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- [00:00]
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- [01:29]
June Gable (performer)
Equal Housing Lender Buenos tardes, senores. It is your privilege to encounter one of the greatest courtesans from Paris, France. All one needs to enjoy her immortal favors is a princely sum. I was not born in sunny Hispania. My mother came from Rovno Gobernia. But now I'm here. Here I'm dancing a tango. I am easily assimilated. I am so easily assimilated.
- [02:16]
James Marino
Hello and welcome to Broadway Radios. This week on Broadway for Sunday June 7, 2026.
- [02:23]
Michael Portantier
It's Tony Day.
- [02:25]
James Marino
My name is James Marino and in the broadcast today we have Peter, Felicia and Michael Portantier. Peter is a playwright, journalist and histor story and with a number of books, Peter's new Day by Day Desk calendar A Show tune for today 366 songs to write New Year is available at finer retailers. So Peter.
- [02:46]
Peter Filicia
Yeah.
- [02:46]
James Marino
Tell us about the show Tune for today.
- [02:50]
Peter Filicia
Well, it's really interesting that on June 7, 1776, only six colonies agreeing with John Adams that they should say, to hell with Great Britain. So you need all 13, and they're not even halfway there. June 7, less than a month away. It's just amazing to me. So here he's going to try to get somebody to write a declaration of independence, and he has to go through three guys before Thomas Jefferson very reluctantly says yes. So it's very fitting, too, that this should be a song that we're talking about very close to the 250th anniversary of this happening. So it's very interesting to me, too, that the British cast album, you hear British pronunciations. Louis Fienda doesn't say patriot, but patriot. So that's why I chose the British cast album for this date. That was a very rare album, once upon a time. I don't know if it's any easier to find now, but it was really, really tough. And because the show, I think, ran 49 performances there, and I don't even know why it was a good idea to bring it there. You know, to hell with Great Brit. It. It seems so strange to me, Fat George, all those sentiments, it didn't surprise me at all and was so interesting is that Stuart Ostro, who produced it here, did not produce it in England. Alex Cohen did. And he was a very maverick type of producer and lost a lot of money for people, and it happened here again.
- [04:28]
Michael Portantier
I wonder if they. I wonder if they smoothed over any of the language, like Fat George. Sure. And et cetera. Yeah, yeah.
- [04:42]
James Marino
Makes me wonder, Michael, are you going to say patriot or patriot on this July 1st through the 3rd, where you're in 1776 at the Ghost Players on Staten Island?
- [04:55]
Michael Portantier
Well, the first time we were rehearsing the show, I think the first person who says the word is Dickinson, played by my friend who cried Kwasnicki. And he said patriot. And I applauded. And I applauded him afterwards.
- [05:14]
James Marino
Well, that. That voice that you just heard is Michael Portantier. Michael's 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 Beachman Theater and other venues. So good morning, Michael.
- [05:42]
Michael Portantier
Good morning.
- [05:44]
James Marino
So little Broadway Radio Housekeeping, the Broadway radio app is available on the Apple App Store. We're working on an Android app right now, so there's a link in the show notes to find it. If you go to the Apple App Store and just search for Broadway video, you should be able to find it. Also, Matt has been churning out episodes. Some of the ones relevant for our immediate listening today is that he got together with Ashley Hufford and Caitlin Burke to talk about their Tony Award predictions. And then in a separate episode, he talked with Broadway producer and Tony Award winner Oliver Roth about his predictions and talk about Kalshee, which is this new predictions market and what Kalshee has to say about the Tony Awards. To see, I guess this is the first year that Kalshi's really mainstream and to see if it's close on picking up on the Tony Award wins. But we will know more tomorrow. So first up, we're going to talk about our takes and predictions on the Tony Awards happening tonight. So Peter and Michael, the best book of the best book of a musical. We have the Lost Boys, Schmigadoon Titanique and Two Strangers Carry a Cake Across New York, which I will just call Two Strangers from now on.
- [07:23]
Peter Filicia
Yes.
- [07:24]
James Marino
So good enough. So, Michael and Peter, you are not Two Strangers, somebody people that I know pretty well, but I have no idea what you're going to pick. So Peter, tell us.
- [07:38]
Peter Filicia
Well, I'm predicting a Schmigadoon sweep in these categories. Not only book, but also score. I'll jump ahead and say that. But Two Strangers is a show I admire greatly because I really believe that it's a very funny show in the first act and it switches gears very nicely in the second when it gets serious. It's truly an original musical. While one could effectively argue that Schmegadoon really isn't, well, of course it is. But it isn't too, because it is, after all, when it comes right down to it, a parody, a loving parody, a terrific parody, but a parody. I think it's harder to write Two Strangers than it is to write Shmika Dune, which is hard enough. So. So I think it's going to be between those two. I love to see Two Strangers get it because I think it needs it more.
- [08:30]
James Marino
Michael, how about you?
- [08:32]
Michael Portantier
Yeah, I have similar feelings. I think it's between Schmigadoon and Titanique. For me, Two Strangers was really mostly about the the basic concept of the story and the characters and the performances, those wonderful performances by those two. I do think that the show. I was just reading someone else's comment Yesterday who said, almost exactly the same as I did. It should have been a 90 minute show. They padded out so much. I think the first act goes really well and is really basically very charming. But then Act 2, it just seems like they're just stuffing and padding and waiting to get to the end. And also there are so many plot points that are just so completely nonsensical that it's hard to avoid thinking about them, even if you're one of those people who likes to give up, you know, likes to give willing suspension of disbelief. And on that note, I would say a similar problem with the Lost Boys. I really liked act one, which I thought achieved a nice tone, a nice creepy, serious tone in this story of, you know, young boys becoming involved with vampires. And then in Act 2, it just took a wild left turn and all this started to be all this camp humor in it, including some guy in a dressed as Bela Lugosi. So I don't know why they did that. I'm not surprised that Michael Arden, the director, allowed it. And it left me with a overall very negative taste about the show. So Schmigadoon would be my choice.
