BroadwayRadio: This Week on Broadway for November 2, 2025 – "Bat Boy @ City Center" and More

Date: November 2, 2025
Host(s): James Marino, with Peter Filicia and Michael Portantier
Main Theme: Reviews and discussions of current NYC theater highlights, including the new Encores! production of Bat Boy at City Center, as well as mini-reviews and industry news.

Episode Overview

This episode centers around the highly anticipated Encores! production of Bat Boy at City Center, with Michael Portantier’s in-depth review. The hosts also discuss musical events such as the upcoming "Broadway by the Season" concert, reviews of Bo the Musical, Pygmalion, and Romy and Michele: The Musical, plus cabaret legend Marilyn Maye’s latest show. The conversation touches on industry news including the challenges of Broadway live streaming, QR codes in playbills, and the ever-relevant debate on Off-Broadway vs. Broadway venues.

Key Discussion Points & Insights

1. Review: Bat Boy @ Encores! City Center

Timestamp: 07:34–14:45

• Michael Portantier’s Review:

  • "I like this show to begin with very much, and I thought it was a wonderful... It is a wonderful production." (07:34)
  • Praises Bat Boy's "great score" by Laurence O’Keefe and the show’s spoofy tone with genuine heart.
  • The production addresses themes of otherness, discrimination, and acceptance:

    “[Bat Boy] is discriminated against, and some people…hate him just because he’s different…That’s unfortunately applicable to all of history.”

  • Cast highlights:
    • Kerry Butler now plays the lead character’s mother (originally the young love interest), Andrew Durand as Rick Taylor, Tom McGowan as Sheriff, Alex Newell as Pan (a “showstopping moment”), and Taylor Trensch is noted as, “really perfect as Bat Boy.”
  • Direction & Staging:
    • Directed by Alex Timbers ("he did a fabulous job").
    • Notable for moving orchestra off the stage for the first time at Encores!, which makes the stage "much larger than usual" (11:29). The orchestra has been expanded (more musicians now than original), which bucked the downsizing trend.
    • The creative team includes Connor Gallagher (choreography), Andrew Resnick (music director).
  • Michael notes minor cuts/additions to the score:
    “As always happens, that might upset some people who really love the original, but…most of the really, really good songs are still in it and wonderful.”
  • Tickets and run: Bat Boy runs another week at City Center ("should be able to get a ticket").
  • Quote:

    "It is very spoofy, but it’s also got a lot of heart… deeper level about how Bat Boy doesn’t fit in." (08:42)

• Production Trivia:

  • Discussion about the technical rationale for the orchestra's new placement (possibly for live recording and better mixing) and the implication for future transfers.
  • Sets are background-focused; there's speculation as to why the orchestra was placed in the basement ("I really wish I could have asked my question." –13:41)

2. Upcoming: Broadway by the Season Gala

Timestamp: 04:30–06:43

• Hosted by Scott Siegel, scheduled for Monday, Nov. 10 at Merkin Hall.
• Features a cast of notable Broadway performers and is a benefit event.
• Michael Portantier says Merkin Hall is "a really nice, somewhat intimate concert hall."

  "You might want to attend if you have a Monday, November 10th evening free." (05:23)

• The ensemble will be performing songs from Broadway shows throughout history.

3. Review: Bo the Musical

Timestamp: 15:26–20:12

• Peter Filicia’s Review:
  • Focuses on a coming-of-age story involving a young man (Ace), his single mother, and her new boyfriend. The main character finds mentorship in "Bo," his grandfather, and learns to play guitar.
  • Highlights a closeted gay subplot:

    “My bully was my first kiss. Indeed, this is one of these closeted gay guys…” (16:45)

  • Atmosphere: Set is designed to mimic a real southern dive bar—visual authenticity praised.
  • Production Style: Actors play their own instruments, creating a presentational, bar-band feel.
  • High praise for Douglas Lyons (book, music, lyrics, concept); "I ain't lyin' to say he's done a good job." (19:56)
  • Now at St. Luke’s Theater through Dec. 7.

4. Review: Pygmalion by Gingold Theatrical Group

Timestamp: 20:40–33:08

• Michael’s Review:
  • Rare opportunity to see Shaw's original play—most know its My Fair Lady adaptation.
  • Directed/adapted by David Stoller, using a creative "gods as narrators" framing device that references the original Pygmalion myth.

