BroadwayRadio: This Week on Broadway – March 8, 2026
Theme: Regional Theater Vibrancy, Notable Productions, and Broadway Connections
Episode Overview
This episode centers on a celebration of regional theatre, with a spotlight on Milwaukee Rep's impressive revitalization and programming. The hosts discuss recent Broadway and Off-Broadway shows, highlight the vibrancy of regional institutions, share recommendations, and engage in critical observations about new works and revivals. Other topics include the intersection of comedy and theatre, issues with theatre accessibility, and a few behind-the-scenes details from reviewers’ perspectives.
Hosts: James Marino, Peter Filichia, Michael Portantiere
Guests/Panel: None
Air Date: March 8, 2026
Key Discussion Points & Insights
1. Opening Banter and Personal Updates (00:46–09:41)
- James Marino introduces the panel and plugs Peter Filichia’s new desk calendar ("A Show Tune for Today").
- Peter Filichia recounts the history of Harvard's Hasty Pudding Woman of the Year and the musical number “The Grass is Always Greener” from Woman of the Year (03:34).
- Quote (03:37, Peter): “Two women from very different walks of life, one a true haus frau and the other a media star. Each of them claiming the other one has the better time of it... one of the great laughs in musical theater history.”
- Michael Portantiere previews events at the Laurie Beechman Theatre, featuring Charles Busch (04:50) and Ben Jones’ upcoming solo show (07:38).
2. Patreon & Listener Communications (08:06–09:41)
- Listeners are updated on Patreon issues and instructed to reach out to James directly for feed problems.
- Announcement: Jan Simpson’s interview with playwright David Auburn about Proof available on Patreon.
3. Review: "Mother Russia" at Signature Theatre (09:41–14:43)
- Michael Portantiere reviews Lauren Yee's satire on post-Soviet Russia, blending serious themes and humor.
- Noteworthy cast: Stephen Boyer, Adam Chandler Berat, Rebecca Naomi Jones, David Turner.
- Mother Russia is personified as a character in the play, delivering a comedic and biting monologue about Russia’s turbulent history (12:13).
- Quote (13:04, Michael): “Mother Russia, presented as a character... has an absolute tour de force stream of consciousness monologue… perestroika, Frere Jacques, gay fantasy on national themes, Yakov Smirnov, Garry Kasparov, Three's Company, the first Chechen War, the second Chechen War. Why so many Chechen wars?”
- The play is praised for its balance of humor and gravity.
4. Deep Dive: Milwaukee Rep’s New Era (14:43–29:16)
- Peter Filichia provides a glowing account of Milwaukee Rep’s recent renovation, impressive arts ecosystem, and the strategic role of Associated Bank in supporting the arts (15:32).
- Description of the new St. Kate Arts Hotel, unique services (e.g., information-dispensing “cigarette machine” for arts organizations).
- Highlights three shows attended:
- August Wilson’s “The Piano Lesson”: Discusses the core sibling conflict about legacy vs. progress (17:32).
- Ayad Akhtar’s “McNeal”: Shares insights from Akhtar’s keynote about theatre’s challenges, including the “three out of four first-time audience members don’t return” stat (21:14). Lauds Ty Fanning’s performance.
- Quote (21:54, Peter): “Three out of four people who go to the theater the first time say they're not coming back... But people have the money for other things. Why is that?”
- “Ain’t Misbehavin’”: First preview—cannot formally review, but audience response was “a hell of a time” (24:32).
- Upcoming and future seasons promise large-cast productions and new works—unusual in today’s theater economy (25:52).
- Takeaway: Encouragement for theatre-lovers to visit Milwaukee Rep; admiration for its arts-driven community and strategic financial support.
5. Off Broadway: “Marcel on the Train” at CSC (29:58–35:51)
- Michael Portantiere reviews the play co-written by Marshall Pailet and Ethan Slater, focusing on Marcel Marceau’s role in rescuing Jewish children from Nazi France.
- Commends the true-story premise but finds flaws in narrative structure and tension management.