- [10:26]
James Marino
Okay. I do feel as though that tonight can go one of two ways. It really does seem like it's, as Peter mentioned, gonna be a Schmigadoon train. But I do also feel like Lost Boys has been campaigning very hard.
- [10:51]
Peter Filicia
Right? Indeed, indeed.
- [10:54]
James Marino
Very, very hard. Lost Boys. Yeah. No, no, absolutely. And so it could go. I feel like I really enjoyed Schmigadoon. I think that that's. It's the best, Best book of a musical. But I wouldn't be surprised if the Lost Boys, if they are a big train going down the side of a hill, that they will start to pick up these categories that they would otherwise, in isolation, not get.
- [11:23]
Michael Portantier
I was at a Tony Awards Tony Awards trivia contest last night and there was a guy there who was pushing heavily for. For the Lost Boys. I don't. I, you know, I didn't know he involvement, but he definitely said. And my vote is for what? The one that's going to win best musical tomorrow, right? Lost Boys.
- [11:49]
James Marino
Yeah. So, yeah, Rhode island votes. All right, next category is best original Score Musical Lyrics written for the Theater. Arthur Miller's Death of a Salesman, August Wilson, Joe Turner's Come and Gone, the Lost Boys, Schmigadoon and Two Strangers. So, Peter.
- [12:15]
Peter Filicia
Yeah, I just mentioned Shmika Doon, I Jumped the Gun. But I do feel that it's pretty expert. I have to admit that this is a situation where I think the Tony should do what it only did one year. Stephen Sondheim won football score, but he won music and he won lyrics. They had. They split the category. If that were the case here, I'd give lyrics to. To strangers. I wouldn't give it to score the music, but I would give it to the. The lyrics. But given the fact that we are lumping them together, that's why I'm going with Shmiga Dune.
- [12:52]
James Marino
Michael, how about you?
- [12:54]
Michael Portantier
Oh, well, first of all, I just think it's pointless to nominate. Oh yeah, just play scores in the same category. Especially when someone didn't. Someone recently determined there's about seven minutes of music in Death of a Salesman and not to. Not to denigrate it. You know, it's fine music. It fits the show. It. Sure, it helps it, it's atmospheric, but it's just not, you know, it's apples and oranges. Right. Or apples and avocados. I don't know. Anyway, I. Oh, parenthetically, we had a little discussion recently about. Some people said they could not understand why Schmigadoon had even been nominated, given that. But I think one of our listeners, and maybe someone can jump in and take credit, said that apparently there are seven new songs. Yeah. So I. So yeah, so I think that that's our answer. I think the seven new songs, and also I, I believe changes to other songs in terms lyrics, etc. So I think that is our clear answer as to why Schmigadoon was nominated in the best original score category. So I think that will. That may well win. I did like the. The music in the Lost Boys very much. I thought for me it was one of the best aspects of the show. I guess maybe the music more than the lyrics, but. But both together, I thought were very atmospheric and effective for the show until they did that weird amp turn somewhere in Act 2. So I would not be surprised if either of those won best music.
- [14:52]
James Marino
Do you guys know the term in relationship to Broadway 2, 2 and 2?
- [14:59]
Peter Filicia
No.
- [14:59]
James Marino
No. So 2, 2 and 2 sometimes references 2% of the gross that goes to the writer, book writer, music and lyricist.
- [15:16]
Michael Portantier
Right.
- [15:17]
James Marino
So 6% of the gross goes to. Every week, you know, goes to these. These folks. It's not a hard and fast rule, but it's usually how things are structured. So I'm, I'm. If Arthur Miller's Death of a Salesman in August Wilson's Joe Turner's Coming Gone has split their 6%. These folks who are. So does the production Consider it self. And don't productions usually have the opportunity to decline a nomination? Sure. I mean, it just seems. I agree. I think that Death of a Salesman and Joe Turner's Come and Gone should have declined the best original score nomination. Yeah, exactly. In a perfect world. Anyway, next category.
- [16:15]
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- [17:39]
James Marino
best performance by an actor in a leading role in a play. We have Will Harrison for Punch, Nathan Lane, Arthur Miller's Death of a Salesman, John Lithgow, Giant, Daniel Radcliffe, Every Brilliant Thing, and Mark Strong, Oedipus, Oedipus, Oedipus. Peter
- [18:02]
Peter Filicia
I saw both these gentlemen on Tuesday because Nathan Lane presented an award along with Laurie Metcalfe, a Theater World Award to Ben Allers. And John Lithgow got a lifetime achievement award, the John Willis Lifetime Achievement Award. And in fact, when he was on Jimmy Fallon, he talked about it. He actually told the story, he told us on stage about looking up John Willis on Wikipedia and getting the wrong John Willis and finding out who's a mafia guy who was incarcerated. Anyway, so one of the reasons I mentioned that has to do with the fact that John Lithgow was on TV and John Lithgow was on the COVID of New York Magazine. And I think he's really lobbying for this award. I think he's going out of his way to make sure that he's going to get it. And for that reason, I think that he's going to win and it's fine with me if he does. I thought it was a terrific performance, but boy, so is Nathan Lane. So is Nathan Lane, so. But this has more to do with a prediction than a preference though. They're both wonderful. So I'm going to go with John Lithgow.
- [19:12]
James Marino
Michael, how about you?
