This Week on Broadway for June 28, 2026: The Loved Ones @ Irish Rep

Summary

BroadwayRadio: This Week on Broadway – June 28, 2026

Episode Theme:
A lively roundtable of New York theater critics and professionals discuss current productions, new works, and notable revivals on (and off) Broadway, with special reviews of “The Loved Ones” at Irish Rep, La Cage aux Folles at City Center Encores!, new musicals in development, and star performances both onstage and in concert. The panel also demonstrates their deep knowledge and love for theater, peppering the conversation with anecdotes, inside jokes, and affectionate digs.

---

Main Participants

• James Marino (Host)
• Peter Filichia (Critic, Historian, Author)
• Michael Portantiere (Critic, Producer, Photographer)

---

Episode Overview

This week’s episode is a diverse roundup featuring in-depth reviews of Irish Rep’s “The Loved Ones,” City Center Encores!’s “La Cage aux Folles,” the campy musical “Madame X” at 54 Below, a new “West Side Story” at Paper Mill Playhouse, the play “The Last Out Gate” at Chain Theatre, and the solo show “Mr. Man” in the Origin Irish Theater Festival. The panelists provide thoughtful critiques, trivia, and personal anecdotes, all through a lens of deep theatrical appreciation.

---

Segment Breakdown and Highlights

---

1. Opening Banter & Personal Updates

• Timestamps: 01:22–07:11

• Panel Introductions & Personal Updates:

  • Peter Filichia plugs his new show tune desk calendar.
  • James jokes about Broadway theaters actually being on “side streets.”
  • Michael Portantiere is preparing to conduct a Zitsprobe (music rehearsal) for 1776 in Staten Island.

• Notable Quote:

  • Peter Filichia [03:05]:
    “Every time I talk to [Maury Yeston] and bring up music that I don’t like, he says, ‘Oh, I love that.’ He’s never met a song he didn’t like.”

• Community Note:

  • Mention of Aaron Lazar’s ALS GoFundMe, highlighting care within the Broadway community and a call to action.

---

2. Main Reviews

A. The Loved Ones at Irish Rep

• Timestamps: 07:13–11:53
• Reviewer: Peter Filichia
• Synopsis:
  • Erica Murray’s new play is described as a “soap opera in the nicest way possible.” The plot centers on Claire (Marian Plunkett), an Irish Airbnb host, an American tourist (comic relief), and the complex dynamics with her deceased son’s widow and a woman claiming to be pregnant with her son’s baby.
• Insight:
  • Peter notes the show’s soapy structure is effective at holding interest but is “surprisingly long”—there is an intermission that’s “almost a jump scare.”
  • “A soap opera is a soap opera, no matter how you slice the soap.” – Peter [11:47] (citing Clive Barnes)

---

B. La Cage aux Folles at City Center Encores!

• Timestamps: 12:46–20:39

• Reviewer: Michael Portantiere

• Commentary:

  • Initially skeptical due to cast rumors and directorial inexperience, Michael was “pleasantly surprised.”
  • Billy Porter as Albin: Vocal inconsistency, at times raspy, but delivered high notes and gave an overall wonderful performance.
  • Wayne Brady as Georges: “Absolutely valid and wonderful singing voice… Incredible chemistry with Porter. I have never seen more chemistry between those two characters.”
  • Opening number and drag costume parade tried to invoke famous Black divas—“fine, but confusing, some not glamorous, some anachronistic.”
  • Supporting cast: generally strong, with standout performances by Alaman Diou (Jean-Michel), Rachel Webb (Anne), and James Jackson Jr. (Jacob).

• Notable Quote:

  • Michael [14:55]:
    “He’ll be singing along, sound fine, then suddenly sound very raspy… And then you think a high note is coming, and it sounds absolutely fantastic. I don’t understand!”

---

C. Madame X: A Musical at 54 Below

• Timestamps: 21:10–23:52

• Reviewer: Peter Filichia

• Commentary:

  • A campy new musical with melodramatic plot: “another soap opera.”
  • Praised Gerard Alessandrini’s music (“I came out humming the title song!”) and Jenny Lee Stern’s performance.
  • Show manages to balance camp and sincerity by letting “the audience provide the camp in their own minds.”

• Notable Quote:

  • Peter [22:44]:
    “They’re playing it straight as if it’s the most important thing in the world, and that allows the audience to provide the camp.”

---

D. West Side Story at Paper Mill Playhouse

• Timestamps: 24:11–29:12

• Reviewer: Michael Portantiere

• Commentary:

  • Returned for a second viewing to see original leads; calls it “my favorite show of all time.”
  • Lauds Noah Henry (Tony) and Sarah Ann Martinez (Maria) for youthful, authentic performances.
  • Reflects on the show’s enduring power and the legendary impact of its original production.