- Notes the casting of adults as children weakens emotional impact.
- Quote (34:06, Michael): “The children are all played by adults...at least one review felt it worked against the power of the play.”
- Ethan Slater’s performance lauded; his mime skills are "significant."
6. Playwriting Critique: “The Other Place” at The Shed (36:14–38:58)
- Peter Filichia uses this now-closed play to caution playwrights against lazy “walk-in” reveals of secrets.
- Suggests suspicion and foreshadowing (as in Sweeney Todd) are preferable.
- Quote (38:58, Peter): “I have a real aversion to plays where somebody walks in at the wrong time...playwrights, try to find a different way of revealing your big surprise.”
- Suggests suspicion and foreshadowing (as in Sweeney Todd) are preferable.
7. Review: “Zack” at Mint Theater Company (39:37–47:42)
- Michael Portantiere disappointed by Harold Brighouse’s play, noting its contrivances and lack of character realism.
- Despite solid acting, contrived plot developments and schematic structure undermine engagement.
- Finds it problematic when the audience understands revelations “100 pages before the rest of the people on stage.”
- Quote (43:43, Michael): “If the audience knows something 100 pages before the people on stage do, that can always be really annoying.”
Memorable Quotes & Moments
- On Regional Theatre (Milwaukee Rep) (29:16, James):
- “What an endorsement. That is great.”
- Milwaukee’s Ecosystem and Participation (28:16, Peter):
- “[The staff] is so wonderfully friendly, they are so helpful and it was an amazing experience...if you're looking for a place to go...don't neglect this theater.”
- Equity Actor Percentage Correction (48:26, James):
- Clarifies that the Rep uses a high percentage of Equity actors even outside major markets.
- On The Challenge of Finding Forgotten Plays (46:45, James):
- “It's a hard thing to find shows that have been lost and forgotten and make them something that people want to see...if people want to see them, they're the better ones.”
Musical Moments
The Enduring Power of "Just in Time" (53:52–59:43)
- Michael Portantiere reflects on the popularity of “Just in Time” from Bells Are Ringing, covered by Tony Bennett, Sinatra, Judy Garland, Peggy Lee, and, currently on Broadway, by Jonathan Groff in Just in Time the Bobby Darin musical.
- Highlights lyric errors on both Bobby Darin and Groff’s recordings.
- Quote (59:08, Michael): “I hope it doesn't sound like I'm obsessing but I really think it's important...I’m really surprised that no one at Just in Time noticed this.”
- Plays excerpts of both renditions as musical bookends to the episode.
- Highlights lyric errors on both Bobby Darin and Groff’s recordings.
Timestamps for Important Segments
- 00:46 – Introductions, “Grass is Always Greener” story
- 04:50 – Upcoming events: Charles Busch, Ben Jones at Laurie Beechman
- 09:41 – “Mother Russia” review
- 14:43 – Milwaukee Rep report & reviews
- 29:58 – “Marcel on the Train” review
- 36:14 – Playwriting critique: “The Other Place”
- 39:37 – “Zack” review at Mint Theater
- 53:52 – Musical Moments: “Just In Time”
- 59:22 – Closing and music excerpts
Tone & Style
- Candid, humorous, and warm.
- Deeply knowledgeable but accessible, with inside-theater references and stories.
- Generous in praise where due but forthright with critiques.
- Encouraging exploration of regional and lesser-known theater.
Summary Takeaways
- Milwaukee Rep stands as a beacon for regional theater vitality, innovation, and community engagement—largely thanks to strategic partnerships and a robust, varied season.
- Mother Russia at Signature is praised for blending serious political themes with humor.
- Marcel on the Train and Zack illustrate the challenges of constructing dramatically satisfying and emotionally effective theater—especially when history or forgotten plays are involved.
- Listeners are encouraged to engage with regional theater, be curious about new works, and appreciate the unsung vibrancy of scenes outside Broadway.
- Ongoing dialogue about accessibility, comedy’s role in attracting audiences, and playwright craft distinguishes this episode as both a celebration and a critique of today’s theater landscape.