- [19:14]
Michael Portantier
Well, for those who have been following such things, there is also some off stage variables at play here. Mo. Very recently, John Lithgow said some things that were interpreted as supportive of J.K. rowling or Rowling. And I mean, I think a lot of people don't even know what he said and just think they know what he said and that went crazy. I don't think he said anything that was outrageous at all. But some people now think that he's apparently the Antichrist because of that. And I hate it when that stuff happens. So. And Nathan Lane, less so. Less focus on him for working with Scott Rudin and more on Laurie Metcalfe, who we'll get to soon because she has been more vocal in her thoughts on and defense of Scott Rudin. But that, but that is an issue there too. Then there's the. Also the issue, as a lot of people have been saying. When I saw Giant, I really, really thought that the play itself was extremely boring and very poorly written. And I felt like I was in the minority then. But now I'm reading lots and lots of people saying exactly the same thing. So I think that, I think that if it comes down to between Nathan Lane and John Lithgow, I going to be late than Nathan, if only because he's giving such a great performance in a play that it's 100 million times superior. So sorry that Daniel Radcliffe won't get awarded for his, his incredible feat in every brilliant thing. And you know, and when you have someone like Mark Strong who, who might be. Have to be left out, that's. That shows you that it's a really, really. It was a really strong season in some respects. And then that includes Will Harrison in Punch. And the only reason he has absolutely no chance is because his play has been closed for months. And also he's a relatively unknown person.
- [21:35]
James Marino
Yeah, I think Nathan Lane has got this. But we'll see what happens. It's funny, Michael, I think that the, the comments by John Lithgow with reference to J.K. rowling probably won't play into this as much because I think a lot of people voted before that really became a thing.
- [22:05]
Michael Portantier
Good point. Because that was very, very recent.
- [22:08]
James Marino
It was in the last week or so. I think a lot of people voted before that. Plus I think a lot of people vote in self interest, but we haven't really spoken about that. Yeah. You know, in a while. In a while. You know that basically the Tony Awards removed the only neutral party.
- [22:32]
Michael Portantier
Yes, they did.
- [22:34]
James Marino
Which were us, the reviewers from voting. And so everybody. Everybody who votes in the Tony Awards has an interest in something that they're voting on. So, yeah, I think it anyway, count Daniel Radcliffe also.
- [22:59]
Peter Filicia
I don't think that's impossible that he will take it because he had a very hard job. So I. I'm not predicting it. I. But nevertheless, I wouldn't think that it's out of the question that he emerges victorious and good luck to him if
- [23:18]
Michael Portantier
he does well and. Yeah. And Nathan and Lithgow might cancel each other out.
- [23:23]
James Marino
Yeah. Yeah.
- [23:24]
Michael Portantier
Yes.
- [23:24]
James Marino
Yeah. What do you think about on stage, at least? This is something very different than we've seen from Nathan Lane in the past on stage.
- [23:38]
Michael Portantier
Oh, absolutely.
- [23:40]
James Marino
And I mean, that whole stretch, I mean, when I first heard Nathan Lane, Death of a Salesman, I'm like a comedy. Well.
- [23:49]
Michael Portantier
And when Peter first reviewed it, I remember what he said, and I had the same feeling when I saw it. I believe if I'm quoting you correctly, Peter, you said if you had never seen this person in a comedy, you would think, oh, boy, this great guy is a really great dramatic actor. I wonder if he could ever do comedy.
- [24:12]
Peter Filicia
Yeah, yeah, yeah.
- [24:15]
James Marino
And this, this. This blew me out of the water about Nathan Lane in. In Death of a Salesman. And I. I think that that's. That's gonna play out. So we'll see just hours from now. Probably 12 hours from now. So, I mean, he did.
- [24:35]
Michael Portantier
Yeah, he did. Did do Roy Cohn, but somehow that's different. I know. That's a different style of. I don't know.
- [24:43]
James Marino
Well, Roy Cohn is also a caricature.
- [24:45]
Michael Portantier
A car. Yes, yes, exactly. Good point.
- [24:49]
James Marino
You know, this. I had never seen a Willy Loman portrayed in the way that it was portrayed by Nathan Lane.
- [25:00]
Michael Portantier
Right, right.
- [25:01]
James Marino
You know, and it gave me a whole new take on. On the play.
- [25:06]
Michael Portantier
Yeah. Yep.
- [25:08]
James Marino
So best performance by an actress in a leading role in a play. We have Rose Byrne, Fallen Angels, Carrie Coon, Bug, Susanna Flood in Liberation, Leslie Manville and Oedipus, and Kelly. Kelly o' Hara in Fallen Angels. Michael, why don't you go first?
- [25:26]
Michael Portantier
Oh, gosh, we all love Kelly. I don't think she'll get it for this because she's got one for a much More prominent role.
- [25:38]
James Marino
And
- [25:43]
Michael Portantier
both she and Rose Byrne were absolutely delightful in Fallen Angels. But I wouldn't think of either of them as a Tony winning role. The other three. Yes. So it will be interesting to see that competition. I think it will be one of the other three. Carrie Coon was phenomenal in Bug. Susanna Flood was great in Liberation. Leslie Manville, spectacular. You're running out of adjectives in Oedipus. And she is looking like, by the way, she may not be there even if she wins because she's currently on the London stage. Although, you know, of course, she could take a red eye. But, yeah, so I, I, I, I don't. I, I can't really predict. I would say Carrie Coon or Leslie Manville. I think Liberation was maybe more of an ensemble effort. And so therefore, Susanna Flood, that would be like, maybe a mark against her because, you know, the focus wasn't on her as much as it was on Carrie Coon and Leslie Manville.
- [26:58]
James Marino
Now the only thing running is Fallen Angels.
- [27:01]
Michael Portantier
Well, that is closed. That's the point.
- [27:02]
James Marino
Yeah, the others have closed all highly, highly regarded performances. So, Peter, what do you think?
- [27:13]
Peter Filicia
Leslie Manville, we always like to give it to a British performer who does a wonderful job. And I think that will be the representative this year. Had the standard bearer. So, yeah, look for somebody to accept tonight on it.
- [27:29]
James Marino
Okay. Peter, will you accept on her behalf?
- [27:32]
Peter Filicia
I will. If elected, I will serve. Yeah.
