BroadwayRadio: This Week on Broadway – March 29, 2026: "Giant"

Date: March 29, 2026
Host: James Marino
Contributors: Jenna Tessa Fox, Michael Portantier, Jan Simpson
Podcast Theme: Broadway’s latest openings, reviews, immersive experiences, and notable events from the week.

Episode Overview

This lively episode covers Broadway’s latest productions, in-depth reviews—with special attention to the new play "Giant"—and highlights immersive and boundary-pushing theater drawn from New York and beyond. Notable segments include conversations on the challenges of adapting complex real-world debates into drama, the strengths and weaknesses of current shows, and a celebration of community and theatrical craft, crowned by a tribute to Jonathan Groff as he concludes his run in "Merrily We Roll Along."

Key Discussion Points & Insights

1. Spotlight on Michael John LaChiusa and "The Wild Party"

Timestamps: [02:07]–[03:52]

• Jenna Tessa Fox previews her interview with Michael John LaChiusa, discussing the legacy of "The Wild Party" (currently at Encores), how revisiting a piece after 25 years offers new perspectives, and the living nature of theater.
• Jenna apologizes for omitting George C. Wolfe’s key contributions to "The Wild Party" in her interview:

  "I completely forgot to mention George C. Wolfe's contributions to the piece... My apologies to Mr. Wolfe..." – Jenna Tessa Fox [02:37]

2. Upcoming: "An Evening with Charles Busch" at Laurie Beechman Theater

Timestamps: [04:28]–[05:47]

• Michael Portantier details the upcoming event he is producing/directing, including rare archival clips, a live sing, and affordable streaming options.

  "Charles is such a raconteur, so charming and funny... and there's at least one [clip] that I would say is very rare..." – Michael Portantier [04:52]

3. Review: "Giant" at Music Box Theatre

Timestamps: [07:16]–[16:39]

Jenna Tessa Fox's Take:

• Overview: Mark Rosenblatt’s new play centers on a real-life confrontation between Roald Dahl (John Lithgow) and his publishers after a controversial, anti-Israel review, touching on contemporary tensions over anti-Semitism, freedom of speech, and the art vs. artist debate.
• Critical Analysis:
  • Play is timely but "doesn't seem to be about Dahl at all"; becomes preachy rather than nuanced drama.
  • Lithgow’s charismatic yet frightening performance as Dahl:

    "Lithgow...makes the character very charismatic. But...yes, Ted Bundy was also supposed to be very charismatic too." – Jenna Tessa Fox [10:10]

  • Supporting cast strengths, especially Stella Everett (housekeeper, silent but powerful) and Aya Cash (scenery-chewing range).
  • Direction, design, and performances praised; script criticized for lack of depth and failure to deeply examine its complex subject matter.
  • Bechdel test not passed; Rachel Sterling’s character underwritten.

Jan Simpson's Perspective:

• High Expectations, Disappointment:

  "This was the show I was most looking forward to seeing this season, and like Jenna, I was very disappointed." – Jan Simpson [13:49]

• Repetition in arguments, lack of internal logic, and underdeveloped characters.
• Notes husband enjoyed Lithgow’s performance but not the play.
• Summary:

  "If you want to see John Lithgow on stage, go. Otherwise, I don't know, Wikipedia the whole argument." – Jan Simpson [16:17]

4. Review: "Every Brilliant Thing" at Hudson Theatre

Timestamps: [16:42]–[27:06]

Jan Simpson's Take:

• Plot: Daniel Radcliffe’s solo show (with audience participation), based on a young child’s attempts to list every reason to keep living amidst family trauma.
• Highlights:
  • Radcliffe is "charming and disarming," immediately connects, and transitions from celebrity to ensemble leader.
  • Audience engagement: participatory, immersive, and supportive environment.

  • "It's...not Daniel Radcliffe, Harry Potter movie star. It's just this guy who's putting together a show and you want to be helpful...He is brilliant at it." – Jan Simpson [21:38]

Jenna Tessa Fox adds:

• Engagement ensures rapt attention, in a rare communal theatrical experience.

• "It's such a moving piece of theater...acknowledges mental illness and that there are reasons to be sad...but it's never judgmental...offers reasons for hope without being Pollyanna-ish." – Jenna Tessa Fox [24:36]

• Immediate, uplifting, and much needed in chaotic times.

5. Cruise Entertainment Recap

Timestamps: [27:06]–[32:43]

• Michael Portantier reviews entertainment on Norwegian Breakaway:
  • Dance show "Burn the Floor", British pop retrospective "Red, White and British", Fleetwood Mac’s "Rumors" in concert.
  • Appreciates production values and quality, struck by how theater at sea continues to thrive.
  • Shares impromptu cruise karaoke success.

6. Immersive: "Masquerade" – Phantom of the Opera Experience

Timestamps: [32:58]–[39:29]

• Jan Simpson describes “Masquerade”—Diane Paulus’ multi-floor, interactive Phantom immersive at the old Lee’s Art Shop.
• Attendees dress up, follow butlers through scenes, and get a glass of champagne.
• Impressive production design (with contributions from Bob Dylan, Marina Abramovic, etc.), and a strong, credited crew.

