BroadwayRadio Podcast Summary: "This Week on Broadway for May 4, 2025: Real Women Have Curves"

Release Date: May 4, 2025
Host: James Marino
Guests: Peter Felicia and Michael Portantier

Introduction

In this episode of BroadwayRadio, host James Marino welcomes listeners to discuss the latest happenings on Broadway, with a special focus on the production of "Real Women Have Curves." Joined by Broadway enthusiasts Peter Felicia and Michael Portantier, the trio delves into detailed reviews of current shows, upcoming events, and the latest award nominations shaping the Broadway landscape.

Show Reviews

1. Real Women Have Curves

[10:34] Peter Felicia:
"This is a show that really is talking about women who certainly are not in the usual frame of what people in America call attractive. So most of the pity. But the thing is, here they are working in the sweatshop."

Overview:
Peter Felicia begins by exploring the narrative of "Real Women Have Curves," highlighting its origins as an adaptation of a 1990 play and its subsequent film adaptation on HBO. The story centers around women in a garment sweatshop, addressing themes of body image, immigration, and empowerment.

Michael Portantier echoes Peter’s sentiments, drawing parallels to "In the Heights" for its representation of underrepresented characters, which adds depth and relatability to the production despite adhering to some conventional plot structures.

Notable Quotes:

• [01:39] Peter:
  "I don't think there's any doubt that they're going to make it because this is a show that seems to rely on happy endings."

• [03:06] Michael Portantier:
  "I really, really loved the show. I loved the performances. I love the music by Joy Huerta and Benjamin Velez."

Highlights:

• Cast Performance: Jennifer Sanchez, Alain My Gautier, Sandra Vowles, and others deliver compelling performances, bringing authenticity to their roles.

• Musical Composition: Joy Huerta and Benjamin Velez's score offers fresh and engaging melodies that resonate with contemporary audiences.

• Direction and Choreography: Under the direction and choreography of Sergio Trujillo, the production is vibrant and visually stimulating.

[15:27] Michael Portantier:
"Salome being set in the Victorian era was problematic because it contradicts the libretto's original setting during the time of Christ."
(Note: This quote may be misattributed in the transcript but illustrates Michael's critique on "Salome.")

Audience Reception: Both Peter and Michael note the enthusiastic response from audiences, with Michael expressing hope that the show maintains its momentum amid a competitive season.

2. Dead Outlaw

[17:05] Michael Portantier:
"Directed by David Cromer. Very, very well. He's certainly on a roll."

Overview:
"Dead Outlaw" transitions from Off-Broadway to Broadway at the Longacre Theater. The production remains faithful to its Off-Broadway roots, featuring a minimalistic set dominated by a central wagon piece where the onstage band performs.

Key Points:

• Direction: David Cromer's direction is praised for maintaining the show's integrity despite the limited set design.

• Performance: Standout performances by Andrew Durand and Jeb Brown bring depth to the narrative, enhancing the storytelling.

• Plot: Based on the true story of outlaw Elmer McCurdy, the musical intertwines humor and drama as McCurdy's mummified body becomes a sideshow attraction.

[23:08] Peter Felicia:
"Andrew Durand deserves so much credit for what he does during the second half of the show, even though he doesn't do any singing or dancing in it."

Audience Experience: Peter highlights the seamless integration of the onstage band and the dynamic performances that captivate the audience, making "Dead Outlaw" a must-see production.

3. Salome at the Met

[33:12] Peter Felicia:
"Herodias Michelle DeYoung, and Salome brilliantly, brilliantly by Elza Van den Heever."

Overview:
The Metropolitan Opera's rendition of "Salome" brings a fresh perspective to Richard Strauss's classic. Conducted by Yannick Naze Zingan and directed by Klaus Guth, the production reimagines the infamous Dance of the Seven Veils as a ballet depicting Salome’s longstanding abuse by Herod.

Critical Analysis:

• Direction: Klaus Guth's choice to set the opera in the Victorian era sparks debate, as it diverges from the original biblical timeline.

• Performance: Elza Van den Heever's portrayal of Salome is lauded for its intensity and emotional depth, while Gerhard Siegel and Michelle DeYoung excel in their respective roles.

• Set and Choreography: The minimalist set and ballet-infused choreography effectively convey the dark themes, though some argue it detracts from the libretto's original intent.

[39:33] James Marino:
"Salome is playing through May 24, and we'll have a link to that in the show notes back to the Met website."

Audience Reaction: While the innovative staging receives mixed reviews, the powerful performances ensure that the opera remains a compelling watch for traditional and new audiences alike.