- [27:36]
James Marino
All right. Best performance by an actor in a leading role in a Musical. Nicholas Christopher and Chess. Luke Evans, Rocky Horror. Joshua Henry, Ragtime. Sam Tutty, Two Strangers and Brandon Uranowitz in Ragtime. Peter.
- [27:54]
Peter Filicia
Joshua Henry. I would love to see Sam get it. We gave him a Theater World Award because it was such a terrific debut. But Joshua Henry really had the reviews from the very beginning. So I don't think this is going to be as much of a contest as a lot of people think it's going to be.
- [28:23]
James Marino
I don't know anybody that thinks it's going to be a contest. Michael, what do you think?
- [28:30]
Michael Portantier
Yeah, I have very similar feelings. Ragtime has been really embraced, this production, it seems, by audiences and critics, which makes me very, very happy. And he is phenomenal in it. So I think, yeah, I think that is where the award's gonna go. Sam Tutty is beyond charming in his show. You sometimes feel bad for people and say, oh, you know, if only it had been in another year, it would have been you, baby. And this, you know. And there are many times when that happens. This is one time for that and also do want to note that if Nicholas Christopher doesn't win this year, I think he's going to win soon. Because I really. I've said it before and I'll say it again. I think he's one of the most amazing talents to come out of the musical theater in quite some time.
- [29:29]
Peter Filicia
By the way, when I was doing the Theater World Awards, I pointed out that many of us are still myth that Ragtime lost to the Lion King back in 1998. But ragtime has had its revenge because while it has had two Broadway revivals, the Lion King hasn't even had.
- [29:50]
Michael Portantier
That's one way to look at it.
- [29:51]
James Marino
That is, you know, that is. That is unique.
- [29:58]
Michael Portantier
Yes.
- [29:58]
James Marino
So this is just. Joshua Henry is just. He's clicking on, on all cylinders there. It's just such a great role and he is such an amazing, amazing talent. But the rest of this category is just full of talent and. Oh, yeah, I totally agree about Nicholas Christopher. I. I just Amazing. Just amazing. But one of the things that's interesting to me, and I was going to ask the two of you about this, is that Ragtime's Tony campaign has been outstanding. And I have never seen Lincoln center mount a Tony campaign like this before. I mean, am I missing something? Is there something else that came out of Lincoln Center Theater that had a big Tony campaign that I'm not thinking of?
- [30:57]
Michael Portantier
I think maybe.
- [30:58]
Peter Filicia
No, I agree with that. But Michael, go ahead. Since you.
- [31:02]
Michael Portantier
Well, I'm just guessing. Maybe it's due to the change in administration.
- [31:06]
Peter Filicia
That's a good guess. And another thing too is since they've had some bad luck with some shows that were expected to run a lot longer, I'm especially thinking of Camelot. It's entirely possible that they want to keep this running rather than mount a new production very quickly.
- [31:26]
Michael Portantier
So.
- [31:27]
Peter Filicia
So that may be while they're spending money to make this happen.
- [31:30]
Michael Portantier
Yes.
- [31:33]
James Marino
It's interesting to me that if you were to compare Lincoln Center Theater with the public, I would think that the new administration at Lincoln center might be picking up on some of the things that the public does very well.
- [31:52]
Peter Filicia
I think that's a good guess too.
- [31:54]
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- [32:25]
James Marino
So next category is best performance by an actress in a leading role in a musical. Sarah Chase and Schmigadoon. Stephanie Chu in Rocky Horror. Cassie. Cassie Levy and Ragtime. Marla Mindel and Titanique and Christiani Pitts and two Strangers. So, Michael, why don't you give us this?
- [32:49]
Michael Portantier
Well, first of all, I'm pretty sure her first name is Casey. Casey. Yeah. Her second name is the one. I don't know how to find out between the three of us. Maybe we can.
- [33:03]
James Marino
Well, you know, it's so funny because she has been interviewed like a million times and I've seen a million videos of it and can't remember. And I can't remember. Yeah, I think you're right about Casey.
- [33:18]
Michael Portantier
Yeah.
- [33:19]
James Marino
Yeah, I think you're right.
- [33:22]
Michael Portantier
She's great.
- [33:23]
James Marino
I hope everyone but will the announcer tonight have a problem when he says. And the winner for best performance by an actress in a leading role in a musical is.
- [33:34]
Michael Portantier
Yeah, well, hopefully for an important occasion like that, they sound it out for them, you know.
- [33:39]
James Marino
Yeah.
- [33:41]
Michael Portantier
But she's great. I hope you all enjoyed last week's musical moment of her singing Beautiful City at the New Dramatist. It was just an incredible moment. This is another very strong category. Christiani Pitts, as I've said, I thought, was wonderful in Two Strangers and so happy for her that she survived King Kong. But it's also. I don't think it's the kind of role that would necessarily win an award. Stephanie Hsu. I'm sorry, I just think she's miscast in Rocky Horror. She's delightful for the performance that she's giving, but I just don't think she fits in well with what that role is supposed to be. And Sarah Chase, I think, is excellent. I think she really grounds, schmake Dune. She really crosses that. She walks the line, I should say very carefully because she's supposed to be the one of the couple. She's the one that loves musicals. And, you know, her partner is the one who hates them. And she's the one who's torn as to. She almost might want to stay in Schmegadoon because she loves musical. But she's also a smart. Well, they're both smart people. They're both doctors, you know, so they're not stupid. And I think it's a very well written script as far as all that. And Marla Mendel is uproarious as Celine Dion in Titanique. I don't know if people would consider it a lesser performance because it's a sort of an imitation, and the whole show is a spoof. I don't know if they would take away points for that. Sometimes people do, but if they don't, then I think that's a really big contender. But Casey Levy is just wonderful as Mother and Ragtime. The last time I saw it, I cried even more than the first time when she sang back to before.
- [35:55]
James Marino
Peter, how about you?
