This Week on Broadway for May 11, 2025: Five Models in Ruins, 1981

Summary

BroadwayRadio Episode Summary: "This Week on Broadway for May 11, 2025: Five Models in Ruins, 1981"

Release Date: May 11, 2025

In this engaging episode of BroadwayRadio, hosts James Marino, Jenna, Tessa Fox, Michael Portantier, and Jan Simpson delve into a diverse array of topics shaping the Broadway landscape. From reviews of current productions to discussions on industry challenges, the episode offers listeners a comprehensive overview of the week's happenings in the theater world.

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1. Welcome and Introduction

James Marino opens the show by extending greetings to listeners and introducing the panelists: Jenna, Tessa Fox, Michael Portantier, and Jan Simpson. Special mention is made of Peter, a playwright and historian, who is currently in London and absent from this episode due to a canceled flight.

Notable Quote:

James Marino [05:17]: "Manny doesn't do many interviews. How did you land that?"

2. Upcoming Events and Interviews

Jenna shares exciting news about an upcoming event featuring Sandy Duncan at the Laurie Beachman Theater at the West Bank Cafe. The evening promises a live interview, performance clips, and a Q&A session. Tickets are nearly sold out, with options for in-person attendance or live streaming.

Notable Quote:

Jenna [06:30]: "We're almost sold out for our evening with Sandy Duncan... It’ll be interesting to see her reaction when that shows up on the screen." [06:30]

Michael adds logistical details about accessing tickets and reminds listeners to check the show notes for links and additional content.

3. Review of "Five Models in Ruins, 1981"

Jan Simpson provides a detailed review of "Five Models in Ruins," a production by LCT3 at the Claire Tao Theater, part of Lincoln Center Theater's 40th anniversary season. The play, written by Caitlin Saylor Stevens, is set in 1981 and centers around a fashion shoot in an old English manor house. The production features Elizabeth Marvel as the photographer, whose performance is highlighted as a standout element of the show.

Notable Quotes:

Jan Simpson [08:17]: "The playwright has created these characters, but she doesn't really know what to do with them from then on." [08:17]

Jan Simpson [11:22]: "Elizabeth Marvel just...she's always great. She's just Elizabeth Marvel." [11:22]

Jenna and Michael discuss the production's schedule and share anecdotes about navigating the theater space, including the use of elevators and the absence of traditional stair access.

4. Governor's Island's "Death of Rasputin"

Transitioning to another immersive theater experience, Jenna reviews "Death of Rasputin" by Artemis is Burning on Governor's Island. This production blends immersive storytelling with traditional theatrical elements, featuring significant dialogue unlike the dialogue-minimized "Sleep No More." The show allows audiences to choose which characters to follow, enhancing the interactive experience.

Notable Quotes:

Jenna [22:25]: "If you liked Sleep No More...this is something you would enjoy." [22:25]

Jan Simpson [23:57]: "No, that is another big difference. There's no masks." [23:57]

5. Tony Awards and Pulitzer Discussions

The conversation shifts to recent accolades in the theater community. Jan announces that the 2025 Pulitzer for Drama has been awarded to Brandon Jacobs Jenkins for his play "Purpose." The hosts celebrate the achievement, noting Jenkins' consistent contribution to compelling theater and his collaboration with Pulitzer-winning peers like Annie Baker.

Notable Quotes:

Jan Simpson [44:21]: "We had two Pulitzer winners on Broadway this season... it was a strong season for plays on Broadway." [44:21]

Jenna [45:20]: "I think it's so wonderful when a show that's currently running on Broadway or off Broadway gets the Pulitzer." [45:20]

6. Challenges Facing the Theater Community

A significant portion of the discussion addresses ongoing challenges within the theater industry, particularly focusing on the Kennedy Center's deteriorating reputation and funding issues. The panelists express concern over governmental interference and funding cuts affecting arts organizations.

Notable Quotes:

Jenna [54:02]: "It really is just so, so bad. And they don't even seem to be ashamed about the blacklisting aspect of it." [54:02]

Jan Simpson [55:14]: "The theater world will continue to perform as it always has, as a place where freedom of speech, creative independence can exist." [55:14]

The hosts critique recent actions that resemble blacklisting, drawing parallels to historical precedents and emphasizing the resilience of the theater community in maintaining artistic integrity.

7. Industry Blacklisting and Performances

The episode touches on the controversial cancellation of a "Les Misérables" concert performance at the Library of Congress following political tensions. Tessa Fox and Jan Simpson defend the performers' right to choose their audience, highlighting the importance of artistic autonomy.

Notable Quotes:

Tessa Fox [49:41]: "I have a lot of admiration for the people who are refusing to go on... it's their right to not perform." [49:41]

Jan Simpson [50:21]: "That's just a blatant attempt to create a new blacklist. Yeah, and we went through that in the '50s." [50:21]

8. Brain Teaser and Musical Moments

As the episode nears its conclusion, James Marino presents a brain teaser to engage listeners and previews the segment "Musical Moments." Jenna discusses the final performances of "Wonderful Town" at Encores, comparing different renditions of the song "It's Love." The show features performances by Javier Munoz and J. Aubrey Jones, offering listeners a taste of the musical interpretations.

Notable Quotes:

Jenna [59:40]: "The opener is Javier Munoz singing part of 'It's Love' from Wonderful Town and the closer is the same song being performed by J. Aubrey Jones." [59:40]

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Conclusion

This week's episode of BroadwayRadio provides a thorough exploration of current Broadway productions, industry accolades, and the pressing challenges faced by the theater community. With insightful reviews, thoughtful discussions, and engaging segments, the hosts deliver a rich and informative experience for Broadway enthusiasts.