4. Wonderful Town at City Center

[40:01] Peter Felicia:
"I think that would have been smarter to make. Since we're talking about such interesting people on Christopher Street, let's have them in a riot of colors."

Overview:
The "Wonderful Town" production at City Center serves as an encore performance, revisiting the beloved musical with a refreshed perspective.

Highlights:

• Score and Music: Betty Compton, Adolf Green, and Leonard Bernstein craft a memorable and cohesive score that adheres to traditional musical rhyming conventions.

• Performance: Anika Noni Rose's portrayal of Ruth Storm is critiqued for lacking the dynamic range seen in previous productions, particularly compared to Donna Murphy’s acclaimed performance in earlier renditions.

• Set Design: The decision to dress the characters in black and white initially, with gradual incorporation of color, is met with mixed feelings, though Peter appreciates the intimate connection fostered by the orchestra's onstage presence.

[46:52] Michael Portantier:
"I do still think that the title is very odd because that song is not associated with Bobby Darin. And in fact, it seemed to me that it was only sung very briefly."

Critical Reception: The production receives both praise for its musical integrity and criticism for certain directorial choices, leaving audiences with a nuanced appreciation of this classic musical.

5. Just in Time at Circle in the Square

[47:49] Michael Portantier:
"Jonathan Groff is introduced at the beginning of the show as himself. He comes out and says, hi, I'm Jonathan Groff, and I'll be your Bobby Darin this evening."

Overview:
"Just in Time" showcases Jonathan Groff in a dual role as himself and Bobby Darin, blending personal charisma with musical homage.

Key Points:

• Performance: Groff’s ability to embody Bobby Darin despite their differing personas is highlighted as a standout element, earning acclaim from both Peter and Michael.

• Direction and Choreography: Alex Timbers and Shannon Lewis deliver a dynamic and engaging production that fully utilizes the onstage orchestra, enhancing audience interaction.

• Book and Script: While the musical numbers shine, the book, co-written by Warren Light and Isaac Oliver, receives mixed reviews for inconsistent quality in dialogue and scene development.

[54:24] James Marino:
"It's an open run. Right now."

Audience Engagement: The show’s innovative framing device and Groff’s captivating performance ensure strong box office performance and positive audience reception.

6. Ceremonies in Dark Old Men

[58:42] Peter Felicia:
"Norm Lewis is quite wonderful in the show, and we associate him with musicals. But even though he gets to do a bit of dancing in the show, it is a serious role."

Overview:
"Ceremonies in Dark Old Men" explores the struggles of an African American family in the 1950s, focusing on unemployment and systemic barriers.

Highlights:

• Performance: Norm Lewis delivers a powerful portrayal of Mr. Parker, the family patriarch grappling with the inability of his sons to find employment.

• Themes: The play addresses racial discrimination, economic hardship, and familial tensions, providing a poignant commentary on historical and ongoing societal issues.

• Direction: Clinton Turner Davis’s direction receives mixed reviews, with critiques regarding scene clarity and auditory challenges in the staging.

[71:20] Peter Felicia:
"The curtain line is extraordinary. Very well played, the cast."

Audience Reaction: Despite directional flaws, the performances, especially by Lewis and his co-stars, resonate deeply with audiences, offering a moving theatrical experience.

7. Zorba by J2 Spotlight Musical Theater Company

[65:21] Peter Felicia:
"It is a terrific musical and at the time when it was produced in 1968 was not long after Ilya Darling had been on Broadway."

Overview:
"Zorba" brings the spirited Greek character Nikos Kazantzakis's creation to life, celebrating his zest for life amidst personal and cultural challenges.

Key Points:

• Performance: Jeremy Ren shines as Zorba, capturing the character’s exuberance and philosophical outlook with vigor.

• Music and Choreography: The score, influenced by authentic Greek melodies, and the vibrant dancing enhance the cultural authenticity of the production.

• Direction: Robert W. Schneider’s direction effectively balances the emotional depth and lively energy of the narrative.

[66:06] Peter Felicia:
"And of course, Fred Ebb, who, despite making a fortune and having many honors heaped upon him on his life, was basically a door guy."

Audience Reception: Audiences are captivated by the production’s emotional resonance and cultural vibrancy, making "Zorba" a standout musical rendition.

Events and Announcements

Broadway Dream Roles - Yale Hirschfeld Theater

[26:46] Michael Portantier:
"They sang songs from roles that are their dream roles. Eric Bergen sang 'Can't Take My Eyes off of You' from 'Jersey Boys'."

Overview:
A fundraising event for Broadway Cares/Equity Fights AIDS, Broadway Dream Roles features talented performers singing songs from roles they aspire to portray. The inaugural event showcased artists like Eric Bergen and Andrea Martin, presenting unique takes on iconic Broadway numbers.