• Notable Quote:

  • Michael [27:32]:
    “No doubt in my mind this is one of the greatest masterpieces ever created by any human beings throughout history.”
  • Peter [28:35]:
    “If there were a time machine… opening night of West Side Story is the fourth most given answer.”

---

E. The Last Out Gate at Chain Theater

• Timestamps: 30:31–34:28

• Reviewer: Peter Filichia

• Commentary:

  • Story about a rodeo legend and a coming-out narrative for a young man, with attention to casting and standout performance by Grant Dine (“from Columbus, Ohio, studying biochemistry at St. John’s.”).
  • Strong encouragement for aspiring actors: Follow your passion.

• Notable Quote:

  • Peter [34:28]:
    “Don’t let people dissuade you from your dream… If you drop out, you’ll be convinced you could have made it if you’d only stayed in it.”

---

F. Mr. Man by Enda Walsh (Origin Irish Theater Festival at Theatre Row)

• Timestamps: 35:09–39:21

• Reviewer: Michael Portantiere

• Commentary:

  • One-man show starring Daniel Marconi as a religious zealot whose beliefs take him to dark places.
  • Praises Marconi’s “tour de force,” undeterred even by an audience member’s loud snoring.

• Notable Moment:

  • Michael’s anecdote: Marconi admitted being distracted by snoring, but the audience did not notice.

---

3. Theater Trivia & Musical Moments

• Timestamps: 39:41–46:18

• Theater Trivia:

  • Last week’s answer involved the character “Baldy/Baldi” in La Cage aux Folles, referencing casting history.
  • New trivia challenge involves a performer going from Rodgers & Hammerstein to a lead in a film adaptation where they don’t sing.

• Musical Feature:

  • Michael pays tribute to the King and I film’s June 28, 1956 premiere—one of the “finest screen adaptations” with a personal childhood memory.
  • Plays two excerpts from the film soundtrack: the main title (March of the Siamese Children) and “Getting to Know You,” sung by Marni Nixon for Deborah Kerr.

• Notable Quotes:

  • Peter [45:00]: “This must have been a little soothing to Rodgers and Hammerstein, because two days later, Pipe Dream closed—the shortest run of any R&H musical…”
  • Michael [44:02]: “…one of the greatest scores ever, and so beautifully handled in the film…”

---

Other Notable/Funny Moments

• Broadway Inside Jokes:
  • James claims to be president of the David Hasselhoff fan club and does “the hair dance” (12:30).
  • Discussion on “face for radio” when asked to do a photo shoot (12:46).
  • Reminiscence and name-drops of critics and columnists—“We all have these little quirks.” (12:24)
  • The traditional “photo booth” and zitsprobe banter, plus good-natured ribbing about age and theatergoing habits throughout.

---

Summary

This episode of BroadwayRadio is a perfect snapshot of New York theater conversation: deep dives into new works and revivals; balanced reviews mixing critique with affection; expert storytelling and context; and a genuine enthusiasm for the art form. The panelists touch on everything from casting dynamics to queer storytelling, from the alchemy of classic musical theater to the exploration of melodrama—from “surprise” standouts in regional productions to the dogged perseverance required for a career in the arts.

For theater lovers, it’s an insightful, entertaining, and comforting listen.

Transcript

[Shopify Advertiser]

When it's time to scale your business, it's time for Shopify. Get everything you need to grow the way you want, like all the way. Stack more sales with the best converting checkout on the planet. Track your cha chings from every channel right in one spot. And turn real time reporting into big time opportunities. Take your business to a whole new level. Switch to Shopify. Start your free trial today.

[Sam]

Sam.

[James Marino]

Hello and welcome to Broadway Radio's this Week on Broadway for June 28, 2026. I forgot where this week was. My name is James Marino. And in the broadcast today we have Peter, Felicia and Michael Portentier. 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 bright New Year is available at finer retailers. Hello, Peter. Hi, Peter. Tell us not about the first finale, not about the second finale, but tell us about the third finale from ThreePenny Opera.

[Peter Felicia]

Yeah, well, Threepenny Opera does have three acts and therefore it will have three finales for each of those acts. But the reason I chose this song is because in 1838, Queen Victoria ascended the throne in England. Now this is a very important thing in the Threepenny Opera because that lovable rogue Nick Keith, also known as Mac the Knife, is just about to be hanged for his terrible things that he's done. But suddenly an emissary arrives on horseback with a pardon from the queen because today's the day of her coronation, she's in a forgiving mood. So Mrs. Peachum, who's Max mother in law, says how nice everything would be if these debuts on husbands always appeared when they were needed. Yeah, only musical friends. Only in music.

[James Marino]

All right, and tomorrow night you're gonna be up at Symphony Space. Are you playing your violin?