Final Notable Quote:

James Marino [62:57]: "It's love at last. I've learned what we're here for...It's love." [62:57]

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For more details, interviews, and updates, listeners are encouraged to visit the show notes at broadwayradio.com and engage with the hosts through their various platforms.

Transcript

[James Marino]

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[Brad]

When the Moore family ditched cable Internet and switched to Sidly Fiber, they got so much more. Mr. Moore got more upload speed for next level gaming and livestreaming to the masses. With reliable service. Mrs. Moore is no longer her family's IT guru, leaving her more time to stream games into overtime.

[Jenna]

Let's go.

[Brad]

And young Mason Moore got more done quickly uploading HD product demos and video conferencing. Without FreeSync, the numbers look good.

[Jan Simpson]

Brad, you're on mute.

[Brad]

Switch from cable Internet to Zibli Fiber and get more of what you you love for $65 less per month than cable@ziply fiverr.com it's love.

[Jenna]

Who would have thought it? If this is love then why have I bought it? What a way to feel I could touch the sky what a way to feel I'm a different God I I've.

[Michael Portantier]

Heard it said hello and welcome to Broadway Radios this week on Broadway for Sunday, May 11, 2025. Happy Mother's Day to all those who celebrate. My name is James Marino and in the broadcast today we have Jenna, Tessa Fox, Michael Portantier and Jan Simpson.

[Jan Simpson]

O house.

[Michael Portantier]

Yeah, I almost said. Peter is a playwright, journalist and historian. Muscle memory. Yes, he still is. That's right. Peter actually is in London seeing shows and his flight back to the US Got canceled on Saturday evening. So he is not with us this morning but will return next week. Nevertheless, he has sent me last week's trivia answer because I'm not smart enough to figure it out on my own. Not even ChatGPT can figure these things out. And also sent me the next question for this week, so stay tuned for that. Jenna. Tessa Fox has written about theater for many publications including Playbill, Broadway, World, timeout, and Howl Round. She's a member of the League of Professional Theater Women and the Drama Desk and is a contributor to Broadway Radio. Good morning, Jenna.

[Tessa Fox]

Good morning, James. How are you doing?

[Michael Portantier]

Doing well, thank you. Also with us is Michael Portantier. Michael's a theater reviewer in SASD's, the founder and editor of Cast Album Reviews.com. he is also a theatrical photograph whose photos have appeared in the New York Times and other major publications. You could see his photography [e-mail] hello, Michael. Hello. Hello. Also with us is Jan Simpson. Jan is a theater journalist who writes the blog Broadway and Me and hosts the Broadway radio podcasts, Stagecraft and all the drama. She has thrice served as the Pulitzer Prize as a Pulitzer Prize juror. Hello, Jan. Hi. And Jan, yesterday we had the public release of all the drama where you talked to Manny Azenberg. And I was, I loved listening to that. And I was thinking to myself, Manny doesn't do many interviews. How did you land that?

[Jan Simpson]

I actually wrote his daughter and asked her if she would talk to me because she wrote a book about her dad and she wrote back and she said, if you're going to talk about Neil Simon, because that's what the episode is about. It's about his 1991 winner Lost in Yonkers. And she said, if you're going to talk about Neil Simon, then you should talk to the expert, my dad. So she, she put us together, I have to say. And I don't know why I was so intimidated to talk to him. And I was, and I mean, I've talked to lots of people and lots of famous celebrate people. I don't know why he was lovely. He was really nice, very open, very honest. I'm, I was appreciative. I'm still appreciative and I'm still intimidated. I don't know why he was lovely.

[Michael Portantier]

You know, our friend Adam Feldman, I think everybody on the, on the zoom right now knows Adam. Adam posted on Facebook earlier this week that he's, he's interviewed really, really famous people all over the world and in all sorts of different industries. And the only time he gets intimidated is but he gets intimidated by people whose podcasts he listens to. So, Jan, next time you see Adam at the theater, you know, maybe that's why he's kind of awkward.

[Jan Simpson]

I just saw Adam Friday. He's irrepressible. He not intimidated by anyone. He's irrepressible.

[Michael Portantier]

Adam, my goodness. I've known Adam since the 90s, the early 90s, and he has not changed one smidge since he was a student at Harvard. So, Michael, coming up May 13, two days from now, Tuesday evening at 7:00pm do you have anything planned?

[Jenna]

Yeah, I'm happy to say that we're almost sold out for our evening with Sandy Duncan at the Laurie Beachman Theater at the West Bank Cafe, which will consist of me doing a live interview with Sandy and featuring copious clips of her performances and then followed by a Q and A session with the audience. So we're going to be live there and we're also going to be live streamed, so it's going really well. Sandy had, I think I had mentioned before she had told me her one proviso was that I not give her the questions beforehand. And I said, really? But that's what she wanted. So I didn't do that for the most part. We did discuss most of the clips, but there's one that I recently found that I haven't told her about and I think it's really fun. So it'll be interesting to see her reaction when that shows up on the screen.

[Michael Portantier]

All right, so we have a link in the show notes to not only get the few remaining tickets left to be there in person, but you can also live stream it and also see it after the fact as well. So there's a link in the show notes for you to check that out. Jan, you got over to Lincoln center theater to see five models in ruins, comma, 1981. Sounds like my 1981. So. But my 1980 was really model trains. This is not.

