This Week on Broadway for May 4, 2025: Real Women Have Curves

Summary

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

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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."

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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.

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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.

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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.

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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)

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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.

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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."

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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.

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

Transcript

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[James Marino]

Hello, welcome to Broadway Radios, this week on Broadway for Sunday, may the 4th be with you 2025. My name is James Marino and in the broadcast today we have Peter, Felicia and Michael Portantier. Peter is a playwright, journalist and historian with a number of books. Peter's new Day by Day desk calendar, A show tune for today, 366 songs to brighten the Year has been released. Peter also has columns at Masterworks, Broadway, Broadway Sel and many of the places. Hello, Peter.

[Peter]

Hi, Peter.

[James Marino]

What is our show tune for today?

[Peter]

Well, 65 years ago today, Harvey Schmidt and Tom Jones and producer Laurie Noto and director Word Baker read the reviews of the Fantastics and didn't think they had a hit because they weren't very good. Tom Jones likes to say he really felt they were in trouble when Walter Kerr walked in with Jean Kerr, his wife, and she was chewing gum and she took out the gum and put it on the playbill and folded it over so he thought that was a bad omen. Didn't turn out to be because as we know, certainly the Fantastics has done awfully well in the ensuing 65 years. And in fact there was a TV show called America with a K back in the 80s that dealt with the fact that Russia had taken us over and people were in the audience and they were watching the Fantastics supposed to take place in the distant future. So I mean, that's kind of interesting. Interesting. So another example of how reviews don't necessarily mean that you're going to close if you get bad ones.

[Michael Portantier]

When I did my, my Jerry orbach show at 54 below and we had his sons there in it and we talked about that. I don't think a closing notice actually went up, but it almost did, apparently. And then something happened, the, the word of mouth, I guess, really just. No.

[Peter]

What actually happen is that Noto closed it down for a week and took it out to the Hamptons and let people see it there. He made it free and everybody said, oh, how charming, how wonderful. And the word of mouth spread through that. That all these rich people said to their friends, oh, you got to see the Fantastics. I mean, go down to Sullivan street and see it. So that was really what did. He was a very innovative man, no question about it. And people who worked on the production told me that he really was very economical. I mean, he went around turning out lights when people weren't in rooms and things like that. But it added up. It added up, needless to say. So years.

[Michael Portantier]

That is great. Yeah, I, I guess I forgot that little tidbit. But, but whatever. For whatever reason, really, the, the reviews were not great, although they were great for Jerry Orbach, who was making, by.

[Peter]

The way, 45 a week.

[Michael Portantier]

Yes, yes, he was.

[Peter]

Yes, he told me that.

[Michael Portantier]

Yep.

[James Marino]

Peter, I, I did. Did I miss it? You started to talk about the Fantastics, but you. Did you say which song was this song?

[Peter]

Try to remember. Of course. Because it's not hard to remember, actually. I don't think you have to try very hard. But nevertheless, yeah, that's that.

[James Marino]

We, we might talk about it a little later today, but we might also have to talk about it next week if we run out of time. But I, I'm very, you know, I'm thinking about a companion calendar next year.

[Peter]

Yeah.

[James Marino]

Because Audra has now 11 nominations. She could make a monthly calendar. If she's another one out there, there could be an Audra calendar next year. But we'll talk about it a little bit later on. But the Theater World Awards, the big announcement is tomorrow.

[Peter]

Tomorrow, yes, 12 noon. We'll find out who are the 12 people who made Broadway and off Broadway debuts that the nine member committee liked. And I'll tell you, I have never seen such unanimity among us 9. It's amazing to me how virtually every ballot was the same. So I can tell you that much, but I am honor bound not to say anything more. You have to wait till Monday at 12.

[James Marino]

Your honor bound. Like a Gilbert and Sullivan character. Right, I heard that. And I wasn't really sure if I heard this correctly or if it's real fact or not. Was Pirates of Penzance the first Gilbert and Sullivan that was written in America.

[Peter]

Go ahead, Banko.

[Michael Portantier]

Oh, that. Will they say in the. In this production that it was produced right here.

[Peter]

That's what I understand.

[Michael Portantier]

Because. Because the shows that. That had been done in England were being done here with nobody paying a penny in rights and somehow they got away with it because of the, I guess the laws of. The way the laws were written at the time but if it premiered here, then that was prevented. That kind of theft was prevented.

[James Marino]

Like all the other Gilbert and Sullivan productions done today, they pay for rights. No, they don't.

[Michael Portantier]

Well, now they're, now they're public. Now they're pd.

[James Marino]

Okay. Yeah. All right. Also with us is Michael Portantier. Michael's a theater reviewer and essayist. He's the founder and editor of castalbumreviews.com he's also a theatrical photographer whose photos have appeared in the New York Times and other major publications. You could see his photography work at follow Spotfire. Hello, Michael. Hi, Michael. You have a full, full calendar up here. Coming up this week, Every Day A Little Death. You have a little book launch event at the Drama bookshop on Thursday, May 8. Tell us about it.

[Michael Portantier]

Yes, this was the book. It was published on March 22. But we're having a signing and a reading event on Thursday, as James mentioned, at 7:30 at the drama Bookshop. And this a book called Every Day A Little Death Crime Fiction inspired by the songs of Stephen Sondheim once one story inspired by one song from all of his shows. So for example, I have what turned out to be the first story in the book, which is Class, which is inspired by that song from Saturday Night. And then we have just to give you a few other examples from Anyone Can Whistle, there's a song called There Won't Be, a story called There Won't Be Trumpets by Lisa Nani Messigee. And from Company, there's one called Being Alive by Brian Cox. Josh Pachter, who edited the book, wrote a story called Every Day A Little Death, obviously inspired by that song from A Little Night Music. And they're really just, they're just inspired by the titles. I would say. They don't, the stories don't necessarily have anything to do with the characters and the stories of the shows themselves, but I think that the titles alone are kind of clever. Oh, David Spencer wrote a story called the Advantages of Floating in the Middle of the Sea. So yeah, I think it's going to be fun. And it's free. It's a free event. We put the link for the free tickets in the show notes. You do have to purchase the book if you come, but it's not expensive. Expensive. And I don't think there are many seats left because it's a small place, the Drama Bookshop. So yes, I have that. And then coming up on May 13th at the Laurie Beechman Theater, we have An Evening with Sandy Duncan in which I'm going to interview her live and show clips from some of her greatest performances and then followed by a Q and a with the audience. And it was just announced that that event's going to be live streamed. So we're will put that link in the show notes as well.