[Peter Felicia]

No, what I'm doing is actually talking to Joshua Rosenbloom, who has written a wonderful book about Maury Eston called the Very Unusual Way. And indeed, we're having a book launch tomorrow night. We're going to be talking about Maury's career. There are those who would say, why are you doing it at a Broadway theater? Why aren't you doing it at Broadway theater? After all, that's what he's most known for. But he's written symphonies, he's done a lot of very strange things, even did a Star wars album and many, many other things. He really is an astonishing human being when it comes to composing because he, he just loves every type of music. I, every time I talk to him and Bring up music that I don't like, he says. Oh, I love that. So I Will Rogers, never a man he didn't like. I don't think Margaret ever met a song he didn't like. So, anyway, tomorrow night we'll be doing some songs. Karen Akers will be there, Jill Pace will be there. Elena Shadow will be there. And a good time will probably be had by all.

[James Marino]

I want to point out that Symphony Space is actually on Broadway.

[Peter Felicia]

Yeah, that's right. Good point. And.

[James Marino]

And many more than I was there. Only two or three theaters actually, that touch Broadway.

[Peter Felicia]

Yeah, it's one of the things we're very surprised to learn when we're just getting interested in this field, you know, we expect to be on Broadway, not the side streets, you know, as long as. As well as I always assumed when I ran into the albums, new faces of 1956, new faces in 1952, that there was new faces every year, you know, so. No, there wasn't.

[James Marino]

And Symphony Space added benefit. Across the street from Symphony Space, you know what?

[Peter Felicia]

There is the Broadway Diner. What?

[James Marino]

Ben and Jerry's.

[Peter Felicia]

I'm sorry. You told me that.

[James Marino]

Oh, Peter, if you walk from home to Symphony Space, the least you can do is have a little Ben and Jerry's.

[Peter Felicia]

Well, I suppose that's true, too, but I suspect I'll take the subway.

[James Marino]

Also with us is Michael Portentier. Michael has been a theater journalist for more than 50 years. 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 publications. And he writes reviews of cabaret shows for NightLifeExchange.com Additionally, Michael is known as a producer and director of shows at 54 below the Laurie Beechman Theater and other venues. Hello, Michael.

[Michael Portentier]

Hello.

[James Marino]

And taking the stage next week coming up.

[Michael Portentier]

Yes, yes.

[James Marino]

1776, the ghost like players on Staten Island. So how's that going?

[Michael Portentier]

Well, we have our Zitz Probe today.

[James Marino]

Oh, you're speaking German. Very sexy.

[Michael Portentier]

Yeah. Which is why I asked to record the podcast a little earlier today, because I have to get to Staten island for the Zitsproba, so. And then after that, it's just there's a tech rehearsal on Monday and there's a final dress on Tuesday and we open on Wednesday. So.

[James Marino]

Yeah. Also wanted to let the listeners know that our friend and yours, Aaron Lazar, his two boys have set up a GoFundMe to help with Aaron's ALS treatments and living expenses. He's. He's at the point now where he is. He's in a wheelchair and he's lost control over a lot of his body and he can no longer work. And his boys have set up a GoFundMe. We'll have a link to that in the show notes. Yes, for that. I mean, Aaron is such a beloved member of the Broadway community and a lot of us are responding to this, so we thought we'd let the listeners know about it as well.

[Michael Portentier]

Absolutely.

[James Marino]

All right, so in our review section, Peter, you over at Irish Rep to see the Loved Ones. The Loved Ones. What did I.

[Peter Felicia]

The Loved Ones called the Loved One. So maybe this was made to a very funky movie late in the 60s with Robert Morrison, Jonathan and a few other people too, so. But this is plural. The Loved Ones, indeed. You know, it's funny. I have always said one of the reasons that we have so many revivals on Broadway is because we don't have so much stock anymore. That in back in the 50s, that took care of that. If you want to see Song of Norway or Damn Yankees, you could. You could do that in the summer in. In a tent. Well, some of stock disappeared. But you know what else has really disappeared and that is soap operas. There aren't nearly as many as they used to be. I mean, back in the 50s, there were. There was 17 soap operas, and now there are very, very few. Mostly because women were the prime audience for soap operas, and now women work, and so there isn't the call for them. They used to be. Well, if indeed you want to experience a soap opera, and I mean that in the nicest way possible, the Loved Ones does qualify. So Erica Murray has written a play that will hold your interest, but the situation does suggest soap opera. So what's happening? Okay, Claire, who's wonderfully played by Marianne Plunkett, and would you expect anything less, runs an Airbnb in Ireland at the moment. She has one tenant, if you will, an American tourist, brilliantly played by Donalyn Champlin. This lady just comes out with anything that comes to her mind. It. She just pops out with things that are irrelevant or silly or, let's face it, stupid. She has no idea when people are not responding to her. She just keeps on going. She just assumes that everybody wants to hear what she wants to say. Okay? She will play a very important part in this show, believe me. But she is the comic relief because. What's going on? Well, Marion Plunket is really in mourning because her son, her grown son, has died and indeed his widow is coming over to scatter the ashes. So that's certainly a sad thing. But also showing up is a woman who claims she has an affair with the son and indeed is carrying the baby that they conceived. So what happens when the wife meets the young woman who allegedly had the affair? Of course, Marianne Plunker does not want to believe this at all. She can. Her son would never do anything like this. She knows her son. She. She know everything. But they were so close, and she would know this if this were the case. And little by little, of course, she has to come to terms with the fact that this seems to be true. So, you know, doesn't this sound so popery? The fact that, you know, you have these two women and what's really n about the play is the fact that the wife does not know who this woman is. She just assumes it's another guest at the Airbnb and is inclined to be nice to her. We'll see how long that lasts. But nevertheless, what happens in the play, there is a moment that will make you jump out of your seat. It certainly made me do that. And very, very impressive. It's a surprisingly long play. From the vantage point of the first act, you're lulled into thinking, oh, this play doesn't have an intermission. Yes, it does. And I will say that Linda stayed in her seat and certainly was engrossed by it, as was I. But as Clive Barnes1 wrote about, I never sang for my father. A soap opera is a soap opera, no matter how you slice the soap.