[Jenna]

What.

[Michael Portantier]

No, what did you think? Like Tyco model trains type of things? Ho. So, Jan, tell us about five models in ruins.

[Jan Simpson]

This is a production of LCT3 in the Claire Tao Theater, which is on top of the Lincoln Center Theater.

[Michael Portantier]

So easy to get to through the elevator.

[Jan Simpson]

Well, it's their black box space and it was designed created to showcase young, new up and coming playwrights. And I just discovered this is its 40th anniversary season. Sort of hard to believe that it's been there that long. Five Models in Ruins, I think is the beginning of its 40th season and I'm sorry to say it didn't quite work for me this is the conceit of this play by the playwright Caitlin Saylor Stevens is that. It is 1981. We're in an old English manor house, and there is going to be a fashion shoot there. It is the first time that the photographer, who is a woman, has been given the COVID of Vogue. And so she has come up with this idea that she's going to shoot five models. Photograph five models wearing dresses that Princess, Then Princess Diana had rejected for her wedding. And the five models, they're, you know, the assorted type that types that you would expect in a show like this. There's a real eager newcomer. There's a jaded person who's been around. There's a Russian, I believe, model who's an outsider, and she's really sort of sardonic. And then there is the hot model of the moment, and she's a prima donna who's slept with everybody, taken all kinds of drugs, thinks she's just the world, and that is it. The playwright has created these characters. She's put them in place, but she doesn't really know what to do with them from then on. The one saving grace of this production is that the photographer is played by. By the great Elizabeth Marvel. And I don't put great in front of people's names a lot, but Elizabeth Marvel just. I've seen her in really good things. I've seen her in really bad things. She's always great. She just. She just is. She's just Elizabeth Marvel.

[Jenna]

She's a Marvel.

[Jan Simpson]

Exactly.

[Michael Portantier]

They have a bunch of movies about her. It's called the Marvel Cinematic Universe.

[Jan Simpson]

If only. If only they had done it that way. She plays the photographer, and there's also this sort of side story about why this means so much to her and her romance with someone. I don't want to spoil the romance part of. Doesn't go anywhere either. But if you get to the theater 10 minutes or so before, when they let you into the actual theater space, Elizabeth Marvel is on stage. She's not on stage in the way that Jessica Chastain was a couple of years ago, where she's just sitting there. No, because she's Elizabeth Marvel. She's not going to just be sitting there. She was walking around rearranging the set in character because she's the photographer and she wants everything to look great. It was, for me, the best part of the entire performance. So if you're going to go see this, don't miss that part. Done.

[Michael Portantier]

Okay. So five models and ruins, 1981, is at the Claire Tow Lincoln center through June 4th. First go in the glass doors, make a quick left, and wait for the elevator. Through June 1st. We have it links to the show notes, plus some YouTube videos as well.

[Jan Simpson]

The gowns, though, are great. The gown. The gowns are great fun to watch and see what they're wearing. So there is that too. And if you're. When James mentioned the elevator, it made me think savvy people. No, I mean, you. You don't leave before, you know, you applaud the actors at the curtain call, but you make a beeline out of that space to get to the elevator because the elevator is the only way you can get up and down to that rooftop space. And so you have to wait a while if you're not there for the first car, of which I was.

[Jenna]

Yeah, I was amazed when I found out. I said, aren't there stairs? And they said only the fire stairs.

[Jan Simpson]

Right.

[Jenna]

And they really discourage you using them for whatever reason. So. That was amazing. Jen, what was it You. I just want to clarify. What was it you said about the 40th anniversary? It.

[Jan Simpson]

This is the 40th anniversary season of Lincoln Center Theater. No, of. I thought it was of. Of LCT3.

[Michael Portantier]

I thought was only been around for 10 years.

[Jenna]

Yeah, yeah, yeah.

[Jan Simpson]

No, not 10 years.

[Michael Portantier]

Yeah, 10 years.

[Jenna]

Yeah. The. The tau or the toe. Are we sure what the pronunciation is?

[Jan Simpson]

Oh, it's toe.

[Jenna]

Yeah, it is toe. The toe has only been around about that long, but yeah, I'm glad you mentioned the 40th anniversary. It's the 40th anniversary of Lincoln Centered Theater. And they have. Did you pick up that incredible brochure that they had? Yes, it's one of the most amazing things I've ever seen. Filled with essays and photos from, you know, essays by everyone you would ever want to hear from, from their entire history. And it really is a fascinating, fascinating history of Lincoln Center Theater, which was kind of a. Kind of a flop when it first started. And that. That and the. Vivian Beaumont was considered a white elephant.

[Michael Portantier]

And.

[Jenna]

And it was. It really took a long time for them to. To find their footing. So. And I haven't seen much myself at. At the Tao, but. But I did see a couple of things there that were among the best plays I've seen recently. So.

[Jan Simpson]

Yeah, no, they do good work up there.

[Jenna]

Yeah, they do.

[Jan Simpson]

But.

[Michael Portantier]

Yeah, if the. If the three of you want to get together with me, we could. They have the ruby jubilee coming up and tables are only 150,000.

[Tessa Fox]

So that's a steal.

[Michael Portantier]

Four of us, you know, and we get six more seats with the 150,000 dollar table. Yeah. So if you want to go as couples, it's only 30,000 for Monday, May 19th is going to be the Ruby Jubilee gala for Link celebrating Lincoln Center Theater's 40th anniversary. And they're going to be honoring Andre Bishop and things like that. And Michael, guess who's going to be there?