[James Marino]

All right. So keeping very busy here at the end of the season, a special bonus for our Patreon listeners was that yesterday Jan Simpson dropped the latest all the drama where she talks about Lost In Yonkers, the 1991 Pulitzer Prize winner, and she has discussion with Manny Azenberg. Not a lot of people get a chance to talk to Manny. Manny's a famed Broadway producer, produced a lot of Neil Simon's works. And so all the drama out on Patreon right now, you can join Patreon or buy the episode for download and it will be out to the general public next week. First up in our review section, Michael and Peter got a chance to see Real Women have Curves. This adaptation of a film, which I did not realize until I read the Broadway reviews was an adaptation of a film. So, Peter, why don't you get us started on Real Women.

[Peter]

I didn't know that either. In fact, it's actually based the movie was based on a 1990 play. The film was actually on HBO, so I missed it totally. So this was brand new to me. And I guess the term that comes to me more than any other as well, meaning that 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 the pity. But the thing is, here they are working in the sweatshop. That's really what it comes down to. They're making all sorts of garments and they get a chance to do a big job. They're going to have to have 200 dresses done by a certain date by a very snippy, authoritarian woman. Is there any doubt that they're going to make it? I mean, you know, that's that's the problem with a show like this. You know that they're going to make it because this is a show that seems to rely on happy endings. And the other factor, too, is that I don't think Menopause the musical has anything on this show because there is a song about menopause, actually that takes place. So so some of the songs are a little on the strange, but they're great fun, no question. And the cast is really quite marvelous. Jennifer Sanchez, Alain My Gautier, Sandra Vowles, Florence Cluencia, Shelby Acosta, Kali Jimenez. I Mean, all of them are really good. And it's a colorful show, colorful set, and immigration is a big factor in this show. And whether or not people who come here with the best of intentions should be allowed to stay is a factor. And certainly the main character in this show is somebody who has to make a big decision, and perhaps the decision she makes is not one we want her to make. So there are some convolutions here and there, but by and large, there was a bit of a paint by numbers feeling to this show that I don't think it could shake. But it is quite enjoyable if one avoids that type of interpretation.

[James Marino]

All right, Michael, what did you think?

[Michael Portantier]

Yeah, I would agree with the paint by numbers thing, but to me, it's similar to. Well, the other show that leapt to mind immediately, and maybe this is obvious, is in the Heights. There are things in the Heights, many things that we've seen in previous musicals, but to me, because the characters are not ones that we see represented often, that makes a tremendous difference. So that made it all more palatable for me. Does that make any sense, Peter? Sure. Yeah. Yeah. But it is true, you know, about the paint and some of the. There was a lot of melodrama in it, too. The deal that this snippy woman that Peter mentioned, she tells them, well, I have to have 200 dresses by such date, and if you're one day late or one dress short, I will take all the dresses and pay you nothing. And they agree to this initially. So I don't think that's very realistic. And I think that it could have been. That plot point could have been massaged just a little bit by the book writers Lisa Loomer and Nell Benjamin to make it more palatable. But all of that said, I've focused on the negative so far, but I really, really loved the show. I loved the performances. I love the music by Joy Huerta and Benjamin Velez. Love the direction and choreography by Sergio Trujillo. It is a very colorful production, as Peter mentioned, and I just had a thoroughly good time. The audience seemed to adore it. I hope it turns out that there's an audience for it with so much competition this season, especially in the last few weeks, but I. I would highly recommend it.

[James Marino]

All right, so, Peter, you were talking about. There was no doubt whatsoever that they were going to make it. And I think of shows like Floyd Collins, and we're like, for all three hours of Floyd Collins, we're like, he's.

[Michael Portantier]

Going to get out, right?

[James Marino]

He's going to get out.

[Michael Portantier]

Right.

[Peter]

I think if you don't know the story, I think you do believe that's going to happen.

[James Marino]

Yeah.

[Michael Portantier]

As Peter has pointed out several times. 1776.

[James Marino]

Yeah, 1770. You know how it ends. That's true.

[Michael Portantier]

You know, but, you know, also, Peter did mention, and I wanted to make the point this Real Women are Curves is sent during the Reagan era, but it still deals with immigrants and deportation. And, of course, that is such an issue right now that I think the emotional content of this show is just ramped up, you know, so, so high. And that's one more reason why I loved it so much.

[Peter]

And yet why not set it right now? I didn't see any reason for that.

[Michael Portantier]

Oh, interesting. Yeah, interesting.

[Peter]

I would have thought it would even be more galvanizing if indeed it was set right now. But they do have a projection, I believe, right at the beginning, says 1987.

[Michael Portantier]

Right.

[James Marino]

Do you guys know the movie the Perfect Storm?

[Peter]

I know what you're talking about.

[James Marino]

You know what I'm talking about. It's one of my wife's favorite movies, and she watches it over and over and over. And I walk in the room and really. And I walk in the room, and it's starting to go again, and. And I look at her. She looks at me, she goes, they might get out this time.

[Peter]

There's an optimist.

[James Marino]

All right, all right. So Real Women have Curves over at the James Earl Jones in an open run. So we'll have a link to that in the show. Notes. Michael and Peter also got over to the Longacre Theater to see the Off Broadway transfer of Dead Outlaw. So, Michael, why don't you get us started on this?

[Michael Portantier]

Well, I loved the show when I saw it off Broadway at the Minetta Lane in an audible production, and I was not reinvited on press tickets because the show was eligible last season and I think did pretty well in the drama Dess anyway. But so I did want to see it again because I love the score. I love the show. I love Andrew Duran's performance in particular. So I just went and bought a ticket, and I got a fine ticket in the second or third row of the balcony for $79. So you can get in for not a lot of money. Just so you know that I. I enjoyed it again very much. I was a little surprised that they. They really did not seem to expand it in terms of the production at all. There's a. There's a basic set piece that. On a wagon that covers most of the stage for much of the show. And that's where the band, the onstage band is located, the musicians. And also Jeb Brown, who functions as sort of the narrator of the show. He sings and plays and often plays from there and that. And so they. They. That all happens there. And then the scenes. The other scenes happen mostly around that. That set piece in a. In just, you know, the empty space without. Without really any sets at all. Maybe a chair or two or a table occasionally. And I was a little surprised at that. But on the other hand, this story's not really about the scenery, so I didn't think that it was a detriment. Directed by David Cromer. Very, very well. He's certainly on a roll. David Cromer, and one of our best, I think. Very, very strong cast, other than Andrew Durand, Jeb Brown, Eddie Cooper, Dashiell Eves. Eddie Cooper and Dasha Leaves, who are both my neighbors, by the way.

