances from 28 August to 6 September. So we'll have a link to that in the show show notes. We do have a handful of listeners in Australia. So if you are listening and you get a chance to see this, please drop me a line, let me know how it is. And you know, if Nathan were to leave Death of a Salesman, it could just be, you know, Lori Metcalf to a one person Death of a Salesman. Right.

[Michael Portantier]

I'm sure she'd be up for it.

[James Marino]

I mean she, she won all the awards. So. All right.

[Max Von Essen]

And

[James Marino]

then our friend Michael Musto was chatting on Facebook and we already heard that Jasmine Amy Rogers is in this Lincoln center revival of the Sound of Music. But he mentioned two other names for Captain Von Trapp. This Broadway producer named Patrick Wilson. Is he a Tony winner for that show? I can't remember.

[Michael Portantier]

So I think so.

[James Marino]

Patrick Wilson, Tony Award winner, Broadway producer for Captain Von Trapp, which would be awesome. And Mother Abbas. Have have you heard any rumors on Peter on Mother Abbas?

[Peter Filichia]

Only what Michael said. Heather Headley.

[James Marino]

Yeah, so I hadn't heard Heather Headley. But Musto, I've rarely ever. I can't think of. I can't the last can't think the last time that Michael Musta was wrong. Right.

[Michael Portantier]

So chew on that casting.

[James Marino]

Yeah. So climb every mountain and let us know what you think about that. So that wraps it up for today. Before we get on to our brain tease 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 there's a new episode episode of this Week on Broadway be automatically downloaded to Apple Podcasts for you. Of course, you don't have to listen to us in Apple podcasts as many ways to get us. One way is the Broadway radio app, which is available on iOS and still pending on the Google side for Android, but should be soon. They say, you know, it's long due. So contact information for Peter, for Michael and for me can be found in the show [e-mail] as well as links to some of the things we've talked about today. So Peter, do you have an answer for last week's brain teaser?

[Peter Filichia]

This performer won two competitive Oscars and appeared in just as many Broadway plays. The performance last name is also the last name of characters in the Rodgers and Hammerstein musical. As for this performance first name, it's the same as the middle name of a character in a musical who was played by a performer who won a 21st century Tony for it. Well, I'm talking about Elizabeth Taylor, who appeared in two Broadway shows, Little Foxes and Private Lives and won two Oscars for Butterfield 8 and who's Afraid of Virginia Woolf? Taylor is the surname of the family. In Rogers and Hammerstein's Allegro and in the Producers, Tony winner Gary beach played Roger. Elizabeth Debris, Sean Logan was first, followed by Steve Bell, Tony Janicki, Paul Whitty, Seth Christenfeld, Juliet Green, Lee Cohen, Jack Leshner, Ingrid Gammerman, Steven Sokolov, Jim White, Alan Burnett, Brigitte Dude, John Conti and Freda Brown Amowitz. Not bad, guys. This week's question. We're looking for three consecutive words that appear in a song that you can currently hear on Broadway eight times a week. The name of the, of a Broadway musical that won the Tony for its above the title star is one you'll connect to the name of a black and white film version of a famous play to which Hollywood gave a different, different name. Okay, now from time to time when I ask these brain teasers, I often give you a hint. This time I'm giving you an anti hint from not telling you if the musical title has one word or two or if the film has one word or two. That's for you to discover. But there are a total of three little words that you're looking for. What's the name of the musical in the film that resulted in three consecutive words that you can now hear on Broadway?

[James Marino]

If you have an answer for that, email [e-mail] I'll let you know if you're on the right track. I have to interrupt you all right here because Paul Whitty just made me laugh out loud. He wrote in the chat in reference to our death of a salesman one woman show. He wrote wife of a dead salesman revised by John Doyle. Michael would go see that. Michael would go see that. So Michael, what do you have in this week's musical moments?

[Michael Portantier]

Well, our opener is the previously mentioned Max von Essen doing a lovely rendition of stairway to paradise. And this was at Sardis. I'm not sure what the event was, but of course Max Stardi in an American in Paris on Broadway. And so this is a memento of that. And since he's going to be at Clinton Cove tomorrow, I thought we would feature a bit of him singing. And the closer is really the, the song that sealed my affection for the wedding singer, which is the, the title song. Well, it's actually not the title song. I guess it's the title of the song is called it's your wedding day. Right. And this is from the original Broadway cast album featuring Stephen lynch and company. Stephen lynch in my opinion is a, is a disappointing, sad situation because he was absolutely fabulous in the show. So charming, sang well, completely inhabited the character. Everything about him was perfect. And he seemed so natural on stage even though he was more of a really more of a stand up comedian up until that point than a actor in a Broadway musical. But if I understand correctly, he was very, very upset by the experience because the show was a flop. And, and I guess he didn't like the criticism and didn't think it was justified. And I agree with him, you know, and this is all, this is all second and third hand. Of course, I never spoke with him about it directly, but he has not been back on Broadway for whatever reason. I hope he reconsiders. And in the meantime, please enjoy his wonderful performance leading the ensemble in the title.

[Max Von Essen]

So.

[Michael Portantier]

Well, the not quite titled song of the Wedding Singer, which will be playing, is currently playing at the Angaman Theater in Northport, Long Island.

[James Marino]

All right, so on behalf of Michael Portentier and Peter Felicia, this is James Marino saying thanks so much for listening to your Broadway videos this week on Broadway. Bye. Bye.

[Max Von Essen]

Line dance for me. So when it's your wedding day and my music starts to play? I can guarantee that love will find you. Yeah, when it's your wedding day? All my problems melt away if you count on me. Cause love is what? Yes, love is what I do? Love what I do? Love that I can do. Love is what I do.