[James Marino]

All right, so the Loved Ones at Irish Rep is running through August 2nd. We'll have a link to that in the show Notes. Little Broadway radio insider knowledge. You know who is a crazy soap opera fan?

[Peter Felicia]

Who?

[James Marino]

Matt Tamonini.

[Peter Felicia]

No kidding.

[James Marino]

Isn't that so unusual?

[Peter Felicia]

You know, David Finkel, who is an erudite, tremendous critic.

[James Marino]

Yeah, yeah.

[Peter Felicia]

Loves country music, and I wouldn't think that would be the case, you know, so we all have these little quirks.

[James Marino]

Yeah. I'm the president of the David Hasselhoff fan club. See, you know.

[Peter Felicia]

Yes. And you watch Jekyll and Hyde every night.

[James Marino]

Oh, I do the hair dance. So. Well, it's times like this we are thankful that we are Broadway radio and not Broadway video.

[Peter Felicia]

That's right.

[James Marino]

So, all right. I had an advertiser that asked a potential advertiser that asked if I would do a photo shoot, and I was like, no, I have a face for radio. I have a Facebook radio. So I was like, no, we'll not do a photo shoot. For that. So, Michael, I should have told the advertiser I am what I am. Because, Michael, you got over to City center encores to see La Cocha fall. My French there.

[Michael Portentier]

Nice, nice.

[James Marino]

And although it is wrapping up today, I'm still interested to hear your thoughts. So tell us about La Cage.

[Michael Portentier]