• "You leave with a smile on your face and you start off with a glass of champagne." – Jan Simpson [36:00]

7. Review: "Mexodus" at Daryl Roth Theater

Timestamps: [39:58]–[43:51]

• Jenna praises the two-person, live-looping hip-hop show about an enslaved man escaping to Mexico.
• Creative collaboration between writers, musicians, and sound designers, all live on stage.

• "The two performers not only narrate the story, they are creating it themselves in very real time. It gives the piece a very unique sense of urgency..." – Jenna Tessa Fox [41:24]

• Urges audiences to see it, especially for its resonance during Passover.

8. Review Roundup: "About Time" (Maltby/Shire) & "Monte Cristo" (York Theatre)

Timestamps: [44:11]–[54:13]

"About Time":

• A revue about aging, aimed at the "AARP card" demographic.
• Mix of cute ("vroom vroom" on motorcycles), poignant ("What Do I Tell the Children?"), and relatable songs about growing older.

  "Are the older people going to be really cutesy? Is the show going to condescend to them?...There are some moments of cutesiness here...but the songs are tuneful and very well performed." – Jan Simpson [46:54]

"Monte Cristo":

• Traditional musical adaptation of the Dumas novel.
• Compared to "Les Mis" and "Sweeney Todd" (less favorably), but "pleasant" with notable cast (Adam Jacobs, Sierra Boggess, Norm Lewis).
• For fans seeking nostalgic, classically-structured musicals.

9. "Hamlet" by Teatro La Plaza at Theatre for a New Audience (Brooklyn)

Timestamps: [54:52]–[58:38]

• Performed entirely in Spanish with a cast of actors with Down syndrome.
• Incorporates Shakespeare’s text and the ensemble’s lived experience.
• Touches on ableism, joy, and accomplishment rather than despair.
• Multimedia, 90-minute, multimedia piece that challenges and delights.

  "This Hamlet emphasizes joy and creativity and success. The cast...play multiple roles. They all play Hamlet at one point or another...I absolutely loved the show." – Jenna Tessa Fox [55:20]

10. Jonathan Groff: Merrily We Roll Along Farewell

Timestamps: [58:38]–[61:11]

• Celebrating Groff’s final performance, birthday, and status as "a true theater star":

  "He really is, as many people have made the point, an example of someone who really has become a true theater star...and the fact that he seems to be doing so spectacularly well despite being openly gay just has not seemed to have hurt his career at all." – Michael Portantier [59:33]

• Discussion on challenges/opportunities for those stepping into iconic roles.

Notable Quotes & Memorable Moments

• "As I was walking out and thinking how charismatic [Lithgow’s] performance was, I also thought, well, yes, Ted Bundy was also supposed to be very charismatic too." – Jenna Tessa Fox on "Giant" [10:10]
• "It's...not Daniel Radcliffe, Harry Potter movie star. It's just this guy who's putting together a show and you want to be helpful...He is brilliant at it." – Jan Simpson on "Every Brilliant Thing" [21:38]
• "He really is a creature of the theater. And I, we...don't get that many of them anymore, so that makes it all the more miraculous." – Michael Portantier on Jonathan Groff [59:37]
• "You leave with a smile on your face and you start off with a glass of champagne." – Jan Simpson on "Masquerade" immersive [36:00]
• "This Hamlet emphasizes joy and creativity and success... I absolutely loved the show." – Jenna Tessa Fox [55:20]

Quick Links & Upcoming Dates

• Giant at Music Box Theatre | Through June 28, 2026
• Every Brilliant Thing at Hudson Theatre | Through May 24, 2026
• Masquerade at old Lee’s Art Shop | Extended through Sept 13, 2026
• Mexodus at Daryl Roth Theater | Through June 14, 2026
• Monte Cristo at Theatre at St. Jean’s | Through April 5, 2026
• About Time (Maltby/Shire) at Marjorie S. Deane Little Theater | Through April 5, 2026
• Hamlet at Theatre for a New Audience, Brooklyn | Through April 4, 2026

Segment Timestamps

| Segment | Timestamps | |-------------------------------------------|---------------| | Michael John LaChiusa "Wild Party" | 02:07–03:52 | | Charles Busch @ Laurie Beechman | 04:28–05:47 | | Giant (Review) | 07:16–16:39 | | Every Brilliant Thing (Review) | 16:42–27:06 | | Cruise Ship Entertainment | 27:06–32:43 | | Masquerade (Immersive Phantom) | 32:58–39:29 | | Mexodus | 39:58–43:51 | | About Time & Monte Cristo | 44:11–54:13 | | Hamlet (TFANA, Brooklyn) | 54:52–58:38 | | Jonathan Groff Farewell | 58:38–61:11 |

Musical Moments

• Michael demonstrates the difference between "Miss Saigon" and "Madame Butterfly" by playing Kim’s final song from "Miss Saigon" (Ava Noblezada) and "Tutu Piccollo" from "Madame Butterfly" (Leontyne Price), critiquing "Saigon"’s music as "pedestrian" compared to Puccini’s operatic splendor. [65:45–end]

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