[Jenna]

Well, Martin La Chair's gonna be there. Who else?

[Michael Portantier]

Kelly o' Hara.

[Jan Simpson]

Oh, we should.

[Jenna]

Oh, who's that?

[Jan Simpson]

We should.

[Michael Portantier]

So Roger Bart, Stephanie Block, Jason Robert Brown, Victoria Clark, Jordan Donica, Katie Finneran, Stephen Flaherty, Michael John Lachius Kudish. Just one word. Kudish. Kudish.

[Jenna]

I saw that advertised. It's funny you mentioned that. I saw it advertised out in front of the theater and I thought, oh, that sounds great. Let me and see what the prices are.

[Michael Portantier]

Yeah, see, you know, if they had a, you know, some standing room, that's only 10,000. Nathan Lane, who was on Wait, Wait, don't tell me. Nate, if you listen to. Wait, Wait, don't tell me. Or you like Nathan Lane. Love Nathan Lane. Listen to Wait, Wait, don't tell me this week. Norm Lewis. We're going to talk about Norm in a few minutes. Andrea Martin, Kelly o' Hara, Andrew Rannells. Rannells back and forth between television, film and theater. Anthony Rosenthal, Tally Sessions, 10 Sperling Tracy, Tom Luzzi, Uggams Bread. Brandon Uranowitz, future Tony winner, Brandon Uranus, Bessie Wolf and more. So, yeah, so lots of. It's going to be a great evening. Great, great evening. But the Ruby Jubilee Gala. So different than the Jubilee in Rome, which is a whole other thing. So anyway, well, we went on a tangent there. We were talking about five miles in ruins. 1981 at the Claire Tower through June 1st. Links, videos, show notes, things like that. Michael, Michael, Michael, Michael. That's what I was doing and now I've lost it. Where is Rasputin playing Governor's Island. Governor's Island. So Michael, you went down to took a ferry to Governor's Island. Did you take Colin Jost's ferry to Governor's Island?

[Jenna]

No, his goes to Staten Island. Well, his doesn't go anywhere.

[Michael Portantier]

His doesn't go anywhere. And he's, he's like, he's at a total loss. He's like, what a stupid, impulsive buy I made.

[Jenna]

I didn't know that.

[Michael Portantier]

Yeah, no, he's, he's dying because it's costing millions of dollars to.

[Jenna]

Were they going to make it Into a restaurant. Was that the plan?

[Michael Portantier]

There were some sort of thing, but I think it should be like a floating theater. I think they should do things on it. I think they should. Anyway, so you went to Governor's island to see what was it? The Death of Rasputin. I was going to say killing Rasputin, but that was a different musical. In London in 2000, you saw the Death of Rasputin in Governor's Island. Tell us about it.

[Jenna]

Well, this is a production of a company called Artemis is Burning. And the description on their website is Artemis is Burning is a bold women led theater company igniting a revolution in immersive storytelling. We are creators of worlds blending immersive theater, film and dynamic performance to craft powerful, sensory driven experiences that transport you to uncharted realms. And the show that this seems immediately and most closely patterned after is Sleep no More. But with one huge difference. As I've said many times in the past, I was amazed when I went to Sleep no More that it wasn't what I expected because there was no dialogue in anything that I saw at Sleep no More. Did any of you see Sleep no More? And did you ever encounter dialogue at any point in it?

[Tessa Fox]

Yes, I did. Yes, I did. I did.

[Jan Simpson]

Oh, oh, I saw it, but I didn't encounter any dialogue.

[Jenna]

That's really interesting. I think there must have been very, very little because all I saw was mime and dance, really, and sort of like the whole thing was like an art installation, you know.

[Tessa Fox]

Yes, it was very little dialogue, but Lady M walked by me rubbing her hands and she was very clearly whispering. Who would have thought the old man had so much blood in him.

[Jenna]

Oh, yes, and I. Oh, I do remember that. And I did see one other. Or maybe it was the same scene where she kept saying out, out, damn spot. But. But there was not dialogue among the characters as I recall. So that was a surprise to me. But this is very different in that respect, this Death of Rasputin. There's lots of dialogue. Other than that, it's very similar. It start the audience being gathered and then there's an initial scene that begins the show and then the audience just decides who they're going to follow from one room to the next as the characters exit.

[Jan Simpson]

So it's indoors.

[Jenna]

It's indoors in a building on Governor's Island. I'm not sure of the name of the building, but it's quite a large one as you would imagine. And it's got a lot of separate rooms. There are also steps involved. Know that there are Steps involved because that might be an issue for some people. And it, you know, it's the story of, well, truth in advertising. The death of Rasputin, you know, just before the, the Russian Revolution. Rasputin, who became a sort of a guru, spiritual advisor to the royal family of Russia. And that did not end well for him or anyone else.

[Jan Simpson]

And he was very hard to kill.

[Jenna]

Yes, yes. That is not here. But you know what? I researched it, and apparently that's not necessarily thought to be historically accurate that he was so hard to kill. I thought it was. I thought it was established. But if you read what I've read lately says that that's one version of what happened, and that's not actually what we see here. So interesting in that respect. I, I experience, I, I like the fact that it was an actual play as opposed to Sleep no More, which I would describe as something else. It can be an issue if you, you know, how tall you are because you might have people standing in front of you, you know, as they gather to watch. And then you just have to hope you make the right choices as to whom to follow and what's going to be happening. So that's something to keep in mind. But if you liked Sleep no More, and that sounds like something that you enjoy, just kind of that interactive thing with making your own decision as to who you're going to follow and, and whose story you're going to attend, I think this is something that you would enjoy.

