BroadwayRadio Episode Summary: This Week on Broadway for March 2, 2025 - Dakar 2000

Release Date: March 2, 2025
Host: James Marino
Guests: Peter Felicia, Michael Portentier
Description: Broadway's Premier Podcasts

Live Recording of Camelot

The episode kicks off with an enthusiastic discussion about a rare live audio recording of the Broadway classic Camelot.

Peter Felicia excitedly shares:
"There is a complete recording of a live performance of Camelot from sometime during the run. And it is just amazing. You listen to that and you think, this is the biggest hit show I know that ever played in the history of Broadway."
[02:05]

Michael Portentier adds his admiration:
"If Kim Love had come before My Fair Lady, it would be so appreciated. It really was a spectacular show."
[01:44]

Camelot and the Kennedy Administration

Host James Marino probes the relationship between Camelot and the Kennedy administration, questioning whether the show's association with the Kennedys enhances its legacy.

Michael Portentier responds thoughtfully:
"There's no question that [the Kennedy association] made a big difference. And I really love the fact that something so significant should be tied to a Broadway musical. I think it's a great badge of honor."
[02:41]

Peter Felicia concurs, emphasizing the enduring quality of the original cast album:
"The original cast album of Camelot is the classiest album of them all. I think the show would have lived as a result of that."
[03:08]

Dakar 2000 at Manhattan Theater Club

The discussion shifts to Manhattan Theater Club's production of Dakar 2000, a play by Rajeev Joseph. Peter Felicia provides an in-depth review:

Dakar 2000 explores the events leading up to the year 2000 in Dakar, examining themes of cultural tension and impending change. The protagonist, Abu Kha Ali, portrayed by Abu Kha Ali, is a dedicated Peace Corps worker who faces disciplinary actions for bending the rules to aid a community. The play delves into his complex relationship with his supervisor and the moral dilemmas he faces.

Peter Felicia praises the direction and performances:
"Maya Dralles directed very, very well. The set is funky, and Tim Maccabee did something a little above the ordinary. It was a very worthwhile evening."
[09:52]

In the Heights at Signature Theater

Michael Portentier offers his insights on Signature Theater's production of In the Heights. He highlights the strong ensemble cast and the immersive staging that brings the vibrant Washington Heights community to life.

Peter Felicia shares his excitement about the casting and production quality:
"All of those roles need to be played by people who are Latino because the whole point of the show is that it's a picture of this community in Washington Heights that's almost totally 100% Latino."
[13:55]

However, he notes a technical flaw:
"The mix between the band and the singers was off, causing many lyrics to be lost, which was unfortunate."
[17:46]

Evolutionary Function of Shame at Signature

The conversation moves to Signature Theater's production of Evolutionary Function of Shame, written by DA Mindel. Michael Portentier describes the play's exploration of trans issues through the lens of Adam and Eve, focusing on the societal pressures and personal struggles of the characters.

Michael Portentier reflects on the play's relevance:
"Trans people don't need fixing, we just need help. That's a very, very potent message."
[28:19]

Peter Felicia echoes the impact of the performances, especially praising Cody Sloan's portrayal of Adam:
"The performance of Cody Sloan as Adam was a knockout. Amazing."
[28:23]

Garside's Career by Mint Theater Company

Peter Felicia reviews Mint Theater Company's production of Garside's Career, a play by Harold Brighouse. He discusses the stellar performances, particularly by Daniel Marconi as Garside and Madeline Seidman as Margaret Shawcross, though he criticizes the play for its rapid character development.

Peter Felicia notes:
"Jonathan Bank and his team keep finding obscure plays, and Garside's Career was a stellar production despite some schematic and melodramatic elements."
[32:22]

Curse of the Starving Class by Sam Shepard

The episode features a discussion on the revival of Sam Shepard's Curse of the Starving Class at Signature Theater. Michael Portentier emphasizes the play's dark portrayal of dysfunctional American families and praises the cast, including Calista Flockhart and Christian Slater.

Michael Portentier shares his perspective:
"It's a powerful play and a tough one to sit through, but familiarity for me did not breed contempt, and I liked it the most of the four productions I've seen."
[43:36]

However, Peter Felicia expresses differing views:
"This was my first time seeing it and I was tremendously turned off. My sensibility hasn't been attuned to Sam Shepard."
[43:36]

Upcoming Production: Platinum Dreams at York Theater

Peter Felicia introduces the York Theater's new production, Platinum Dreams, adapted from Platinum by Will Holt and Bruce Valanche, and Sunset by Will Holt. The show promises a significant revision of the original messy Broadway run.

Peter Felicia comments:
"I don't know what to expect, but it's worth putting on your radar because this will at least be newsworthy."
[50:38]

Michael Portentier reminisces about the original Platinum production:
"The final number had everyone in silver, reminiscent of Chorus Line, which was just sad."
[54:45]

Book Feature: If the Song Doesn't Work, Change the Dress

The hosts delve into a discussion about the book If the Song Doesn't Work, Change the Dress by Patricia Ziprodt. They explore her experiences as a renowned costume designer and her interactions with famous directors like Jerome Robbins.

Michael Portentier reflects on Ziprodt's reputation:
"She was known for her authority and talent, even when working with difficult figures like Bob Fosse."
[56:06]

Peter Felicia adds personal anecdotes about meeting Ziprodt:
"She was quite a funny woman and delightful to talk to. Tony Walton wrote her obituary, highlighting how much he loved her."
[60:24]

Theater News and Updates

The conversation includes updates on various Broadway productions and rumors:

• Sunset at Sunset has been extended until July 13th, surprising the hosts given its previously limited run.
• Rumors suggest that Katz's might take over the theater space once Cabaret closes.
• Chess Revival discussions indicate potential productions in the Fall.
• Chris Gattelli's choreography for Schmigadoon received acclaim for its affectionate satire of musical theater dance.

Brain Teaser

The episode concludes with a brain teaser about a Broadway character:

Question:
What character first seen in a 1950s musical and only on Broadway during this century, has the longest name?

Michael Portentier reveals the answer:
"Mazeppa, the character from the revival of Gypsy."
[73:25]

James Marino encourages listeners to submit their answers via email:
"Email us@triviaroadrayradio.com to let us know if you're on the right track."
[75:19]

Musical Moment: Floyd Collins Featuring Jeremy Jordan

The episode highlights Jeremy Jordan starring in the revival of Floyd Collins at the Vivian Beaumont Theater. Peter Felicia expresses his excitement about Jordan's involvement and the quality of the promotional material, praising Adam Gettel's brilliant score.

Peter Felicia remarks:
"Adam Gettel's score for Floyd Collins is just beyond brilliant, and I can't wait to hear it again, especially with Jeremy Jordan leading the cast."
[75:31]

Conclusion

James Marino wraps up the episode by encouraging listeners to subscribe to BroadwayRadio for future episodes and to support the show via Patreon for exclusive content.

Notable Quotes:

• Michael Portentier on Camelot:
  "The original cast album of Camelot is the classiest album of them all."
  [03:08]

• Peter Felicia on In the Heights:
  "All of those roles need to be played by people who are Latino because the whole point of the show is that it's a picture of this community in Washington Heights that's almost totally 100% Latino."
  [13:55]

• Michael Portentier on Evolutionary Function of Shame:
  "Trans people don't need fixing, we just need help. That's a very, very potent message."
  [28:19]

• Peter Felicia on Curse of the Starving Class:
  "Jonathan Bank and his team keep finding obscure plays, and Garside's Career was a stellar production despite some schematic and melodramatic elements."
  [32:22]

For more detailed discussions and insights, visit BroadwayRadio.com.