Well, I was quite pleasantly surprised. It's not one of my favorite shows to begin with and I know there have been some issues with Billy Porter lately. And also the show's being directed by Robert o' Hara, who has little if any experience directing this kind of a musical. So all of those reasons, I, I thought there were red flags. Plus I had heard and read from various people that Billy Porter was not in good voice. Different, different opinions on that. As we mentioned last week, one person has said his voice was shot, quote unquote, but then they sent out a video, a promo video of him singing I Am what I Am and it was not shot. It is very raspy in place. And here's the weirdest thing. I don't know what exactly is the issue with his voice. He'll be singing along, he'll sound fine, then suddenly he'll sound very, very raspy, like it's hurting him to sing. And then you think a high note is coming up and you're like, oh my God, what is going to happen? And then the high note sounds absolutely fantastic. So I don't understand. I don't know how to. What do you call those people? Laryngologists? I don't know. I don't. I can't diagnose why it's so inconsistent like that. Maybe it's acid reflux. I've had an issue with that. Anyway, I won't go on, but that is the condition of his voice right now. He worked with it and I would say gave overall quite a wonderful performance as Albin in La Cage, even though, let me say the character's name was mispronounced by almost everyone throughout. Supposed to be Alban, not Alban. So just a little note to them, but a little too late. The, the other. Another major, major plus of this production was Wayne Brady in the role of, of George. He was, he did a very different George than any person I have seen previously, which would include Robert Goulet and Jane and Gene Barry and, well, you know, who played him. But, but absolutely valid and wonderful singing voice and most importantly, incredible chemistry with him and Billy Porter. I, to me, I have never seen more chemistry between those two characters in any production of La Cage, as I saw here And I think that really, really lifted it up as a production. Certainly there were flaws. It started out very badly. I thought they spent too much time on the. In the opening number, we are what we are with the dress parade. And also, that's supposed to be all about the, you know, glamour and, you know, these drag queens, female impersonators, whatever you want to call them, showing off their drag. But here they went another step and they were trying to invoke famous black divas throughout music history, you know, which is fine, but some of them are not glamorous at all. And also, this was still technically, I believe, supposed to be set in the 1980s, and some of them hadn't even arrived on the scene yet. Also, I wasn't sure who was supposed to be who. There was one person who looked. I thought it was Grace Jones, and then somebody else said, no, no, that's supposed to be Sylvester. So I don't know about that, but the orchestra was great. The encore's orchestra under Joseph Joubert. As for the supporting roles, which I think this show has the least important supporting roles of any other musical I can think of, Right. When you think about it, they're almost all very, very, very secondary. The largest of them is Jean Michel, the son. The role of the sun, played by Alaman d', Ad, was charming. He looked very, very, very young. And I think that kind of actually helped with the plot because he is supposed to behave very badly throughout most of the show. And I guess it's easier to forgive it if he looks like a. I mean, he looked like he was 19 or 20. So Anne was played by Rachel Webb, who was wonderful, although it was distracting to me that she seemed several inches taller than Alaman Diu. And Tonya Pinkins was Jacqueline, and she was fine, maybe overdoing the French accent a bit, and also very weirdly singing all of her songs down the octave from where they were written. I don't know if they. If they. They didn't want to put in the time to do transpositions for the entire orchestra. And maybe they felt she sounded fine where she was singing it, but it was little too low for me. And finally, well, I won't mention everyone else, but Michael McElroy made a nice appearance as Francis, who's sort of the stage manager guy. And Jacob, which is a really wonderful role, was played by James Jackson Jr. So overall, I really liked it a lot more than I thought. I've always thought of it as a flawed musical. And in fact, I just recently bought for the first time. I now own the original French film of La Cage on Blu Ray and I'm looking forward to watching that because to me that is the best, absolutely, unquestionably best. Adaptation or not adaptation, because it was the first version of this piece that there is. But the musical does have a lot of pleasures to offer and it was at the time, it was really quite something to have Jerry Herman make a. Such a very successful comeback after years of, of really inactivity and also at a time when he was, I believe he was already becoming ill when he started, I think when he started working on the show with aids. So. So all of that together, if you got to see it, I hope you enjoyed it as much as I did.

[James Marino]

All right. Very controversial this La Cage fall is. But today is the last day you're going to get to see it at City Center. Encore. And we'll have a link to it in the show notes. Peter, you were over at 54 below to see Madame X, the musical by Gerard Alessandrini and Robert Hetzel. So tell us about this presentation.

[Peter Felicia]

Well, here's another soap opera when you come right down to it, because Madame X is a woman who has difficulties with her husband and affair that she has and a son that she abandons and eventually she is going to be on trial for murder, in which the real surprise is the fact that her son is now grown as a lawyer and is going to be representing her and he doesn't know that the. He's actually representing his mother. And so the astonishing thing to me was that I ran over to Gerard after it was over and I said, ah, ah, I gotta meet this composer. I love the music. It's so terrific. He wrote, he wrote the music, most of it. Would you assume, you see Gerard Island Greedy and Robert Hetzel, that Gerard wrote the lyrics? I mean, after all he's written a ly got to in his time, has he not? So you would just naturally assume that he was the lyricist and, and Robert Hessel was the composer. And yes, indeed, Robert Hessel did write the music to a couple of songs, but it was Gerard's music and it's terrific. I mean, I came out really the famous barometer humming the, the title song. It's so what's really great is for the second week in a row I was overwhelmed with Jenny Lee Stern. Faithful listeners will recall that I mentioned her when she was in Industrial Strength, a musical about industrials that's trying to get going. And she was magnificent in a supporting role. Well, here she was in A leading role and just so wonderful at showing the, the dramatic side in a comic way is supposed to be done in this musical as, as Madame X. It was so nice to see Karen Murphy again playing her mother in law. I haven't seen Karen in a while and I enjoyed her so much in the past, so I was glad to see her have a renaissance. Michael Corbett, Charlie Baz, the other people involved, tremendously effective. So I hope this musical has a future. I think it does. And great, great fun in, in, in a campy way that does not overdo it and that' they're playing it straight and as if it's the most important thing in the world. And that allows the audience to provide the camp in their own minds. So that's what's really good.

[James Marino]

Okay. Madame X the Musical was a one night presentation at 54. Below we'll have a link to that in the show notes and keep our eyes out for future presentations of this. Michael, you've returned to Milburn, New Jersey. Did you forget your wallet?