[Jan Simpson]

And do you get a mask?

[Jenna]

Oh, thank you for mentioning that. No, that is another big difference. There's no masks. There are no masks.

[Michael Portantier]

Okay, well, the death of Rasputin on Governor's island wraps up today, May 11th. So unless you are heading out there today, and it's a beautiful day, nice day for a ride on the ferry. You.

[Jenna]

I'm sorry, I didn't realize. Yeah, I didn't realize it was that short, so.

[Michael Portantier]

Well, that's what it was in the. That's what it was in the press release. Let's make sure.

[Jenna]

You're probably right. Yeah, you know, the coordination of something like that. Oh, okay. Go on.

[Michael Portantier]

So the press release says it wraps up today, but it seems to be extended because they're selling tickets into the future.

[Jenna]

Oh, good.

[Michael Portantier]

Just another couple of weeks. So you have another couple of weeks. The last One is on May 29th. So we'll have, you know, check it out in the show notes. If this is interesting to you, great. We'll do a little Michael section here. Michael, you also saw our friend Leroy Reams.

[Jenna]

Yeah. Let me just maybe run through my week quick because, I mean, things are slowing down in terms of shows opening, obviously now in the wake of the awards nominations, but. But there's still a lot going on. So I saw the Death of Rasputin on Sunday, and then on Monday, I made a point of attending the memorial service or celebration of life of Linda Lavin at the Ambassador Theater on Monday afternoon. And that was really wonderful. It was hosted by Jim Caruso, a very, very close friend and colleague of hers, with Billy Stritch, another very close friend and colleague of hers, at the piano, Steve Doyle on bass, and Daniel Glass on drums. And there were so many wonderful clips of the great Linda Lavenin performance, but also live musical performances by Annalee Ashford, Kate Baldwin, Dylan Chance, this adorable, very talented, very young girl who worked with Linda at the in one of her final projects, Christine Ebersole, Kate Jennings Grant and Billy Stritch. And then there were remembrances by many people, including, of course, Linda's husband, Steve Bakunis, her agent, Bill valoric, and Nancy McKeon, James Lapine, Jim Niven, her stepson. So it was really a wonderful event. I was privileged to see Linda in many things, many things on stage. And regardless of. Well, it goes back to what Jan said before about Elizabeth Marvel. Regardless of the quality of the shows she was in, which ranged from phenomenal to really not very good, she was always, always wonderful. So she will really be missed. But, you know, I'm glad we have so much of her on, so many clips of her in film and TV to enjoy going forward. Then on Wednesday, I went to 54 below to see Leroy reams uncensored for adults only. That two exclamation points in it and it again, truth in Advertising. Very, very honest and sometimes graphic stories about his life and career, including his quite explicit narration of his sexual affair with Michael Bennett, which was delivered with Donna McKechnie in the audience. But first of all, this is not the first time leroy has done this show. I am sure that even if Donna did not see it before, that she was aware of what was coming and she seemed to have no problem with it whatsoever. But that kind of thing, there are stories about Tallulah Bankhead and, oh, I had seen leroy do some of this before, and I was a little surprised because he, as far as I was concerned, he basically outs Michael York as a, you know, someone who came on to him sexually. And I didn't know that. I don't think that's common knowledge. But the evening wasn't all about sex. It was also about Leroy's longtime partner and his many, his many exploits on stage with people ranging from Lauren Bacall to Margaret Hamilton. And there were lots of songs in the show, too, with Alex Rybig at the piano. So it was a very fun and very different evening. And I was glad I went. Let's see, then, Thursday we had our Everyday A Little Death event at the Drama bookshop. Was very, very lovely. They just, when they do events there, they do them right in the, in the bookstore. Because as of now, there is no theater attached to the Drama bookshop. There may be one in the basement at some point in the future as there was in the old Drama bookshop, but right now there isn't. So we were gathered there with a small group because that's all that can fit to do a presentation of a signing event for Everyday A Little Death, which is this volume that I've contributed to this anthology of crime fiction inspired by the stories of Stephen Sondheim. So that was, that was really, really fun also. And I'm usually on the other end when, you know, at book signings. So this is only, I guess, the second time I've, I've done that and it's kind of fun. Oh, oh. And then I know this will lead into our future discussion right at the moment, but I did go to the Tony nominees reception on Thursday, which was held at the Sofitel, and I had not attended in quite a few years, certainly not since well before the pandemic. I used to attend as a photographer, but then they became more restrictive with access, and so I stopped doing that. But then I realized, well, you know, I could still go as a reporter. So I went with my little digital recorder and it was great because I got to speak to some wonderful people ranging from Andrew Durand from Dead Outlaw, Jack Malone from Operation Mincemeat, David Yazbeck, composer of Dead Outlaw, Jerry Mitchell, director, choreographer of moop, Kara Young, the wonderful Kara Young, she is so amazing and she was so delightful. Talking about purpose and her other Tony nominations, which she's had now four consecutive. Is that right? Yeah. Which I think. I'm not sure if it's been determined that it's a record, but either way it's amazing. And Sahima Lee, so it, so it, it was fun for me to be there again after having not attended in quite a long time.

[Michael Portantier]

Okay, so, Michael, even though you said you did nothing this week.