- [35:57]
Peter Filicia
Well, I'm gonna go out in a limb here, and I. I think because Marla Mandel has so much to do that she has to run the show and she takes command so tremendously, I think it's going to be. She. I. I wonder if this is a factor. And this, of course, will negate what I just said about Joshua Henry. But sometimes I think that when a part does not go, when. When a problem who originates a role does not get a. A Tony for it. And Marin Mazzie did not for Ragtime. So I think some people say, gee, you know, I mean, Marin Mazzie didn't get it. And I thought she was even better than the woman whose initials are C.L. so. So I. I'm gonna go out on a limb and say it's gonna be Marlon Mindel. Hell,
- [36:48]
Michael Portantier
I forget who. Who got it over Marin Maisy.
- [36:51]
Peter Filicia
Yeah. Who did?
- [36:53]
Michael Portantier
I wasn't anybody in the Lion King, was it?
- [36:56]
James Marino
No, no, no.
- [36:57]
Peter Filicia
That's what they.
- [37:00]
Michael Portantier
Gosh, the things we remember, huh? All right.
- [37:07]
Peter Filicia
Probably somebody from a revival.
- [37:09]
James Marino
Yeah, maybe. All right. What was I gonna say about that? Cl? I think that's a happy medium. I think we'll call her CL from now on until we can get a Natasha Richardson.
- [37:27]
Peter Filicia
Yeah. Yeah.
- [37:27]
James Marino
So Tony Janicki says Natasha Richardson won.
- [37:31]
Peter Filicia
Yeah. So that was for Cabaret, right? Yeah.
- [37:34]
James Marino
Thanks, Tony. All right, so best performance by an actor and a featured role in a play. Christopher Abbott, Death of a Salesman. Danny Burstein, Marjorie Prime, Brandon Dearden, Waiting for Godot. Alden Ehrenreich, Becky Shaw, Reuben Santiago Hudson. Joe Turner's Come and Gone. And Richard Thomas, the Ballisters. Wow, what a category. So, Peter, what about this?
- [38:06]
Peter Filicia
Well, everybody was quite wonderful, but I never seen the role that Brandon Duranden plays in Waiting For. Well, some say Godot. Last 25 years, it seems to have been Godot. Yes, indeed. Maybe that's why he's Never showed up because we've been saying his name. I mean, you know, I mean, like William Barfay takes great umbrage.
- [38:29]
Michael Portantier
Yeah. Maybe he's offended. Yeah, yeah.
- [38:31]
Peter Filicia
So. But he's still not around, so maybe it's go dot. I don't know, like Turin dot. Yeah, right. You know, maybe we'll check afterwards the Internet and see if we'll go to go dot com. So. Brandon was phenomenal. And so granted, this was a long time ago, comparatively speaking, and it's very possible that people don't have the memory of him that I do, but that's who I really believe in a tough, tough, tough category. I mean, if you're being on a fine actor like Danny Burstein, you're really doing a good job. So. But I'm going to go with him.
- [39:13]
James Marino
Michael, how about you?
- [39:16]
Michael Portantier
Well, Danny is always wonderful and he's a personal friend, so maybe I should abstain anyway. But, but you know, but he's also been awarded. And by the way, one of the questions in Tony trivia last night, did you both know this?
- [39:34]
Peter Filicia
He.
- [39:35]
Michael Portantier
He has now broken a record.
- [39:37]
James Marino
Yeah, I know.
- [39:38]
Peter Filicia
Yeah.
- [39:38]
James Marino
I do know that.
- [39:39]
Michael Portantier
Most Tony nominations of any. Anyone. Nine Tony nominations. Isn't that something?
- [39:47]
Peter Filicia
You bet.
- [39:47]
Michael Portantier
When you think about people like Gwen Verdon and. Well, yeah, you know, Angela Lansbury and my gosh. Anyway, so Danny's great. Whether or not he wins. I agree about Rand Dearden. It was a long time ago. There's a lot of momentum for Death of a Salesman in general, so that may help. Christopher Abbott, aside from the fact that his performance is so intense, I, I don't know. I don't feel much Tony buzz around. Joe Turner's coming on in general, so I think it might not be Ruben Santiago Hudson, Richard Thomas, absolutely perfect in the Balusters. Maybe we, maybe we're taking him a little for granted because he's one of those other people who come back to the theater again and again and we love him for it. So. And really a lot of attention on the spectacular performance given by Alton Ehrenreich and Becky Shaw. So I'm. He's my pick.
- [41:01]
James Marino
Okay, that sounds valid to me. All right. Best performance by an actress and a featured role in a play. Betsy Adam in Liberation. Mary Louise Burke and the Ballisters, Aya Cash and Giant. Larry Metcalfe and Death of a Salesman. And June Squibb, Marjorie Prime. So, Michael, you know, I, I recently
- [41:27]
Michael Portantier
took a lovely photo of Betsy and Aya Cash, Betsy Adam and Aya Cash at the New Dramatist Maybe I'll send that along. They seem to be very good friends, so I hope they're negotiating this. Well, gosh. Here again. Well, Well, I think the. That Laurie Metcalfe has it sewed up despite whatever controversy may have arisen about her defense of Scott Rudin. But June Squibb is 96, and if she's a day, was. Was. Yeah. And was just a wonderful life force on that stage. So that's another great, great possibility. I. I guess between those two, I. I don't think it would be any of the other three as wonderful as they all are. And that certainly includes Mary Louise Burke.
- [42:32]
James Marino
All right,
- [42:35]
Peter Filicia
well. So, Peter. Yeah. I wish they had given a special award to June Squibb. I think it was such an amazing thing. I can't imagine Laurie Metcalfe not getting this, partly because, to use a term that we don't hear very much anyway, she was the leading lady. It's not a featured role, really. I mean.
- [42:55]
James Marino
Right.