[Michael Portentier]

No, I went back because it's west side Story and it's my favorite show of all time and they're doing such a wonderful, beautiful production of it which closes today. I had seen it a few weeks ago and then a neighbor of mine actually offered me another ticket and I jumped at it. I would have gone again anyway. But also our listeners may recall when I reviewed it last time that two of the leads were out last time, Anita and Riff. And those are both, you know, pretty big roles. So I was curious to see the, the actual actors who were actually cast in those parts. But really I, I would also have gone back anyway because of the, the entire production and most specifically the unbelievably beautiful voice of Noah Henry in the role of Tony and the absolute perfection of the role of Maria as played by Sarah Ann Martinez. Both perfect in every way. As I've said repeatedly, west side Story to me just does not work. If the gang members and Maria and Tony don't look very young, they really should be passable as almost teenagers. And they certainly were here. So that was a huge plus. I don't think. And I've said I don't think Mark Hoby is a very good director. And there were signs of that here in the pacing in certain scenes and some little tiny little bits that he put into the show that I didn't think worked. But I think this show kind of has its own momentum and so much of it is music anyway. And that was beautifully handled. The musical direction by Ben. See M, C, N, A, B, O, E. McNabo. McNabo. An original choreography by Jerome Robbins, reproduced by Alex Sanchez, another name we've heard before. Sets and costumes, absolutely fantastic. Orchestra, nice and full. The run has been packed throughout, and that certainly included last night. And, you know, just. No, no doubt in my mind that this is one of the greatest masterpieces ever created by any human beings throughout history. It's just incredible the way Sondheim and Bernstein and Arthur Lawrence came together and with Robbins, you know, who conceived the whole thing, to produce this. And I was thinking even more last night. For some reason, we're approaching the 70th anniversary of west side Story next year, and it's hard to imagine what it must have been like to sit in that audience on opening night, because not only is it also brilliant, but there's so much of it that is. That must have been almost shocking in terms of the content of the story and the way it's presented. And the, the, you know, The.

[Sam]

The.

[Michael Portentier]

The choreography and the. And the. The integration of. Of operatic elements with jazz and blues and. And different styles of dance and. And then absolutely dramatic scenes that act that, you know, will absolutely devastate you. And the ending is. You know, there's legend is that after the final curtain of the first performance on Broadway that the audience was silent for, like, a good full minute before they. Because they were so stunned by what they had seen. And I absolutely. That may sound like pr. I absolutely believe it. There was some of that last night almost. You know, the. The. The reaction is not immediate. The audience needs to take a moment to. To take in, you know, the tragedy. And plus, a lot of people are crying. Just what more can I say? It was a beautiful production.

[Peter Felicia]

No, Michael, it's so interesting you say opening night because listeners whom I've met, both of whom I've broken bread, know that I often say, if there were a time machine, what would you go back and see? And I can't say for sure that this is exactly the tally, but it seems to me that Follies is the number one answer. Merman and Gypsy is number two. Streisand and Funny Girl is number three. But it's so interesting that people say those shows, but so many people have actually said opening night of west side Story, and I think that's the fourth most given answer.

[Michael Portentier]

Yeah, I would expect My Fair lady to be there, too, but whatever.

[Peter Felicia]

I rarely hear My Fair Lady.

[Michael Portentier]

Interesting.

[Peter Felicia]

Yeah, I'm amazed how much I hear Brigadoon. I also. Your lady in the dark a great deal as well.

[Michael Portentier]

And of course, when we say opening night, you know, I mean, there were previews in those days, and I think there were a few. I seem to recall from a memory that there were two or three previews, probably.

[Peter Felicia]

Yeah, that's a lot for those days without a time. Tryouts. Yeah.

[Michael Portentier]

Yeah.

[James Marino]

Can't believe Blonde and the Thunderbird didn't make it. All right, so nobody yet, you know, everybody. Bring your thigh Masters and do it during the show. Anyway, west side Story, Paper Mill Playhouse through this afternoon. This evening. And that's great. So, Peter, you were at the Chain Theater to see the last Out Gate. Did you have issues trying to compare it to Urban Cowboy?

[Peter Felicia]