[Peter]

Oh, really? Yeah, you see them in the elevator a lot.

[Michael Portantier]

More than once. Yes. Julia Knittel. Is that how she pronounced it? Nitel. Thank you. Who is not my neighbor, but she was great.

[James Marino]

I know the parent. I know her parents. I did a production of that's something. I did a production of the Secret Garden in Montclair, New Jersey, with her parents long before she was born.

[Peter]

Isn't that something?

[James Marino]

Yeah. Night Els parents are both performers and.

[Michael Portantier]

And of course, Tom Sesma playing Thomas Noguchi, the medical examiner. And I realize now that I haven't said a word about the plot. So just quickly. It's based on the true story of an outlaw named Elmer McCurdy, who. Who. Who was killed, you know, in. In the course of his. His. His exploits in the early part of the 20th century. And then through a series of incredible convolutions, his body wound up turning up in. In amusement parks and sideshows and things like that. And without anyone realizing it was an actual body, his mummified body just hanging there. And the last place was. Was in a. An amusement park in Long Beach, California. So Tom Sesame plays the medical examiner who eventually gets the mummy and examines it and does the very, very belated autopsy, I guess you'd call it. And Thomas Noguchi was an actual character because, again, this is a true story. Just briefly. Some people have said that they object to the tone of the show. It's very kind of light and sarcastic and snarky for most of it. For me, it did start to get more serious towards the end. And there's even a moment of silence for Elmer, which I thought was very, very Effective. But then after that, Tom Sesma sings like almost a vaudeville number as Noguchi. And I thought, I thought either that number should have been cut completely or that it could have been placed much earlier in the action because we first seen Noguchi at the beginning of the show when he gets the body and then there's, you know, the rest of the scenes are flashbacks. So I thought, yeah, I did not like the placement of that song because I thought it happened when things were starting to get a little more emotional and more serious. And then also the show ends with a reprise of the opening number, which is a very upbeat, foot stomping kind of a number. And I thought I would have much preferred it if the show ended with maybe a. A sweet, sad ballad for Elmer, who is played so beautifully by Andrew Durand. That's. That's what I would have done instead. And I. And I wish they had taken that approach. All of that said, I did very much enjoy the show Off Broadway, mostly for the score and the performances, and all of those are intact here. I think every single person in the cast Off Broadway moved to Broadway. So Longacre Theater, you can get a very affordable ticket. And I highly recommend this show as well.

[James Marino]

All right, Peter, what'd you think?

[Peter]

You know, I was thinking I was going to do a spoiler alert, but given the fact the show is called Dead Outlaw, I guess it's no surprise that our leading character will wind up dead. But what's really great is, you know, when he's surrounded by all these people, a lawman, you know, says, come and get me. And was so used to when somebody says come and get me that the person escapes. Not this time. He certainly doesn't. And that's what's great fun about the show. Don't get nervous at the beginning about the sound. The two gentlemen who are singing at the beginning of the show are very close to the microphone. It's very loud and very fuzzy, but after a while that seems to go away. And even though there is a good deal of seeing these stand up mics, it was never a problem. For some reason after that, I will agree with Michael about the set. It reminded me of the field of Ambrosia, actually feels of Ambrosia, a musical that I much liked at the George street Playhouse in 1993. And everybody came out saying, oh, what a set. Oh my God, wasn't that something? And then the show moved to London, where I saw it in 1994, and that same set was on the Aldwych stage and it Looked like it cost $1.50. And yeah, it's really something how this set seems to get a little lost on the Longacre stage. But as time goes on, the way David Cromwin has directed it, it doesn't seem to be a problem. It really doesn't. And you forget about that, that it's so modest, a set that didn't seem so modest off Broadway. And of course, as I always say, and we'll talk about this when we talk about Wonderful Town a little bit later, the wonderful thing about having an orchestra or a band on stage is the fact that therefore everything has your actors have to be pushed closer to the lip of the stage. And I do believe people enjoy seeing things closer than farther away. So as a result, that's a very good thing, too. The foot stomping. Good. You know, and it's a bizarre choice for a musical. And, you know, I mean, so many bizarre choices for musicals turned out to be serious musicals. You know, Floyd Collins, Sweeney Todd. I mean, this is a bizarre choice for a musical that has more fun on its mind than those shows do. So, yes, there's a lot to recommend in Doubt Law and wow, Andrew Duran 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.

[James Marino]

All right, so Dead Outlaw and Real Women have Curves. Both of those productions well represented in the nominations across the various organizations in the past. Dead Outlaw hit the Off Broadway circuit last year and is represented again this year in the Tony Awards.

[Michael Portantier]

So, Peter, you mentioned the thing about the musicians on stage, and I completely agree with you. But also we have several examples of that this season.

[Peter]

Oh, yeah. Oh, yeah. And I'm glad.

[Michael Portantier]

Yeah.

[James Marino]

All right, so next up we have a little mini Michael section where Michael has seen a bunch of things he's going to run through quickly. First, starting off with the inaugural production of Broadway Dream Roles, a benefit for Broadway. Here's Equity Fights AIDS that happened at the Yale Hirschfeld Theater on April 28th. So, Michael, tell us about this.

[Michael Portantier]

Yes, this is a new fundraising event for Broadway Cares, Equity Fights aids. I'm not sure if they specifically stated that it's going to be annual, but I get that impression and I actually think it's smart because, I mean, I haven't discussed this with them. But for example, some of the other special events like this, for example Broadway Backwards, which is a Broadway Cares Equity Fight Scenes event, and then also Ms. Cast, which is a Manhattan Theater Club event. Is that right?

[James Marino]

MTC yeah, yeah.

[Michael Portantier]

You know, they're based on the idea of, originally based on the idea of people playing roles that they would never be cast in. But the thing is that that perception has changed greatly in recent years.

[Peter]

Sure.

