BroadwayRadio Podcast Summary: “This Week on Broadway for March 23, 2025: Operation Mincemeat”

Release Date: March 23, 2025

Introduction

In this episode of BroadwayRadio’s “This Week on Broadway,” host James Marino engages in insightful discussions with guest reviewers Peter Felicia, a multifaceted playwright, journalist, and historian, and Michael Portantier, a seasoned theater critic and photographer. The trio delves into recent Broadway productions, offering nuanced critiques and sharing their diverse perspectives on the current Broadway landscape.

Operation Mincemeat: A West End Transfer

Reviewers: Peter Felicia, Michael Portantier, James Marino
Venue: John Golden Theater
Timestamp Highlights:

• Peter Felicia [03:11]:
  Peter introduces Operation Mincemeat as a farcical musical adaptation of a World War II operation, highlighting its British comedic roots. He notes, “the music and lyrics go by lickety split” ([03:25]), emphasizing the show's fast-paced nature that demands audience attention.

• Michael Portantier [06:19]:
  Michael concurs with Peter’s observations on the tender moments within the farcical framework, particularly praising Jack J.A.K. Malone’s performance as Hester Leggett. He remarks, “the high point of the entire play, a musical, whatever” ([06:45]).

• Shared Audience Reactions [10:42 - 12:16]:
  The reviewers discuss a poignant song that diverges from the show’s comedic tone, receiving heartfelt applause. Michael expresses disappointment in the show's overall execution, stating, “I do not think it worked to tell this story in such an over the top, vaudevillian, ironic, sort of satirical” ([07:09]).

Key Insights:

• The juxtaposition of farce with serious historical events created mixed reactions.
• Strong performances, particularly in specific musical numbers, stood out amidst an otherwise inconsistent narrative.
• The minimalist orchestra, heavily featuring synthesizers, received mixed feedback regarding sound quality ([13:05]).

Maybe Tomorrow at Art New York

Reviewers: Peter Felicia, Michael Portantier
Venue: Abingdon Theater Company
Timestamp Highlights:

• Peter Felicia [17:02]:
  Peter critiques Maybe Tomorrow, portraying it as a tedious yet earnest exploration of agoraphobia within a confined bathroom setting. He questions the set design, noting, “You have to question why the set designer chose this unless the playwright said that's exactly what it should be” ([19:00]).

• Michael Portantier [20:05]:
  Michael echoes Peter’s sentiments, finding the play “inscrutable” and structurally flawed due to disjointed flashbacks ([20:50]). However, he commends the actors’ performances, particularly Elizabeth A. Davis and Dan M. Boyer, for their portrayal of complex characters.

Key Insights:

• The production struggles with set coherence and narrative clarity, hindering audience engagement.
• Despite technical and structural issues, strong acting performances provide redeeming qualities.
• The play’s attempt to address deep psychological themes like agoraphobia and postpartum depression is noteworthy but underdeveloped.

American by M.E.R.I.K.I.N

Reviewers: Peter Felicia, Michael Portantier
Venue: 59 East 59
Timestamp Highlights:

• Peter Felicia [24:52]:
  American is described as a challenging yet compelling piece addressing white supremacy and personal identity. Peter highlights the intricate character dynamics and praises Victor Williams and Amber Rouchen Williams for their compelling performances as a Washington Post reporter and his daughter ([27:45]).

• Michael Portantier [27:47]:
  Michael admires Primary Stages' commitment to artistic integrity despite funding uncertainties, stating, “I think the play is very brave and I think it has structural flaws, but absolutely 100%, unquestionably worth seeing” ([15:13]).

Key Insights:

• The play effectively tackles contemporary issues of race and identity, resonating strongly with modern audiences.
• Performances by the lead actors significantly enhance the play’s impact, despite some narrative and structural shortcomings.
• The commitment of theater companies like Primary Stages to uphold artistic values amid external pressures is commendable.

Grangeville

Reviewers: Michael Portantier, James Marino
Venue: Signature Theatre
Timestamp Highlights:

• Michael Portantier [42:20]:
  Grangeville is hailed for its intense exploration of fraternal relationships marked by past abuse and contemporary reconciliation. Despite some reservations about dual casting, Michael praises Brian J. Smith and Paul Sparks for their powerful performances, noting, “scrupulous acting by both of these two” ([35:02]).

• James Marino [48:33]:
  James reflects on the production’s extension, indicating its positive reception and ongoing popularity ([48:26]).

Key Insights:

• Grangeville stands out for its deep emotional narratives and strong character development.
• The decision to have actors portray multiple roles is met with mixed feelings but ultimately succeeds in adding depth to the storytelling.
• The play’s exploration of themes like abuse and reconciliation is both timely and impactful, contributing to its extended run.

Industry News and Discussions

Jonathan Larson Project Closure: Michael and Peter express sadness over the premature closing of a Jonathan Larson project, attributing it to broader issues within Off Broadway. They discuss the evolving challenges faced by Off Broadway productions, including funding cuts and structural changes ([49:43]).

Broadway in Memoriam Missteps: The trio critiques Broadway League’s handling of the Broadway In Memoriam event, suggesting a more localized approach to tributes would be more respectful and impactful ([53:20]).

Ticketing and Venue Challenges: James and Michael discuss the economic strains on Broadway productions, highlighting the difficulty in sustaining profitability without extensive funding and union support ([50:10]).

Quotes:

• Michael Portantier on Off Broadway challenges: “the business model has changed so drastically over the past decades” ([51:15]).
• Peter Felicia on tribute formats: “there'd be nothing wrong with the dimming of lights only at the theaters where these people played or had shows” ([54:05]).

Brain Teaser and Musical Moments

Brain Teaser: Peter presents a trivia question challenging listeners to identify a performer linked to both the Rocky Horror Picture Show and a stage adaptation of a Henry James novel. He invites listeners to email their answers for verification ([57:04]).

Musical Moments: Michael highlights John Kander’s lesser-known gem, “A Quiet Thing” from Flora the Red Menace. He emphasizes its dual nature as both an upbeat tune and a poignant ballad, showcasing Liza Minnelli’s vocal range and emotional depth ([58:21]).

Quote: Peter Felicia on musical moments: “Juliet Green was the first to get it, followed by Paul Witty, Tony Janicky, Sean Logan, Josh Israel, Jack Leshner, and Katie Rogers” ([57:04]).

Conclusion

The episode offers a comprehensive look into current Broadway productions, blending critical analysis with industry insights. The reviewers provide a balanced view, celebrating standout performances while constructively critiquing narrative and structural elements. Additionally, the discussions on industry challenges underscore the evolving landscape of Broadway and Off Broadway productions.

Listeners are encouraged to engage further by subscribing to BroadwayRadio, supporting through Patreon, and participating in the interactive brain teasers.

Notable Quotes:

• Peter Felicia [03:11]:
  “The music and lyrics go by lickety split. Getting married today seems like Old Man River in comparison.”

• Michael Portantier [07:09]:
  “I do not think it worked to tell this story in such an over the top, vaudevillian, ironic, sort of satirical.”

• Michael Portantier [15:13]:
  “I think the play is very brave and I think it has structural flaws, but absolutely 100%, unquestionably worth seeing.”

• Peter Felicia [54:05]:
  “There'd be nothing wrong with the dimming of lights only at the theaters where these people played or had shows.”

For more detailed discussions and updates on Broadway, subscribe to BroadwayRadio at broadwayradio.com and follow along on various platforms including Apple Podcasts and Patreon.