[Jenna]

Well, no, I know what I said was. No, I'm making fun of you. In terms of openings, you know, I mean there are obviously very few right at the moment because people, people's attention are so, is so focused on the Tony award nominations and the drama desk and the other, all of the other end of the year stuff that's happening. It's a really, it's a really crazy time for people who are in shows. I don't envy them. The schedules that people have to keep while continuing to do eight performances a week plus all these publicity events. You really need a lot of stamina and a lot of grit. So hats off to all those people who manage that.

[Michael Portantier]

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[Jenna]

What?

[Michael Portantier]

Anybody want to guess in June?

[Jenna]

I don't know.

[Tessa Fox]

You're going on vacation to Bermuda, I'm guessing.

[Michael Portantier]

No, that's the name of the show. It's ha ha ha ha.

[Jan Simpson]

Oh, that? It's like 40 ha's.

[Michael Portantier]

Yeah, 40. It was like Russia, Russia, Russia, Russia. Or was it Moscow?

[Tessa Fox]

Moscow, Moscow, Moscow.

[Michael Portantier]

So I, I, I'm really looking Forward to the reopening of Central Park. You think we're going to get a chance to see the new theater?

[Jenna]

Oh, I forgot. What, what is the latest. Are there dates?

[Michael Portantier]

Don't they have.

[Jenna]

I have not read a word about it.

[Jan Simpson]

They have dates for the Twelfth Night.

[Michael Portantier]

Yeah.

[Jenna]

Okay.

[Jan Simpson]

But I don't know if there's going to be something beforehand.

[Jenna]

I somehow seem to have missed all of this.

[Michael Portantier]

I hope to catch up, there'll be some sort of press event where we can sneak and get a sneak peek and check in with the raccoons. I wonder what the raccoon house looks like.

[Tessa Fox]

Oh, after a year of no performances, they've built a mansion. Come on.

[Michael Portantier]

So back in midtown, Jan, you get over to St. Clement's Church where you saw ceremonies in Dark Old Men with Norm Lewis. So tell us about this.

[Jan Simpson]

I think Peter talked about this.

[Michael Portantier]

Yes.

[Jan Simpson]

Yeah. That he thought this is a revival of the 1969 play by Lonnie Elder III that was actually a Pulitzer finalist. It lost out, if you want to praise it that way, to the Great White Hope. This play, which was produced by the Negro ensemble company, the NEC was set even though it opened in 1969. It was set in Harlem of the 1950s. And its main character is this guy who was a vaudevillian and a song and dancer kind of guy. And because his legs started going, he had to retire and he opened a barber shop that doesn't really do any business. And so for a long time his wife supported the family. And then when she died, their daughter took over as the support for the family, which also includes two sons. And as the play opens, she has given her father and her two brothers notice that she's fed up. She's not going to continue supporting them. She's going to change the locks on the apartment where they live above the barber shop and close down the barbershop if they don't find work. And so that sets off what will be the drama, the, the conflict of the production. In the original production back in 69, Douglas Turner Ward, who was the co artistic director of the Negro Ensemble Company, played the main character Russell Parker. In this production, Norm Lewis plays that role. And even though the character of Russell Parker was a song and dance man, this is not a musical. There aren't chances for Norm to show off those kinds of performing skills. But I think he is really interested in moving into more dramatic roles, showing what he can do. It's an old fashioned play. It's a very traditional old fashioned production. But it's Enjoyable to watch. The difficulty is of the setting of the theater itself. St. Clement's Church is a church and you go up the stairs of the church to the playing space. And as a. I seem to recall Peter talking last year last week. The acoustics are really difficult there and so it's difficult to at times to hear all of the dialogue. And the seats are not great seats. I am literally still working out sort of a cramp in my leg. And I saw it on Friday night from sitting there. So it's not an ideal setting for the play. But it is an interesting story of this family trying to figure out how they can make a living in a world that can restricts the kinds of options that particularly black men have to make a living. I don't think it's a spoiler to say that for a while they choose a criminal, slightly criminal line, line of work. One of the interesting things, and I didn't notice this myself, bad knee, but someone else did, is that the set sort of pays homage to Joe Melzener's set. Original set for Death of a Salesman. If you saw either the original production or the one that Mike Nichols did a few years before he died, which reproduced, replicated that set, it's sort of impressionistic and you see in the background the neighborhood and as well as inside the house. So that it's commenting, the play is commenting on more than just what the family dynamics, but the social dynamics that affect the family as well. And this was not a rip off, but I think an homage to that set. So it's an enjoyable evening. If you're looking for something that's flashy and new, this isn't the play for you. But if you're looking for a good, solid family drama, this is for you. And I have to say, the audience was, was, was riveted. There was total quiet and people were really focused on the storytelling and whatever disappointment that some people may have had that Norm was. He does a little bit of a time step, you know, and he starts to sing a song as he's walking off stage. That's as much of that norm as you're going to get. But it's interesting to see him, you know, try something different. And of course, there's just an innate charm about Norm Lewis. I It's his interpretation of the role and it's who he is. The character performed by someone else might have had more sharp edges to him, but you know, Norm is just his charming Norm self. And so it's a good evening since.

[Jenna]

We'Ve mentioned the Pulitzer more than once in this podcast due to Jan's presence. We should mention that since our last podcast, it has been announced that the 2025 Pulitzer for Drama went to Brandon Jacobs Jenkins for purpose.