[Michael Portantier]

In terms of gender and other ways, you know, certainly ethnicity and race. So I envision a day when they won't be able to do Miscast or Broadway backwards anymore. And maybe they envision that too. So maybe that's why they came up with this idea because it's, you know, basically the same thing. You can say, oh, well, this is a bunch of people singing from songs, singing songs from roles that there are their dream roles. And, you know, that, that, that allows them to do things like that without, without saying, oh, well, I would never be casting this because I'm a woman or I would never be casting this because my age or whatever. So anyway, I think it's a great idea and they, they had a wonderful kickoff event of it. I would say not, not tremendously starry, but all of the people were just phenomenal in it. And I'll give you the quick rundown. Eric Bergen opened. Well, actually a group called the Broadway Boys opened the show with Any Dream Will do from Joseph and the Amazing Technicolor Dreamcoat. But then we got into the dream roles part of it. Eric Bergen, who's currently in Boop, sang Can't Take My Eyes off of youf from Jersey Boys, because he's done Jersey Boys, but not in the role of Frankie Valli. So that was his justification for calling it a dream role. And then Andrea Martin did Schroeder. The song Schroeder from youm're a Good Man, Charlie Brown, Jimin Moon, Gotta Catch Em all, which is a Pokemon song. Zachary Noah Pizer, Morning Glow from Pippin, Liz Calloway, Tell Me on a Sunday from Song and Dance, which she said she had auditioned for and basically had almost practically been told she was going to get the role of the replacement for Bernadette Peters by Richard Maltby. But then apparently Cameron McIntosh said she's too American. So that didn't happen. Leslie Margarita did. You'll be Back from Hamilton, Damson Chola Jr. Make them hear you from Ragtime. Tom Francis from Sunset Boulevard did one song, Glory from Rent. Jennifer Holiday, if He Walked Into My Life from Mame. And the closing number was Jasmine Amy Rogers singing Help Is on the Way, that David Friedman song that has become an anthem for the Broadway Cares shows. So it was a really, really wonderful event and I loved it. And then on Friday Afternoon I went to a free event at the Bruno Walter Auditorium at Lincoln center, and it was called Broadway Zits Probe that Seth raided over. And apparently he has done these before, but this was the first one I ever had heard of. And I read about it and said it was free and they were going to do the score of Pippin as if it was an actual Broadway Sitz Probe, which some of our listeners may know. It refers to the first time that an orchestra comes in and works with the cast. And normally what happens is that the cast just sings the score along with the orchestra without any staging and often while seated, which is where the German word sitzsprobe, sitzproba actually comes from. So it was a wonderful event. And by the way, both Zacharino Appizer and Andrea Martin were also in this event because Andrea Martin, of course, had played Berta in the revival of Pippin. So she sang no Time at All again. And Zacharino Peiser was one of two people sharing the songs of Pippin. And he has such a beautiful voice. So that was. That was lovely to hear him in all of that. And then we also had, from that revival, we also had both Charlotte D'Amboise and Terrence Mann. So that was really great. And in the role of the leading player, that role was also shared, but most of the songs were sung by Darius de Haas. So we had all these great people singing the songs with an 18 piece orchestra on stage at the Bruno Walter Auditorium, which sadly is probably considerably larger than the orchestras you would hear in. In most Broadway shows nowadays. And in fact, Seth Radetzky, when he was talking at one point, made a point. He said, he railed at reviewers for. And critics for, referring to what you hear on Broadway nowadays is orchestras. He's like, they're not orchestras. They're too small to be orchestras. So I think he was maybe half joking, but. But only half. And, you know, I wanted to say to him, well, what. So what should we call them? Bands? Yeah, combos.

[Peter]

You know, I was on a panel with him once and this came up. And yeah, he does prefer the term band because it was around the time that Mamma Mia. Was happening and they had very few musicians. So he said, it's not an orchestra, it's a band.

[Michael Portantier]

Yes, right. And yeah, he made the point that usually it's the strings that either are not present at all in Broadway orchestras.

[Peter]

The first to go.

[Michael Portantier]

Yeah, the first to go. Yeah, because you need several of them for it to sound like anything decent, you know. Anyway, Broadway Zits Proba was just fantastic and as I say, free. And it wasn't full. It wasn't empty, but it wasn't full. So I guess that's all about publicity.

[James Marino]

And it was also on Stars in the House. House streamed over the Internet.

[Michael Portantier]

Yes, yes, they live streamed it. And it was. Well, it was in the middle of the day also on a Friday, so that may be one reason why it wasn't full. But keep an eye out for future ones because I couldn't believe how much I enjoyed it. And for free, really just a wonderful, wonderful event. And then the other thing I wanted to mention, just briefly is that I saw new productions of Salome, the Richard Strauss opera, at the Met. And this opera, as I think I've discussed before, is notable for several reasons, including the fact that the libretto consists of basically a word for word German translation of the original play by Oscar Wilde, which was originally written in French and then translated into English. I mean, well, translated, if that's the right word, because, you know, Oscar Wilde wrote it. So really. And word for word, which is extremely unusual. Another rare example of that that I can think of is Porgy and Bess, where much of it is word for word. The play Porgy by devos and Dorothy Hayward. So that. That's always been a standout for me as far as this opera is concerned. And the music is absolutely phenomenal. And the singers in this instance were. Were superb. The Herod was played by Gerhard Siegel, Herodias Michelle DeYoung, and Salome brilliantly, brilliantly by Elza Van den Heever. Oh, and the John the Baptist character who's called Yohanahan, was played by Peter Matei, another. Another great, very popular singer. But the issue here, and there's the little point that I wanted to make. Oh, conducted by Yannick Naze Zingan, the. The. The musical director of the Met. But the production, the direction was by someone named Klaus Guth, G U T H who apparently is very, very much hailed in Europe. But I just was not very pleased he reset it in the Victorian era, where, of course, it's supposed to be said at the time of Christ, because John the Baptist is a character and. All right, so to start with, you just have to kind of ignore the fact that everyone's singing about Christ as if he's walking among them, you know, because I don't think that was true in the Edwardian era, the Victorian era. So, you know, anyway. But there's the famous dance of the Seven Veils that Salome does at the Bidding of Herod. And he says, if you dance for me, I will give you whatever you want. Anything you want, want, even up to half of my kingdom. But she winds up demanding instead the head of John the Baptist on a silver platter. And that does not go over very well at all. So this has always been done, the Dance of the Seven Veils, as an erotic dance that Salome performs for Herod, who is her stepfather. But still, he is very much sexually obsessed with her. And there's even always the implication that perhaps that they have been actually sexually involved with each other. So that's how it's always been done in the past. But in this case, this director reconceived it as a ballet, indicating that Salome had been sexually abused by Herod for many years. And there were actually six younger versions of Salome on stage during the Dance of the Seven Veils performing it with her. And there were no veils, really, that I saw, but it was just a demonstration of how she had been sexually abused by him. Now, the music is very creepy. So you could say. You might say, well, that, you know, that sounds like a really interesting idea and a very different way to stage the dance. But the problem is that Herod asks her to dance, and then she does the dance for him. And what the libretto says is that right after that, he says, oh, my gosh, that was wonderful. How beautiful that was. And now tell me what you want and I will give it to you. So I don't think he would respond that way to seeing his sexual abuse of her demonstrated in front of the entire court. And I. And it. That kind of thing just drives me crazy. It's like, do you think if you're a director, if you have an idea for something that's going to be effective on stage, are you allowed to do it, even if it completely contradicts the libretto or the book? Some people seem to feel that way, but I don't. And that's. That's why I had that very negative reaction to that that I wanted to mention.