Highlights:

• Performers: Notable artists including Andrea Martin and Jennifer Holiday delivered heartfelt performances, each selecting personal dream roles to interpret musically.

• Audience Interaction: The event fostered a sense of community and support for Broadway Cares, with live streaming available for broader accessibility.

[33:55] James Marino:
"And we also had, from that revival, we also had both Charlotte D'Amboise and Terrence Mann."

Broadway Zits Probe - Bruno Walter Auditorium at Lincoln Center

[27:24] Michael Portantier:
"Broadway Zits Probe was just fantastic and as I say, free."

Overview:
Broadway Zits Probe offers aspiring actors a glimpse into the early stages of Broadway productions through live, unembellished performances. Utilizing a full 18-piece orchestra on stage, the event emphasizes musical integrity and raw talent.

Highlights:

• Performers: Artists like Andrea Martin and Zachary Noah Pizer delivered standout performances, sharing their passion and dedication to the craft.

• Experience: The intimate setting allowed for a genuine connection between performers and the audience, highlighting the nuances of musical theater production.

Audience Reaction: Attendees praised the event for its authentic portrayal of theatrical rehearsals, appreciating the opportunity to witness the collaborative process up close.

Upcoming Productions and Events

• An Evening with Sandy Duncan:
  Scheduled for May 13th at the Laurie Beechman Theater, featuring a live interview and clips of Sandy Duncan’s performances. The event will be live-streamed for broader audience participation.

• Book Launch Event - Every Day A Little Death:
  Michael Portantier announces a signing and reading event on Thursday, May 8, at the Drama Bookshop. The book, inspired by Stephen Sondheim’s songs, blends crime fiction with musical influence.

Awards and Nominations

Peter Felicia hints at upcoming announcements related to the Theater World Awards, set to reveal 12 debut performers. James Marino mentions the excitement surrounding these nominations, emphasizing the unanimity among the committee’s votes.

Brain Teasers & Musical Moments

Brain Teaser:
The title of a song from an Irving Berlin hit is diametrically opposed to the title of a song from a Maltby and Shire revue. What are the songs and in what musicals did they appear?

Musical Moments:

• Real Women Have Curves:
  Michael Portantier shares two selections from the musical available on YouTube:
  • Daydream
  • Real Women Have Curves (Title Song)

Closing Remarks

James Marino wraps up the episode by encouraging listeners to subscribe via broadwayradio.com or Patreon to support the show and gain access to exclusive content. He also promotes the availability of early access episodes and interviews through Patreon.

Peter Felicia and Michael Portantier bid farewell, expressing gratitude and excitement for the upcoming week’s Broadway events and discussions.

Notable Quotes with Timestamps

• [01:39] Peter:
  "I don't think there's any doubt that they're going to make it because this is a show that seems to rely on happy endings."

• [03:06] Michael Portantier:
  "I really, really loved the show. I loved the performances. I love the music by Joy Huerta and Benjamin Velez."

• [17:05] Michael Portantier:
  "Directed by David Cromer. Very, very well. He's certainly on a roll."

• [23:08] Peter:
  "Andrew Durand deserves so much credit for what he does during the second half of the show, even though he doesn't do any singing or dancing in it."

• [33:12] Peter:
  "Herodias Michelle DeYoung, and Salome brilliantly, brilliantly by Elza Van den Heever."

• [40:01] Peter:
  "I think that would have been smarter to make. Since we're talking about such interesting people on Christopher Street, let's have them in a riot of colors."

• [47:49] Michael Portantier:
  "Jonathan Groff is introduced at the beginning of the show as himself. He comes out and says, hi, I'm Jonathan Groff, and I'll be your Bobby Darin this evening."

• [58:42] Peter:
  "Norm Lewis is quite wonderful in the show, and we associate him with musicals. But even though he gets to do a bit of dancing in the show, it is a serious role."

• [65:21] Peter:
  "It is a terrific musical and at the time when it was produced in 1968 was not long after Ilya Darling had been on Broadway."

Conclusion

This week's episode of BroadwayRadio offers a comprehensive look into the vibrant world of Broadway, from in-depth reviews of current productions like "Real Women Have Curves" and "Dead Outlaw" to insightful discussions on upcoming events and award nominations. Peter Felicia and Michael Portantier provide valuable perspectives, enriching the conversation with their extensive knowledge and passion for theater. Listeners are encouraged to stay tuned for more updates, exclusive interviews, and engaging content in future episodes.

For more information, subscribe to BroadwayRadio at broadwayradio.com or support via Patreon.