[Jan Simpson]

Yeah, I think there was a lot of happiness in the community. Not necessarily or solely because of purpose, but because Brendan has been a finalist twice before. He's consistently turned out, I think, interesting and entertaining work. And also so many of his friends had Pulitzers. When I did the Michael R. Jackson episode of A Strange Loop and I asked Michael, how did you get the news that you'd won the Pulitzer? He said, I was on the phone with my friend Brandon Jacobs Jenkins, and he said in the middle of the conversation, he said, hey, you just won the Pulitzer.

[Jenna]

I think it's so wonderful when a show that's currently running on Broadway or off Broadway gets the Pulitzer. So people can just go, you know, and it's living history, you know.

[Jan Simpson]

Yeah, yeah. So we had two Pulitzer winners on Broadway this season because English. And so it was a strong season for plays on Broadway, which was really, really wonderful.

[Michael Portantier]

Might want to say that there's a strong season off Broadway in the previous years.

[Tessa Fox]

Well, yes, yes.

[Jan Simpson]

Well, we got got, we got purpose from Steppenwolf in Chicago. But, but, but I, I, I, yeah, I take your meaning.

[Michael Portantier]

Yeah. So Jan, you're lining up that interview.

[Jan Simpson]

Well, I want to give him a little room to, to, you know, let it soak in a little bit. But, but it, I was happy for him too. I don't know him him. I don't know him, but I was happy for him too. He's also taught for many years. He's taught playwriting with Annie Baker. They co teach together and of course she has a Pulitzer. So, you know, sort of nice for him to now be in the club with his buddies.

[Michael Portantier]

So Michael Paulson over at the New York Times spoke with Brandon Jacobs Jenkins about his Pulitzer win while they were preparing for the Met gala.

[Jan Simpson]

Right, right. He was a co host.

[Michael Portantier]

Yeah. Wow. Being very, very popular and hot all at once.

[Jan Simpson]

Yeah. What a day.

[Michael Portantier]

Yeah. Hard to top that. So I'll throw a link in the show notes to the interview with Michael Paulson. Good. Listen. Yeah. So speaking of the New York Times and news and things like that, there's seems to be a lot of stuff going on right now in the theatrical world. You know, we, what do they call it when a disaster happens in slow motion and you can see the whole thing play out? But that's certainly what's happening at the Kennedy center right now, you know, we're watching just the incredible reputation of the Kennedy center get destroyed day by day, week by week, hour by hour.

[Jenna]

And in related news, the Broadway musical Dead Outlaw announced on Friday that it was canceling an upcoming concert performance at the Library of Congress, one day after the Trump administration fired its top librarian.

[Michael Portantier]

Yeah. So, Jenna, any thoughts?

[Tessa Fox]

Honestly, I. I have mixed feelings. Because you're performing means performing for mixed audiences. People of all values. You never know who's sitting out there, but when you do know that someone you don't want to be there is in the house, I do think it's a performer's right to not perform. And I think that's making a very powerful stand, a very powerful statement, especially in a show like Les Mis, about oppressed people rising up and taking action. I think that's the perfect show to use as an example of taking a stand. I have a lot of admiration for the people who are refusing to go on, and I. I truly hope this does not hurt them in any way. And, yeah, it's their right to not perform if they know that somebody in the audience is someone they would not want to perform for.

[Michael Portantier]

I. I sort of think back about the hypocrisy of all the current administration now saying that basically shut up and perform when they. They so vocally supported a cake maker who didn't want to make a cake.

[Tessa Fox]

Exactly.

[Michael Portantier]

And said that they.

[Jan Simpson]

That's right.

[Michael Portantier]

This cake make cake maker said, this is my art, and I don't have to give my art to something. And they all supported that. But now this is different. Jan, any thoughts about Les Miserables and the Kennedy Center?

[Jan Simpson]

Well, I thought it was interesting that the producers gave the cast the option of performing or sitting out, and a majority of the cast said, we're going to sit out. What was disturbing was the response from the administration that they want the names of these people and they want producers to consider the fact of. That they set out the performance when they're considering hiring them. That is just a blatant attempt to create a new blacklist. Yeah, and. And we went through that in the 50s. It destroyed a lot of careers, a lot of lives. The one place in the entertainment ecosystem where it didn't work was in the theater. People who were blacklisted and couldn't do movies, couldn't do television, couldn't get record deals, they could come and they perform on the stage. And I'm certain, I'm just certain that even with all of the pullback of money, even with charges like, find out who they are. That the theater world will continue to perform as it always has, as a place where, you know, freedom of speech, creative independence can, can exist. And not just exist, but thrive. Maybe not with as much money, but can continue.

[Michael Portantier]

Michael, how about you?

[Jan Simpson]

Very true.

[Jenna]

Well, parenthetically, for those who still have access to the Washington Post and didn't cancel their subscriptions when they did what they did in regard to the current administration, there is an article there by Jada Yuan that's called Trump's Broadway Dreams Get Second act with Kennedy Center Takeover. And the subtitle is, now that he's chairman, Trump seems to have found a way to finally realize his theater ambitions. And this refers to the fact that in 1969, he was a producer of a Broadway flop called Paris is Out, exclamation point, a Jewish comedy. And I remember a few years ago, my friend Steven Brinberg pointed this out. He said, you know, if, if that had been a hit, history might have taken a different path. And, you know, so maybe many of us could have wished that it would have been a hit if that, if that would, would have been the case. So just, that's just a little footnote to this very awful stuff that's happening right now. And it, it really is just so, so bad. And they, they don't even seem to be ashamed about the, the blacklisting aspect of it. No, no, not, not a, not an iota of shame or, or pretending it's anything other than it used to, than it is. You know.