- [42:56]
Peter Filicia
If she's not the leading lady, that play, I don't know who is. So. So that usually happens when it's a substantial role and you're doing it well and you're in the featured category. You do have an edge. And I do believe that she's going to win partly for that reason, but mostly because she's magnificent.
- [43:18]
Michael Portantier
Yes.
- [43:19]
James Marino
Okay, so best performance by an actor in a featured role in a Musical. Ali, Lewis Borghazzi and the Lost Boys, Andre de Shields, Cats, the Jellicoe Ball, Bryce Pinkham, Chess, Ben Levi Ross, Ragtime, and Leighton Williams in Titanique. So, Peter. Well,
- [43:43]
Peter Filicia
I think this would be a slam dunk if. If Andre had not won and. But I don't think it's impossible he's going to win again. It's amazing to me how much traction, though, that Benlevy Ross has gotten recently. He won a Drama desk, didn't he?
- [44:01]
Michael Portantier
I think he did.
- [44:03]
Peter Filicia
So that may carry over. I think it's between those two.
- [44:08]
James Marino
Michael, how about you?
- [44:10]
Michael Portantier
Yeah. And Ben Levy. Ross gave a wonderful acceptance speech at the drama desk. I complimented him on it afterwards. He. He. He really seemed so thrilled to win, and he seemed like, you know, the real deal when it comes to talent and longevity and professionalism. So I was very happy for him. Layton Williams is extremely enjoyable in Titanic, you know, maybe. And I guess it is a very showy role, so he might have that going for him. You know, this just points up in microcosm, the foolishness, if you will, of pitting one person against another, because when you look at you know the content of the role of mother's younger brother in Ragtime and the iceberg in Titanic. It's like, well, how can you even possibly so. But we know why we have awards and we know that.
- [45:19]
Peter Filicia
Sure.
- [45:19]
Michael Portantier
We know what's good and bad about them, and we have them anyway, and they're not going to stop. Bryce Pinkham, as I've said, I've always loved in everything except Chess, I think he's completely wasted, mostly because of the idiotic book that has been written, and he has to deliver most of it. As the narrator, Andre, I, I echo Peter's feelings. He, uh, if, you know, if he hadn't gotten so much acclaim in recent years, he would have a very, very good chance at this one. And Ali Lewis Borski, which I think is how it's pronounced, he, I think, has unlimited potential. Voters may feel it's still a little too early to award him and that he maybe should just, just wait a little more. Also, that that show is much more of an ensemble. Well, they're all ensemble shows. But, but, but his role, as he himself has pointed out, Ali's role in the Lost Boys, although it's very vivid, it's not that large. So all of these things factor in. And I, I just, I think it's going to be Ben Levi Ross who wins.
- [46:42]
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- [47:12]
James Marino
All right. Best performance by an actress in a featured role in a musical. We have Shoshana Bean, the Lost Boys, Hannah Cruz and Chess, Rachel Dratch and Rocky Horror, Gana Guestire and Schmigadoon and Nicole. Oh, excuse me. Nishelle Lewis in Ragtime. So, my Michael.
- [47:34]
Michael Portantier
Well, as we pointed out, Shoshana Bean's role in this is extremely similar to her role in Hell's Kitchen, which just closed. So I think it's silly, but I think that'll. That'll discount her. Hannah Cruz has the. The least flashy role in chess, she gets one beautiful song and I guess one beautiful duet. She had another of her songs taken away from her character in order that Lea Michele could sing it. So I am not sure that there's going to be much focus on Hannah Cruise. Rachel Dratch is a comic genius as far as I'm concerned, but I just don't like the idea of a woman in that role in the Rocky Horror Show. Anaga Stier and Shel Lewis, I thought were both excellent and fulfilled every aspect of their roles in those two shows. So I would be happy if it was either of them. And I can't really pick who will win. Yeah.
- [48:49]
James Marino
Peter, how about you?
- [48:51]
Peter Filicia
Well, full disclosure, I mean, those years I taught at ccm, Marlowe Mandel was a student and so was Shoshana Bean, who knocked me out when I first saw her in Babes in Arms, simply standing center stage and saying, the lady is a tramp. I could, I could take you to the within a quarter inch of where she was standing on that stage. So. But I'm, I think she may win for a very different reason, because she was very worthy in Hell's Kitchen as well. However, it was a year, of course, where they gave it to a veteran actress. And usually at the party you hear something like, well, you know, they wanted to give it to a veteran and your day will come. So I don't think it's impossible that her day will come, partly because she did so well with Hell's Kitchen. So I'm going to go out in a limb here and say it's going to be she.
- [49:42]
James Marino
All right, so let's do a power round. We have to get Michael out In the next 10 minutes or so, but best direction of a play. Nick Kitner, giant Again, Robert Icke, Oedipus, Kenny Leon, the Ballisters, Joe Montello, salesman and Whitney White, Liberation.
- [50:02]
Peter Filicia
Peter Joe Mantello, he did things from with the play that we haven't seen before, and I loved that he played so much of it close to the lip of the stage. That makes such a difference. Such a difference. So, and as I've mentioned before, people said the Winter Garden stage would you crazy. It filled the stage much.
- [50:22]
James Marino
Yeah. Michael, how about you?
- [50:24]
Michael Portantier
I have no problem making this one short as well. Joe Mantello.
- [50:29]
James Marino
Yeah, I, I agree with you guys. Best direction of a musical, Michael Arden, the Lost Boys, Lier Di Besson and Ragtime, Christopher Gattelli and Schmigadoon, Tim Jackson, two Strangers, Zavalon Livingston and Bill Rausch, Cats the Jellicle Ball.
- [50:49]
Peter Filicia
So, Peter, this is a toughie because Cats was so remade and Ragtime certainly was beautifully staged, no question about it. But considering the fact that we had such an overhaul and that it was a stroke of genius to do Cats in the way that it is, I'm gonna go with those two. I also interviewed Bill Rauch once, and he was a wonderful guy, so I'm rooting for him.