[James Marino]

All right, so Salome is playing through May 24, and we'll have a link to that in the show notes back to the Met website. Peter, you were sort of in the 6th. 6th Avenue to 7th Avenue section of the 50s to see wonderful Town at City Center. So tell us about this. Is it an encore production?

[Peter]

Yeah. And so therefore, you do get the. An orchestra and not a band, and you do get people close to the lip of the stage. And so it's wonderful. Needless to Say to hear the overture, which is terrific. And it's. What always is amazing about Wonderful Town is the fact that it had to be written in a hurry because when it started out as a musical version of My Sister Eileen, for which Rosalind Russell did the movie, there was a difference score by Leroy Anderson, Arnold Torwood, and all the backers who came to see a backers audition said, yeah, yeah, yeah, yeah, it's, it's, it's, it's, it's, it's going to be good. Because, I mean, really, Russell and Russell, yeah, the songs aren't so good, but, yeah, Russell and Russell, you know, I think you'll be all right. And they put money in. But finally the Robert Fry, the producer, said, look, I mean, we gotta face it. The fact is, nobody likes the score. Score. So they asked Betty Compton, Adolf Green, and most significantly, Leonard Bernstein to write the score. And as Betty Compton told me once, Lenny would have never done a musical version of My Sister Eileen if they came to him originally. But when he heard he had to do it in three weeks, he said, wow, what a challenge. Let's do it. So. So that's kind of. And it doesn't appear to be three weeks work, it seems to be much longer. Everything rhymes perfectly as convention in those days, and the music is quite wonderful. And there's even a song that didn't make the show called the Story of My Life. So, I mean, they even had one left over, so it won a slew of Tonys. But what did happen is that after Rosalind Russell left, Carol Channing came in and didn't do any business, and within three months it was gone. So. So star power is something that's very important here. Well, yes, I have a feeling Anika Nani Rose seems too much like Alicia Jackson. When they came on, I didn't know who was Ruth and who was Eileen. Ruth is the older sister, and ostensibly it made very clear that she's the less glamorous one that Eileen is catnip the men, but Ruth is not. And she has a marvelous song called 100 Easy Ways to Lose a Man to illustrate that. So. But I think the show got off on the wrong foot as soon as the overture ended, because the first song is Christopher Street. And how there are such interesting people on Christopher Street. Well, for some reason, the costume designer decided that everybody would be in black and white and in came Ruth and Eileen in colorful clothes. I think it 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. I mean, there are paint poets and painters on Christopher street, as the lyric goes. Let's see the painters in smocks and berets and, you know, with their paintings and all that kind of stuff. A riot of colors, as I say. And let's have the. The two Sherwood sisters dress conservatively, and little by little, let's see them get more colorful. I think this. So for me, it was just the wrong decision right from the start.

[Michael Portantier]

Well, I believe that's the way it has always been done in the past.

[Peter]

Which way?

[Michael Portantier]

The way you just described it.

[Peter]

Do you mean it was always black and white?

[Michael Portantier]

No. Well, not so much black, but. Yeah, but just with all the color, the. The painters and the.

[Peter]

Yeah, yeah, yeah. So this was an odd choice to me. So I can't say it was the most inspired production, I'm sorry to say, but the show does survive the fact that it's not so hot and. But, you know, My Sister Eileen, My darling Eileen. The song in the second act certainly got a good deal of response, but by and large, I got the impression the audience was disappointed, and I have to say, so was I. And it was impossible not to think of the previous encore's production of Wonderful Town that was done many moons ago that was so successful, it moved to Broadway and played a while. Donna Murphy was amazing in that production, and when she did A Hundred Easy Ways to Lose a Man, in which she has to play different types of characters, she almost adopted as many personalities as Sybil. I'm sorry to say, Aniki Noni Rose did not do that nearly as well. So there were other little touches, too, that I thought were wrong, but they're not worth going into because the show is closing soon and that's that. But. But nevertheless, to see Wonderful Town again, because there was never a movie of Wonderful Town. There was a musical movie of My Sister Eileen, but it had a completely different score by different people because with some sort of contract thing, I would like to see a new Wonderful Town that includes all songs from Wonderful Town and that My Sister Eileen movie. I think that would be a very interesting production because the only thing that they did similarly was the conga at the end of the first act. And that was. I know I said I was going to stop, but that was a problem at the end of the show, too, because one of the concepts of conga is the fact that she goes out to Brooklyn to interview these sailors from Brazil and they follow her home. But it's not clear in this production they're following her home. Suddenly Eileen seems to be showing up in Brooklyn and that's not clear at all because there's a banner in the back that essentially establishes there in Brooklyn, that banner should have come down. Of course, I guess one can effectively argue that once Eileen heard that the reason that Ruth was sent out to Brooklyn was not on the level and she may have gone out there to tell her that. So I guess that can be defended. But nevertheless, it was a little odd to me that the point that these sailors just would not let her go and take her home also, I know I said I'd stop. Also, the other thing is, please watch the original TV version of this. It was, as I say, not a movie, but it was done on tv and it's easily accessible, possible. And watch that conga number with Rosalind Russell. How she gets thrown around and is such a good sport about it is amazing. Of course, Encores doesn't have that much time to do things. And in fact, Anika Noni Rose was, I'm told, on book for some of the performances. So. Yeah, but, but really, all things considered, when you see Rosalind Russell do makes a greater impression than you would have gotten from this production's conga, your idea.

[Michael Portantier]

Of combining the two scores is interesting. I don't know how workable, but it is interesting. Especially because the songs for the movie were, I believe, written by Julie Stein.

[Peter]

That's right.