[Michael Portantier]

So our friend Howard Sherman posted on Facebook long insight about how the blacklisting starts. I'll have a link to that in the show notes, so you can check that out. And also Helen Shaw's piece about the major foundations getting cut back in the NEA grants. And we're seeing lots of our friends that are artistic directors and board members of various foundation, not foundations, but of various nonprofits around the country that are arts organizations getting surprised and shocked by not future stuff being in jeopardy, but current stuff being in jeopardy, that the administration is clawing back current funding that was allocated already. And they're like, you're. We said you had it, but now you don't have it.

[Jenna]

It seems like every day there's a press release from whoever, Playwrights Horizons or whoever, just announcing money they were counting on, just abruptly, abruptly withdrawn. It's almost hard to believe in some.

[Jan Simpson]

Cases, the productions are over. I mean, I think at primary stages, the play American was going to be partially funded with government funds that had been allocated, the production has now closed. And, and they found that that money is not going to come. And so, you know, there's nothing they can do. I mean, for some companies, you can say make the terrible decision of we're not going to go ahead, but in this case, they already put the money out.

[Jenna]

Right, Right.

[Jan Simpson]

And so although Primary Stages, as you may remember, was very early in sending out a letter saying we will not be cowed by these anti DEI statements and that companies that comply with diversity, equity and inclusion will have their money stopped. And maybe because they were the first, they got an infusion of money that covered their initial loss. I don't know what's going to happen with this second loss. So all over and yes, there's so many letters, you're right, Michael, that are coming in that it's like, well, you know, where, where, where can I send my little checks? There's just so many people asking for help.

[Michael Portantier]

All right, so on that note, that wraps it up for this week. Before we get on to our brain teaser and Michael's musical moments, I want to remind everybody that you can subscribe to these broadcasts by going to the front page of broadwayvideo.com there's a subscribe link. That way each and every time we have a new episode of this Week on Broadway, it'll be automatically downloaded to Apple Podcasts view. Of course, you don't have to listen to us now podcast as many ways to get us. One way is Patreon P A T R E O n dot com broadwayradio is one place that you can support all of Broadway radio's offerings, plus get us a little bit, eat a little bit earlier than everybody else and be able to join us on Sunday mornings and do all the various other things that Patreon membership has its benefits and contact information for. Let's see, for Jan, for Jenna, for Michael, for me, for Peter, for Matt, for Grace, for everybody can be found in the show [e-mail] as well as links to some of the things we've talked about today. So this is normally where I would say, so, Peter, do we have an answer to last week's brain teaser? But he sent it to me, so let me give you. Well, you know, I should probably read the question from last week. Let me pull that up. The question is the title of a song from an Irving Berlin hit is diametrically opposed to the polar opposite of the title of a song from a Malpy and Shire review. What are the songs and what musicals did they appear I kept on guessing Disneyland over and over and over. That's not the radio answer. So the right answer is Irving Berlin's Annie, get your gun has I'm a bad, bad man. Quite different from Malpy and Shire's song and closer than ever. One of the good guys, Juliet Green, was first, followed by Sean Logan, Tony Janicki, Fred Abramowicz, Inger Gammerman and Brigadude. This week's question, two shows from the 50s and two shows from the 60s all began with the same song. What is it? And from what shows does it come? If you have an answer for that, email [e-mail] and Peter will let you know if you're on the right track. I think he's on a plane right now. Give him some time to land. Get back to his apartment. So, Michael, what do we have in this week's musical moments?

[Jenna]

Well, today is the final day of the two week run of Wonderful Town at Encores. This is the show that, as Peter mentioned, I think last week the score was written by Leonard Bernstein and Comden and Greene in about three weeks because there had been a complete score written for the show by Leroy Anderson and I, I believe, Arnold Horwit. And what Peter said, I think was that it was the producers who were unhappy with the score. And that may have been true, but I had always read and heard that Rosalind Russell, who was the star, was not happy with it. So both or either may be true, but whatever was the case there, that score was thrown out. And Compton and Green, Bernstein wrote a lovely score in three weeks. So that's kind of amazing in itself. I'm not have not seen the current production, but there are clips, you know, you can find some clips, promo clips on YouTube and so I thought that we would include one of those is the opener Javier Munoz playing Bob Baker. Excuse me, singing It's Love from Wonderful Town. But also then I remembered that, of course I remembered that in 2022, our friend and listener J. Aubrey Jones sang that same song in my show Bernstein on Broadway at 54 below. And so I wrote to Jay and I sent him the link to the performance by Javier and I said, he's great, but you were better. So we shouldn't say better. But I think they're both fine performances. So I thought we would sample both of them. Therefore, the opener is Javier Munoz singing part of It's Love from Wonderful Town and the closer is the same song being performed by J. Aubrey Jones.

[Michael Portantier]

Okay, so on behalf of Michael Portantier, Jan Simpson and Janetessa Fox. This is James Marino saying thanks so much for listening to Broadway radios this week on Broadway. Bye Bye.

[Jan Simpson]

I could touch the sky what a way to feel. I'm a different guy. It's love at last I someone to cheer for. It's love at last. I've learned what we're here for. I've heard it said. You'll know it when you see it. Well, I see it, I know it. It's.

[James Marino]

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[Brad]

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[Jenna]

Let's go.

[Brad]

And young Mason Moore got more done quickly uploading HD product demos and video conferencing. Without freesight, the numbers look good.

[Jan Simpson]

Brad, you're on mute.

[Brad]

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