Well, Urban Cowboy, of course, is famous for the mechanical bull that I actually saw when I was in Houston back in the late 70s. I did not ride it. Needless to say, I would not be here today if. If I had no last Outgate is play about a guy who very much a rodeo star. A legendary rodeo star. So this is a play by Casey Bradley, and I get the impression that it's somewhat autobiographical because the person who checked me in was wearing a cowboy hat and looked like a staunch guy who could have been a rodeo star. His name is Kevin Anthony. I want to talk about Casey Bradley for a second. Who's the director? It's often been said that casting is 90% of the job. And, well, then I would say that Casey Bradley gets AN A Because 90, where I went to school was enough to get you an A. So I would give her an A for casting because really everybody was so terrific in the right role. But here's what I really want to talk about. This is the reason I'm mentioning this, because the show's closed. It's over. You can't see it. But I want to talk about Grant Dine. Grant Dine, the bio says, is from Columbus, Ohio, and is currently studying biochemistry at St. John's University. Grant, you're a tremendous actor. I'm hoping this is something to fall back on, that you're really intent on becoming a genuine Broadway star, because I think you have the ability to do that. Such an unmannered, honest performance as the young boy who's the nephew of our rodeo star. And he. I'm sorry to say the play does take a turn that I didn't want it to because I said, oh, please, please don't let this be a story about a kid who's gay. And that's exactly what happened. That he tells his mother that he's Gay. And she certainly does not have a good reaction to it. It this is a woman who will later show up in the play holding a Bible. Need I say more? She also shows up with somebody we don't want to see at all. So even though I, I, I was in despair that this was yet another story about a young boy who's gay, because we certainly have a lot of those, the fact remains is it goes into a direction that I don't see very often and I really was appreciative of. So there's a great deal in this play that is worthwhile after that start that I didn't want it to start. But boy, Grant Dine. Well, John Rubenstein once told me that I think was the young woman who came up to him and said, oh, Mr. Rubenstein, I love theater so much, but, but I love marine biology so much too, and I just don't know what to do. And he said, if you like them equally, go to marine biology. It will be easier. If you don't like them equally, you must pursue theater, but only if you don't like them equally. So, Grant, I don't know if you like biochemistry as much as theater, but I'm telling you, I like you in theater and I hope to see you again.

[James Marino]

All right, someone to watch Grant Dine and that will it closed yesterday, as you mentioned, Peter. That's right. At the Chain Theater. We have a link to the Last Out Gate website in the show notes.

[Peter Felicia]

The reason I mention this is because listeners out there, there are young people out there who want to be actors. And this is really advice I'm giving. That's the real reason I'm mentioning this, because don't let people dissuade you from your dream. You know, stay with it. I, I know it's easy for me to say since I'm not going to be supporting you financially. Nevertheless, if there's any way you can stay with it, stay with it, because what's going to happen as you get older if you drop out is you're going to be convinced you could have made it if you would only stayed in it. You'll be cursed with that for the rest of your life. Don't let that happen.

[Michael Portentier]

All right,

[James Marino]

so next up, Michael, you saw Mr. Man by Enda Walsh. It's a part of the Origin Irish Theater Festival over at Theater Row. So tell us about it.

[Michael Portentier]

Well, I just wanted to mention again briefly, because I teased it last week, this is the play that I wanted to see. If for no other reason than that it stars Daniel Marconi, who is the only actor in it, other than some recorded voices. This. This is interesting in that there are quite a few recorded voices in the play. And I. I wonder, you know, how with the origin of that, when Andrew Walsh was writing it, did he say, well, we're going to do this to save money, we're going to do this because it's just more effective. And apparently when the play premiered and Dewalt himself played the one role in the play, so I guess maybe he saw it as a vehicle for himself, but it has since gone on to be played by others. Anyway, it's an absolute tour de force about this young man in Ireland who is, unfortunately, he has become a religious zealot. And it does not turn out to be, as one might guess, something that is very good for him as a person. He just takes it to the extreme, and some really, really, really bad stuff happens. Daniel, who I have known for several years now, he's a Wagner College graduate. I first became aware of him through mutual friends. He was in Sweeney Todd on Broadway the last revival. He was a successor in the role of Tobias, and it was absolutely wonderful in that. And then he did a couple of off Broadway shows. As I mentioned last week, he. He had a little blip in his career when he was written out of the Outsiders. He was in the show out of Town, and I guess there were considerable changes made before it came to Broadway. And so his character was written out, and I'm sure that was a disappointment, but he certainly has rallied, and now I think he's becoming recognized as one of our finest young actors. So I would urge you to see Mr. Mann at Theater Row, which is running through July 5, so you don't have that much time left, but get there if you can. Oh, here's a funny thing. I know Daniel. And so I waited to speak with him afterwards and congratulated him on, really, a tour de force performance. And he said, wasn't it okay? Did you hear the guy snoring? I said, I said, what? And he said, there was a guy who snored throughout the show. And I said, no, I didn't hear it at all. I mean, I guess I wasn't sitting near him. And Daniel said, well, I heard it. And he said, and I used to think I was not easily distracted, but I guess I am. So he was making all kinds of excuses, but I didn't notice him being distracted for an iota of a second. He was 100% committed. So I'm sorry he felt that he was distracted, but I didn't see it. And that must have been really, that's an unnecessary obstacle when you, I mean, as it is to do a one person show like that with all of those lines and be the only person on stage and no one else to rely to and then to have to deal with someone snoring audibly in the audience, that must have been really very, very challenging.

[Peter Felicia]

It happened once in urban stages with a person in the first row.

[Michael Portentier]

Oh gosh.

[Peter Felicia]

So it was a one person show. I felt so bad for the actor.

[James Marino]

All right, Mr. Man is at Theater Row through July 5th. We'll have a link to that in the show notes.