[Michael Portantier]

I can't remember who did the lyrics.

[Peter]

I can't either. But yes, it was Julie Stein. But given that we're in an era where there's less book and more music, it would seem a natur natural thing to have happen. So yeah, so that's on my wish list.

[James Marino]

Okay, so Wonderful Town has a couple of days left over at City Center. We'll have a link to that in the show. Notes. Last week, Peter weighed in on the Jonathan Groff production of Just in Time. Michael and I have gotten a chance to see it over at Circle in the Square this week. So Michael, tell us what was your Grof experience?

[Michael Portantier]

Well, he is just a wonder. He's so charismatic in the show and I, I, I don't have much to add to what Peter said, but I will say I think this show is a personal triumph for Jonathan on two levels. As we have discussed, it's pretty much well completely acknowledged from the beginning of the show that Jonathan is very different from Bobby Darin in terms of Persona, personality, singing style, quality of voice, accent when he speak. Bobby Darin was a New Yorker with, with Quite a obvious thick New York accent. Jonathan Groth is from. Basically from our country. And so in just about every way conceivable, they're very different types of people. So 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. And then the show is kind of a strange hybrid of that and him continually falling into the role of John, of Bobby Darin, and playing him in scenes that happen between all of the songs, the dozens and dozens of songs in this show, and played with the other characters who are played by Gracie Lawrence as Connie Francis, Erica Hennigsen as. As Sandra Dee, and then Michelle Paul and Emily Bergle as two other family members, which, let's just leave it at that for the moment. And then the rest of the cast of Joe Barbara, Lance Roberts, Cesar Simoya, Christine Cornish, Julia Grandin, Valerie Yemen, et cetera, et cetera, all of whom play multiple, multiple, multiple roles. So, so that. So I think it's a triumph for Jonathan, personally, in that sense that he is so great and so wonderful and beloved in this show, despite the fact that he is so different from Bobby Darin. And I think it was very smart of whoever had the idea to have that framing device, if that's the right word for it, that he is presenting himself as Jonathan Groff playing Bobby Darin. But the other way in which I think it's a personal triumph for Jonathan is that, to me, much of the book scenes, many of the book scenes in this show were extremely poorly written. The book is credited to both Warren Light and Isaac Oliver. So it's a little unusual to have two people with a book credit, first of all. And that may indicate part of the problem, because I did think certain scenes were very well written and others were just kind of awful in terms of being so Wikipedia like and so melodramatic and so obvious and stilted and. And just poorly written overall. So for me, for someone to have such a success in a show, in a role in which he arguably is miscast, if that's the right word for it, and also where much of the dialogue he's given to deliver is so poorly written, I think, think that that is about the greatest testament to someone's talent that that could be. He is a delight in all of the songs. And by the way, this is yet another show that we alluded to earlier, where the musicians are on stage at all times, and that that is a tremendous plus for the show. Developed and directed by Alex Timbers. That's the, the credit and choreography by Shannon Lewis. It's. It seems to be doing extremely well at the box office. Largely, largely, I'm sure, because of Jonathan's presence. And I, I do wish it well. And I think it's going to be there for basically as long as he can stay with it.

[James Marino]

Michael Amir, 30 minutes ago you said there are no miscasts anymore, you know, did I sweat?

[Michael Portantier]

Did I say that?

[James Marino]

Yeah.

[Peter]

Yes and no.

[James Marino]

But yeah, I'm making fun of you. I'm making fun of you. But, but you just. You, you said 30 minutes ago, I hope that there is a time when nobody else can be considered miscast anymore.

[Michael Portantier]

Oh, I'm sorry, I didn't know what you were referring to. Yeah, no, no, no, no, but I.

[James Marino]

Meant I'm just making fun.

[Peter]

Sure.

[Michael Portantier]

Yes. Okay.

[James Marino]

So where did you sit, Michael?

[Michael Portantier]

I sat.

[James Marino]

This is the big question, the biggest question that people ask me about just in time is where did you sit?

[Michael Portantier]

Well, I was not asked to dance by Jonathan as Peter was. I was right in back of the. Where the tables are. So I was in like the second row of actual theater seats on. What would you call it?

[James Marino]

The top of the horseshoe type of thing.

[Michael Portantier]

House left? No, house right. Stage left. Stage left, yeah. As you walk into. Well, it depends on where you walk in anyway.

[James Marino]

Yeah, that's true. It's the problem with a circle in the square, you know.

[Peter]

Yeah.

[James Marino]

So I guess the big thing to answer for people who are looking to get the best tickets. Tickets or looking not to get. I feel like Alex Timbers directed this so well that there's not a bad seat in the house.

[Michael Portantier]

Although actually, now that you mention it, I thought mine was one of the few seats that was not that great because I was right in back of where the tables are and the first few theater seat rows are. Are not elevated. Raked. Raked. Yeah. So actually I would say the only place you shouldn't sit is around where I was because I did miss some of the action when a lot of the action does occur with the performers coming off of where the quote unquote stage is and playing scenes and singing songs among the tables. And when they did that, I couldn't see the bottom half of their bod. So in that sense they weren't the best seats.

[James Marino]

And we should say there's sort of two elevated platforms, one like right where Michael was sitting at the top of the U and one where they traditionally have a stage at circle in the square all the way down at the other end, but they do play up the middle and lots of interaction with the audience and playing in and around the audience during the scenes. I really had a great time. I really enjoyed it. I don't really know much about Bobby Darin. I certainly, you know, have some of the tunes in my head, but never associated it with Bobby Darin. So I don't really think that there is a wrong type for. For this type of thing. I think Groff was great and I think that it is really, you know, very much a star vehicle. I feel bad for the understudy because everybody around me was. You know, I talked to a bunch of people that were there and they had flown in from Minnesota and Wisconsin and all. All different parts. Somebody from Europe, they're. They had to see Jonathan Groff, so.

[Michael Portantier]

Oh, absolutely. And he's only. Yeah, he's only miscast if you know who Bobby Darin is.

[James Marino]

Yeah.

[Michael Portantier]

If you don't, then he's not.

[James Marino]

Yeah. And so a lot of fun.

[Michael Portantier]

And if you're. Only if you're expecting an impersonation, which it's not. So.

[James Marino]

Yeah.

[Michael Portantier]

Yeah.

[James Marino]

So just in time. Running at Circle in the Square for an open run. Right now.