- [51:18]
James Marino
Michael, how about you?
- [51:19]
Michael Portantier
I think the two that depend most on the direction to make them, the hits that they are to me, are Smigadoon and Cat's the Jellicle Ball. So I would. I would give it to either of those two.
- [51:37]
James Marino
Okay, me. You're all wrong. It's going to be brag time.
- [51:42]
Peter Filicia
Could very well be.
- [51:43]
James Marino
Or Schmigadoon. Brag time. Or schmegadoon. One of those.
- [51:47]
Michael Portantier
Well, I said. I said. Yeah.
- [51:50]
James Marino
No, I know. So, best choreography. Christopher Gattelli, Schmigadoon. Eleanor Scott, Ragtime Anitaj in Rocky Horror. And Amari Wiles and Arturo Lyons for the Cats. The Jericho Ball, and Lauren Yelango Grant and Christopher Cree Grant for the Lost Boys. So, Michael.
- [52:16]
Michael Portantier
Well, again, the choreography in Cats is so wonderfully over the top, aided by the fabulous costumes and wigs and stuff. And it's a completely different style than Ragtime. So how can you even put them in the same category? You know, sometimes it's. It's even more obvious than others that things just shouldn't be competing against each other. So I. For that reason, I think that the voters might go for the showier one and pick Cats, the Jellicle Bull.
- [52:57]
James Marino
Peter, how about you?
- [52:59]
Peter Filicia
I'm more inclined to give it to Christopher Catelli because I think Pound for Pound is actually more choreography in. In that show. And it's superb. It's exactly what it's supposed to be. In a loving homage to what musicals were back way, way back when.
- [53:20]
Michael Portantier
I agree with that.
- [53:21]
Peter Filicia
And he.
- [53:21]
Michael Portantier
But also, he. He's also nominated as director, so he could be rewarded in either or both or neither categories.
- [53:32]
Peter Filicia
Sure. Yeah.
- [53:34]
James Marino
Did anyone say corn pudding? I mean, every time they say that, there's choreography.
- [53:46]
Peter Filicia
Excellent point.
- [53:47]
James Marino
Yeah. All right. Best orchestration. Doug Besterman. Our friend Doug and Mike Marsh Shimgadun, Ethan Popp, KYLER England, Adrian A.G. gonzalez and Gabriel Mann. The Lost Boys, Lux Pyramid, Two Strangers, Brian Usifer and Chess and Andrew Lloyd Weber, David Wilson, Trevor Holder, Doug Shat and Katsangelica Ball. Peter.
- [54:14]
Peter Filicia
Yeah. I'm gonna go with Doug Besterman, who I think is our finest Orchestrator in Contemporary. When Jonathan Tunick isn't doing a show. Doug has such a wonderful sound. And one of my favorite moments, I'm gonna go in a different show entirely, and that is in the Producers in the Overture. The way he sets up Springtime for Hitler in the overture is to say, this is the song you've been waiting for. Here's the hit song. You love it dearly. The wit of that is just amazing. So as a result, I've always loved Doug Besterman's the Idea in Big where there was a song called Fun. What he did there was make it Dixieland. And what's a greater source of fun than Dixieland music? So he really has such a wonderful attitude and such smarts when it comes to this. So I'm gonna. And needless to say, this will not be his first award, but I think it will be his most recent award.
- [55:22]
James Marino
Michael, how about you?
- [55:23]
Michael Portantier
I'm not really going to make a prediction here because I think with the exception of maybe two strangers, I think they're all superb jobs. I mean, I. I have loved Ch. The score of Chess since the concept album, and I think. I think it's fair to say that the orchestrations have remained fairly the same since then. I mean, certainly in terms of style, I've never noticed any, like, jar differences in orchestrations. So the fact that I was happy with what Brian did for this one really made me very happy. The other. All of the others sound great. The Lost Boys is a new score, you know, so I can't compare it to previous ones. But I. I did notice that there were many really lovely harmonies and beautiful, sometimes spooky, mysterious kinds of sounds in the orchestra that really, really help the atmosphere. So I think that one did. It did a superb job anyway. And Schmikadoon, of course, with the just so expertly aping the different types of orchestrations that you would see, and whether it's Oklahoma.
- [56:45]
Peter Filicia
Or.
- [56:45]
Michael Portantier
Or Brigadoon or the Music man or. Yeah, you know, whatever.
- [56:51]
Peter Filicia
All of the.
- [56:52]
James Marino
All right, Best play. The Ballisters, Giant Liberation, Little Bear, Ridge Road. So, Peter, Liberation.
- [57:07]
Peter Filicia
I. I think this is the only competition I really see here is the Balusters. And that's been picking up steam in recent weeks, no question about it. So that won't shock me if that pulls through, but I think it's going to be Liberation and which I loved from when I started off Broadway.
- [57:28]
James Marino
Michael, how about you?
- [57:31]
Michael Portantier
I think it's going to be the Ballisters, maybe because Fresher in people's Minds. And it is an excellent play. I don't. Do not think it will be Giant. No, and I. I've said it before. I thought Little Bear Ridge Road was very overrated. While it had some wonderful things in it, I thought it also had some major, major flaws.
- [57:54]
Peter Filicia
Me, too.
- [57:55]
Michael Portantier
So, yeah. So, yeah, Ballisters for me.
- [58:01]
James Marino
All right, let's do best revival of a play. Arthur Miller's Death of a Salesman. Becky Shaw, every brilliant thing, Fallen Angels and Oedipus. So, Michael, how about you?
- [58:19]
Michael Portantier
Well, many people have found it confounding that Oedipus is considered a revival. So it shouldn't even be there. So I don't know how we even approach that. Let's just. That's all I'll say about that. Death of a Salesman is almost a once in a lifetime event. I think that will win it.