[Sam]

So

[James Marino]

that wraps it up for today. Today, before we get on to our brain teaser and our musical moment, 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. This new episode of this Week on Broadway will be automatically downloaded to Apple Podcasts for you. Of course, you don't have to listen. Listen to us in Apple Podcasts. There's many ways to get us. One way is the new Broadway radio app on the iOS App Store. The Apple App Store. We're working on a Android version as well, so you can download it there. 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?

[Peter Felicia]

A character's original name was Baldy in a property that became a musical that's currently on the board. What's the character's name in the musical? What's the musical in the name of the original property? Well, this was a trick question. Not my first and probably not my last. For unless you check the show notes, you'd be in your rights to assume that Baldy was spelled B A L D Y, the nickname of a bald headed person. But as the show notes would have shown you, this, Baldi was spelled B A L D I, which was the surname of the character in the film version of of La Casa Faux that was originally played by Gene berry in the 1983 musical version and Wayne Brady, who lost two weeks at City Center. Sean Logan was the first, followed by Steven Sokoloff, Lee Korn, Seth Kristenfeld, Tony Janicki, Ingrid Gammerman, Brigadoud, and Fred Abramowicz. This week's question this performer's Broadway debut was in a Rogers and Hammerstein musical. Ten years later, this performer had the title role in a film based on a Tony nominated musical. And yet despite having the lead, this performer didn't sing a note. Who's the performer? What was the Rodgers and Hammerstein musical? What was the film?

[James Marino]

All right, so if you have an answer for this, email [e-mail] we'll let you know if you're on the right track. So, Michael, what do we have in our musical moments?

[Michael Portentier]

Well, speaking of Rodgers and Hammerstein musicals, today is a red letter day in my Calendar because today, June 28, 1956, was the premiere of the film version of the King and I, which despite some cuts and other minor flaws, I think is absolutely one of the finest screen adaptations of a Broadway musical. Beautifully cast, designed, very well directed, gorgeously shot by the cinematographer, et cetera, et cetera. So I thought we would celebrate that because I. It's also one of the first recordings that I remember acquiring as a very young person when we used to go shopping at Corvettes on Staten Island. They had a great record department. And I was getting into. I was somehow getting into musical theater. And I remember it was a choice between. I've told this story before. It was a choice between the soundtrack of the Happiest Millionaire and the King and I. And I had seen a commercial on TV for the Happiest Millionaire and I liked it. So I really was leaning towards that. But my father was with me and he said, well, maybe you should get the other one, the King and I, because your mother saw it on Broadway and I think so that she would enjoy it as well. So that made sense to me. So I got the King and I and I was maybe a little disappointed because I think I wanted the other one one. But the disappointment did not last long because one of the greatest scores ever. And so beautifully handled in the film in terms of orchestrations and musical direction. And of course, the performances of Yul Brer and the great Marnie Nixon.

[Peter Felicia]

Right, yeah.

[Michael Portentier]

Who had been our guest on our podcast twice, I believe. We were so thrilled to have her. So that that recording is absolutely fantastic. And it does include the three major songs that were cut from the film, namely My Lord and Master, Shall I tell you what I think of you? And I have dreamed. And then there were other little cuts as well. But it's. It, it as its own entity as an album, it's. It's just about the best there is. So we're including Two cuts from the soundtrack album of the 1956 film version of the King and I. Not to be confused with The, I believe, 1999 animated film version of it.

[Peter Felicia]

Yeah. Michael, may I also say a couple of things here?

[Michael Portentier]

Sure.

[Peter Felicia]

One, this must have been a little soothing to Rodgers and Hammerstein, because two days later, pipe Dream closed. The shortest run of it ever. Stein musical. And the other thing is, you're very lucky to have a father who said that because my father would have said, get away from there. You got enough records.

[Michael Portentier]

Well, thank you. Thank you. In his memory. I'm sure he would. He would have loved to hear you say that. Yeah, go on.

[James Marino]

No, no, no. Keep going.

[Michael Portentier]

Okay. Yeah. So two selections from the King and I. Our opener is a little bit of the main title music, which is really just. It's not an overture, it's just. Just an absolutely brilliantly orchestrated and arranged version of the March of the Siamese Children. And then the closer is Little Bit of Getting to Know you sung by Marni Nixon for Deborah Carr. Please enjoy these two excerpts. And, yeah, and, you know, if you have the King and I, if you have the album, or if you have the video, you might want to pop it in today and think that it. That's 70 years ago. Today was the premiere.

[James Marino]

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

[Michael Portentier]

Bye.

[Sam]

But you get mine. Getting to know you Getting to feel free and easy When I am with you Getting to know what to say

[Shopify Advertiser]

haven't you noticed?

[Sam]

Noticed Suddenly I'm bright and bre. Because of all the beautiful and new things I'm learning about you Day by. Day.