[Michael Portantier]

I do still think that the title is very odd because that song is not associated with Bobby Darin. And in fact, fact, it seemed to me that it was only sung very briefly, only like maybe one verse of it at the very beginning of the show and then never heard from again. I was thinking, if I don't, I can't. It's hard for me to think of what I would have called it. But maybe that's all Rubber Ducky. Rubber Ducky. No. Well, they could have called it Splish Splash because Jonathan also also owns up to the fact that he's a very quote unquote, wet performer in terms of sweat and also saliva.

[James Marino]

Yeah. So there it is. And in the show notes, we're going to include Michael's interview with Jonathan. It was a Drama desk event in 2019 where Michael got to interview Jonathan. And we have photographs and a video. So fun places to check out.

[Michael Portantier]

Yeah, that's when he was in Little Shop. And it really is. It's wonderful to watch how his career has progressed. I think he is one of the few people who really have become a big star based primarily on his stage work. And that does not happen that often.

[Peter]

No, it sure doesn't.

[James Marino]

So probably not a title that we should have picked for the Bobby Darin story is Ceremonies in Dark Old Men, which Peter got a chance to see starring the wonderful Norm Lewis. So, Peter, tell us about this.

[Peter]

And 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 as he plays the part of. Of this family. Family. He's Mr. Parker. He has two sons and a daughter. But when the daughter comes in, you actually for a second might think she's a wife because she has that type of critical mind and has a lot to say and a lot of complaints to make, as some wives have been known to do. No, she's a daughter. But the thing is, she is supporting the family. Those three men are not working. And what this woman is really concerned about is the fact that her mother did the same thing. The mother went out to work and the guys did not not work. Why aren't these guys working? Well, one excuse given is that Norm was a vaudevillian and as we know from Gypsy Vaudeville died, and he wasn't trained to do anything. And part of the point that Lonnie Elder III makes in this play is the fact that blacks were not trained to do very much. And as a result, we didn't have affirmative action then. So because this play is set in 1950, which you may not think it is at the beginning, because you may have heard that it's a play from 1969. So you assume you're saying play in 1969, but considering that there's a dartboard that shows up on the stage in which Harry Truman is the bullseye, that sort of suggests that we are in the Truman administration, which ran from 45 to 52. So anyway, she gives them an ultimatum. So if you don't get a job, you know, I'm just not going to support you anymore. I'm going to change the locks on this house and workplace, which is a barber shop, and nobody seems to come into the barbershop at all. And that may seem a little strange. In fact, if you thought it was 1969, you'd say, well, you know, this is the era of hair, and nobody's getting haircuts. No, the point is that so many blacks have been forced out of the neighborhood. And why have they been forced out? That's the secrets that's divulged in Act 2. What I find sad about this play is that the brothers get involved in illegal activity. I always admire the Piano Lesson or Wilson's play because Willie Boy wants to make it legitimately. All he wants to do is sell watermelons and. And Make a living doing that. And he wants to sell the piano because he wants to buy land. There's nothing nefarious about what he's doing. But these people fall into an illegal activity. And of course, one of the points that Loni Elder is making is that the blacks had no alternatives back then. But again, Willie Boy and Piano Lesson suggests that they did to have these alternatives. So you can look at it that way. I thought some of the direction was really poor. It's by Clinton Turner Davis, and I'll give an example. There's one point where Theo the son, is questioning things that happen in the Bible. And norm Lewis's character, Mr. Parker, goes and gets the Bible and two seconds later finds exactly what he's looking for. For. It's a little unbelievable that in the entire Bible he would get to that specific passage so quickly. Now, it's an easily solved thing because what should happen is once the kid starts complaining about the. The Bible, Norm Lewis's character should anticipate that go to the Bible and be looking it up while the guy is still talking, because he knows what's coming. So that would be good too. St. Clement's does not have the best acoustics like so many churches. This. The sound goes up to the. The app ceiling, whatever it is. But. So it is a problem. And I'm sorry that Mr. Davis exacerbated that by having so many times people having conversations with people who are far upstage. The person who's talking has his or her back to us while indeed the person is upstage. And it's hard to understand what's going on because again, the statistics aren't so good. I also hate when people make it very clear that they're lying. At one point, the younger brother brings home a typewriter that he has actually shoplifted. And he comes in and the question is asked, what's that? Figs. You know, I mean, you know. Well, in real life, it's. You'd know the person was lying, but, you know, so it's always to let the audience know that. But we knew anyway. So that was some good lies lines. When somebody has great entitlement, Mr. Parker actually has the line, what does he think he is? White. So that's pretty powerful. And the curtain line is extraordinary. Extraordinary. Very well played, the cast. And there are what, seven of them. Everybody's wonderful. Certainly Norm Lewis is. But really tremendous shutouts for Bryce. Michael Wood as the older son and Jeremiah Packer as the younger one. And again, Morgan Sibbon Green certainly deserves credit for Playing the sister who is no nonsense, but you can tell there's an underbelly of love. So that's very nice too. Felicia Boswell comes in as the young girl. That's what she's identified as. And way back when she was played by Julie Julianne Elder and she was Julia Judy Ann Johnson when I used to see her in Emerson doing a tremendous production of Mother Courage and her Children and. But yes, she did Marry Loni Elder Jr. And they were married for quite some time. So I had nostalgia going to overdrive then when I thought about Judy Ann doing the part originally. So a lot to be said for the play, not so much for the productions direction, but again you got to give the director credit for getting these performances out of these people. Certainly, of course they brought a lot to them before the first day of rehearsal but, but still they're terrific. And I will, will say that the, that the director has something to do with that. That too.

[James Marino]

Okay. And finally this morning, Peter, you got a chance to see a production of zorba by the J2 Spotlight Musical Theater Company. So tell us about this.

[Peter]

Well, Zorba's musical doesn't get done very often partly because when you really look at it, you really get the impression, well, you know, maybe it should have been grand opera. It really has these very high emotions. Michael, do you know the proper at all?

[Michael Portantier]

Oh, I've seen Zorba. I saw the encores production.

[Peter]

Yeah. The reason I'm asking is because you're certainly our expert on grand opera. I mean, do you see what, do you see what I'm saying? Do, do you think it would have made a better opera than a musical?

[Michael Portantier]

Oh, that never occurred to me. I think it would have made a fine opera because. Yeah, I mean it's so elemental and so emotional as you say. And, and they also the, the, the Greek, you know.