- [58:44]
James Marino
Peter, how about you?
- [58:45]
Peter Filicia
Yeah, I. I don't even think it's a contest. Death of a Salesman.
- [58:49]
James Marino
Yeah, I, I agree. I agree. Let's do best revival of a musical. We have Cats, the Jellicle Ball, Ragtime, Richard o' Brien's Rocky Horror Show. So, Peter, which revival level of a musical?
- [59:05]
Peter Filicia
Well, sentimentally, I would go with Ragtime, but I think it's going to be Cats again because it's so innovative.
- [59:13]
James Marino
Michael, how about you?
- [59:16]
Michael Portantier
I agree with both of those sentiments. I think it still might be Ragtime, maybe partly as a makeup for it.
- [59:23]
Peter Filicia
That's a good point. Yeah, that's a very good point.
- [59:26]
Michael Portantier
Not going to be Rocky Horror.
- [59:28]
Peter Filicia
No.
- [59:31]
James Marino
All right. Right. So let's do the big one. Best musical, the Lost Boys, Schmigadoon Titanique, and Two Strangers Carry a Cake Across New York. Peter, what do you think?
- [59:45]
Peter Filicia
Well, I do believe it's going to be Shmigadun, and I'm really rooting for it. As opposed to the Lost Boys.
- [59:53]
James Marino
Michael, how about you?
- [59:55]
Michael Portantier
Same here.
- [59:57]
James Marino
All right. I agree there is a triple play there, or triple crown. Triple crown. We have a crown. Yeah.
- [60:11]
Michael Portantier
Just briefly, I did want to say again, I really tip my hat to everyone involved in Titanic, or Titanic, however you say it, because as I said before, when I saw Downtown, I enjoyed it, but I laughed like maybe every. Every two minutes. And when I saw it on Broadway, I laughed like twice every minute. I don't know what they did, but it just seemed like a. A vast improvement in, in terms of the, the. The degree to which it hit the comic bullseye. And I think they added some, you know, they added production elements and other things, and I think they really did a wonderful job. We've been reading all this crazy stuff about how troubled the production is on the financial end. All it sounds like another, another, you know, Garth Trabinski or something like that brewing, you know. So I'm sorry about that. I hope, I hope they wind up, you know, somehow emerging from all of that because I think it's delightful and it's giving pleasure to so many people.
- [61:17]
James Marino
All right, so I am gonna bump the reviews and the news to next week. We'll just do a standalone episode of. But before we get on to our musical moments in our brain teaser, 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 we have a new episode of this week on Broadway, it will be automatically downloaded to Apple Podcasts for you. Of course, you don't have to listen to us in Apple Podcast. There's the new Broadway radio app that you can get on the Apple App Store soon to come on Android as well. Contact information for Peter from Michael and me can be found in the show notes@broadwayradio.com as well as links to some of the things we've talked about today. So Peter, do you have an answer to last week's brain teaser?
- [62:07]
Peter Filicia
Gwen Verdon, Lucinda Ballad, Phyllis Newman, Beatrice Arthur and Carlin Glenn are all Tony winning women who had something else in common and that was all worked with their husbands on a musical where they won a Tony but their husbands didn't burden one. For New Girl in Town. Bob Fosse lost for choreography. Ballard won for her costumes. On the Gay Life. Howard Dietz wasn't even nominated for his lyrics. Newman won for Subways out for Sleeping. Adolph Green wasn't nominated for either book or lyrics. Be author won for Mame. Gene Sachs lost for direction and Carlin Glynn won for Whorehouse. Peter Masterson was nominated for co book writing and co directing but lost both. Josh Israel was first followed by Paul Whitty, Sean Logan, Steven Sokolow, Off Arthur Robinson, J. Aubrey Jones, Lee Korn, Alex Lauer, Jack Leshner, Greg Pavlak, Angela Ramachi and bringing up the rear again, Tony Janicki. All right, this week's question. Two performers co starred in a famous musical movie. Her last name is part of a song title found in a musical that played previews on Broadway but never opened happened. He on the other hand saw his full name as a song title in a Tony winning musical. So the question becomes who are they? What's the film? One of the two musicals and the songs from each.
- [63:30]
James Marino
If you have an answer for this, email us@triviaroadrayradio.com we'll let you know if you're on the right track. So, Michael, what do we have in this week's musical moments?
- [63:40]
Michael Portantier
Well, this past week brought a birthday of one of my favorite people, June Gable, whom some of our listeners may know primarily for two things. She was Joey Trebbiano's agent on Friends, but on Broadway, she was the old lady with one buttock in the 1974 Hal Prince production of Candide, in which she sang I am easily assimilated. And I'll never forget that performance. We don't have to forget it because it's on the cast album. So that is our opener, I Am EAS Assimilated, sung by June Gable. And then for the Closer, I got to see a really excellent production of Camelot at the Engemann Theater in Northport, Long island, this past week. We'll report on it next week, but in the meantime, they have a really excellent video trailer reel up on YouTube. And so we have drawn from that for it's a little mini medley of two or three of the songs from Camelot. You can watch the video through the link in the show notes, but then we're also using the audio as our closer.
- [64:57]
James Marino
All right. On the on behalf of Michael Portantier and Peter Felicia, this is James Marino saying thanks so much for listening to Broadway radios this week on Broadway. Bye bye Bye.
- [65:15]
June Gable (performer)
The morning fog must disappear. In short, there's simply not a more
- [65:21]
Michael Portantier
congenial spot for happy ever aftering than herein can.
- [65:30]
June Gable (performer)
Well, it's May, the lusty month of May, that darling month when everyone throws self control away. It's time to do a wretched thing or two and try to make each precious day one that always ru.
- [65:48]
Michael Portantier
Oh no, not in springtime, summer, winter or fall. Never could I leave you.
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Peter Filicia
Yes, please.
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Fantastic.
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