[Peter]

Yeah, that's a good point too. Nevertheless, 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 and Ilya Darling had a score by Manos Hajidakis who had written not the music for the movie Zorba the Greek, but he did write the melody for the theme song of Never on Sunday and got an Oscar for it. So, so anyway, he did Ilya Darling and he really came from Greece and many people at the time were saying, you know, John Candor score sounds more authentically Greek than Manus Hajidakis did for Ilya Darling. And John Kander told me that he listened to Greek music for a month before he sat down to write the score. And I think that that's something that a lot of our songwriters today should do, do that type of research, and it will influence what they do. So it's a marvelous score. 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. Think of some of the songs he wrote. Shut up, Gerald. It isn't working. I mean, you know, so he was pretty dor. But in this show, he originally wrote the lyric, life is what you do while you're waiting to die, die. And when the revival came out 15 years later, he changed it. I'm told that Anthony Quinn's request. Anthony Quinn, who was in the movie, was going to replicate his role on stage and do some singing. And it was became, life is what you do till the moment you die. Well, yeah, I guess that's true, isn't it? So that's sort of not so profound and pretty obvious, but nevertheless, it's better than Life is what you do while you're waiting to die. Because the whole point of Zorba is Absorber is a guy who embraces life as he sings in his first song. Each time is the first time whenever I experience anything. And that's his philosophy of life. And at the end of the show, he sings, I am free, which essentially says, I've got the sun in the morning and the moon at night, and that's all I need. So. So that's. Is this real tremendous, this life force, you know, and of course, musical is supposed to be about big characters and big events. And indeed, what we have here is certainly a big character and big events, because here comes Nikos, based on Nikos Kaznazaka. See, this was somewhat autobiographical, the novel that was written in 1946, that indeed, Nikos is coming to revive the mine. It's an inheritance and, well, he needs to hire somebody to help. But indeed, Zorba turns out to be the boss. He really defers to Zorba in every way. And some might find Zorba a little insufferable because he really believes he's always right. There are very few times when he's corrected that he admits to a problem. He also gets involved with Madame Hortense, played by Kathleen Le Freire, a little too young, but she does a good job in indicating that she's older and not. Well, that's very well handled in the way that Robert W. Schneider has directed very well, by the way, very, very well indeed. And Jeremy Ren playing Zorba, terrific performance, really gets into it. So. So it's a very good cast, very good dancing, as you would expect from a Greek show or you would hope to get from a Greek show. And a lot of wonderful songs. You know, we always talk about Barcelona being one of the first, if not the first song to be convers. Goodbye Carnavaro. Carnavaro is a grandiose term for lover and wonderful man, that type of thing. But Goodbye Cannavaro is a song that's very conversational. And this was, of course, two years before Barcelona in Company, so. But wonderful evocative music and sung very well. So it's another triumph for J2. And we're really looking forward in a couple of weeks to Drat the Cat, the 1965 musical that would have run a long time if indeed its producers were neophytes and they just couldn't raise the money. But Ira Levin, Rosemary's Baby and Stepford Wives, of all things, wrote the music and the lyrics and got a hit song out of it through Barbara Streisand. He Touched Me, though. It's she Touched Me in the show. The show starred Elliot Gould, her husband at the time, another problem in their marriage. His show runs eight performances. She gets a hit record out of the same show. I mean, really. So. But that's coming up, and I have a feeling it's going to be good. And if you show up on May 15, you will hear me afterwards give a summary of what else was playing on Broadway in 1965. And given that the first musical of that season was Kelly, this should be an interesting talk. I'll try to make it one.

[James Marino]

Okay, so what? How much longer is it playing? It's 10 today.

[Peter]

Today is the last.

[James Marino]

Today is the last performance. So we'll have a link to J2 in the show notes.

[Peter]

Yeah, they're doing good work.

[James Marino]

See the other stuff that's coming up. All right, so we have run out of time. So we'll talk about the Drama Desk Award nominations and the Tony Award nominations next week. But before we get on to our brain teaser and our musical moments, I want to remind everybody that you can subscribe to these broadcasts by going to the front page of broadwayradio.com there's a subscrib link. That way, each and every time we have a new episode of this Week on Broadway, it'll be automatically downloaded to Apple Podcast for you. Of course, you don't have to listen to us in Apple podcast as many ways to get US Patreon is one way P A T R E O-N.com BroadwayRadio you can get us early and support all of the other Broadway radio shows. And if you are not quite a Patreon member yet, you can actually purchase one show as a one off like Jan Simpson's all the Drama and see what it's like and support all of our shows there. Contact information for Peter, for Michael and for me can be found on the show [e-mail] as well as link to some of the things we've talked about today. So Peter, do you have an answer to last week's Brain teaser?

[Peter]

In fact, I do. Two characters in a musical now playing on West 44th street have something in common with a character whose name is also the title of a currently running musical. And that's not all. These three have the same commonality as a character whose first name was part of the title of a 1960s musical that was nominated for nine Tonys but won only one. Well, Juliet Green, Tony Janicki, Sean Logan, J. Aubrey Jones, Lee Korn, Ingrid Gammerman and Brigadoon all came up with answers that by and large fit the descriptions and thus they deserve great credit. But none got what I was looking for. That's all right, but they came up with good answers. Here's what I was going going for. Oliver and Claire in maybe Happy ending now on 44th Street. That was tricky because most people don't think of that side of 7th Avenue, 44th Street. So as Inspector Cluso says, every move I make is carefully planned. Oliver and Claire and maybe Happy ending now on 44th Street. Floyd Collins now at Lincoln center and Charity and Sweet Charity stay in the same costume all performance long. That's what I was going for. All right, this week's question. The title of a song from an Irving Berlin hit is diametrically opposed. The polar opposite of the title of a song from a Maltby and Shire review. What are the songs and in what musicals did they appear?

[James Marino]

Okay, if you have an answer for this, email [e-mail] we'll let you know if you're on the right track. So Michael, what do we have this weekend? This week's musical moments?

[Michael Portantier]

We have two selections from Real Women have Curves to videos that you can find on YouTube. The opener is a song called Daydream and the closer is the title song. Real Women have Curves. And as we noted earlier, I think aside from everything else about the show that's so enjoyable. The score is really very, very, very enjoyable and exciting and a kind of sound you don't hear that often on Broadway. So I hope you will enjoy both of these selections from Real Women have Curves.

[James Marino]

All right, so on behalf of Michael Bourton and Peter Felicia, this is James Marino saying thanks so much for listening to Broadway radios this week on Broadway.

[Peter]

Bye, bye, bye.

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