    "I thought it was really quite extraordinary and very, very effective." (22:20)

  • Small cast, all but two actors play multiple roles; cast praised for versatility, especially Matt Wolpe (Freddy & Alfred Doolittle).
  • Lead performances: Mark Evans as Henry Higgins ("maybe the youngest Henry Higgins you will ever see") and Synova Carlson as Eliza Doolittle (her NYC debut: "absolutely fantastic").
  • Ticket pricing is "very affordable"; runs through Nov. 22 at Theater Row.
• Peter’s Insight:
  • Connects Pygmalion to Bat Boy ("Both have a protagonist who must learn to fit in."). (28:38)
  • Clarifies the directorial framing device is rooted in Shaw’s original 1938 screenplay intention.
  • Corrects pronunciation of “Wolpe” and celebrates the legacy (Matt is son of Broadway’s Lenny Wolpe).
  • Both agree on the high standard of this production and the strong showcase for a small cast.

5. Review: Romy and Michele: The Musical

Timestamp: 34:17–41:53

• Peter Filicia’s Review:
  • "Astonishingly well directed"—praised for brisk pacing and entertainment value.
  • Highlights Laura Bell Bundy's dedication and standout performance as Romy. Kara Lindsley also singled out.
  • Noted for musical staging, clever lyrics (Gwendolyn Sanford & Brandon Jay), and sharp projections.
  • Discusses Stage 42’s "checkered history" with hit/miss productions and the potential for future success here if Romy and Michele can break the pattern.
  • Touches on the perennial "Heather vs. Heathers" musical in-joke (38:29) and affirms the fun factor:

    “Certainly not a major musical for the ages…but a good time is had by all.”

• Michael & James:
  • Speculate on the venue: Should Stage 42 become a Broadway-eligible theater? Potential production/contractual challenges discussed (39:18–41:53).

6. Cabaret Highlight: Marilyn Maye at 54 Below

Timestamp: 42:54–46:22

• Michael Portantier calls her a "phenomenon" even at 97.
  • "She's just a phenomenon...never disappoints."
  • Performs a tribute to Johnny Carson, including a clever opening: a 1960s video clip of herself singing "Cabaret" on Carson’s show transitions into live performance—"suddenly 60 years vanish."
  • Known for inventive mini-medleys (e.g., "Those Were the Days" into "I Will Survive").
• Marilyn remains at 54 Below through November.

7. Industry News: Broadway Live Streaming, QR Codes, and Playbill Changes

a. Broadway Streaming Controversy
Timestamp: 46:22–50:21

• Some fans were upset to learn a "live stream" of Punch was actually a pre-recorded video, not truly live, despite $75 ticket price.
• Raises questions about transparency in promotional language and the evolution of streaming Broadway content.
• Expected trend: more professionally filmed Broadway performances, variable price points.

b. Playbill QR Codes and Equity Contracts Timestamp: 51:13–55:07

• Broadway contracts now allow QR code inserts in Playbills to announce understudies, replacing hard copy slips.
• Concerns: Accessibility for non-tech-savvy patrons and preservation of theatrical mementos.
  • Michael: “A lot of people are very upset by this, and also…from printed programs to just QR codes, which sometimes don’t work.” (54:05)

8. Community News and Musical Moments

Timestamp: 55:39–62:27

• Reminders about subscribing to BroadwayRadio, contact info, and the trivia brain teaser (re: Harold Hill song and candy bar crossover).
• Musical Moment: Michael draws attention to a striking melodic similarity between "Her Name is Aurora" (from Kiss of the Spider Woman) and "Lament" (from Evita), both set in Argentina.
  • "You might be surprised, as I was, at how close the melodies of those two are." (57:51)
  • Theories: Possible shared roots in Argentinian folk music rather than simple “borrowing.”
• Show closes with the "Lament" as performed by Patti LuPone, inviting listeners to compare for themselves.

Notable Quotes & Moments

• On Bat Boy’s New Orchestrations:

  “In an age when orchestras and orchestrations tend to be shrinking, that was a very, very nice surprise.” (11:46)

• On Marilyn Maye:

  "Suddenly 60 years vanish and it's just thrilling for the audience." (43:43)

• On Pygmalion’s Relevance and Adaptation:

  “You really have to give Douglas Lyons…he’s done a good job.” (19:56)
  “It’s set up so beautifully that everyone’s going to be playing multiple roles…it never for a moment bothers you, and quite the opposite.” (33:08)

• On Broadway Venues and Stage 42:

  "Seems like this Stage 42 is just floundering out there, and it’s in no man’s land." (41:53)

Timestamps for Major Segments

| Segment | Timestamp | |---------------------------------------|---------------| | Bat Boy Review | 07:34–14:45 | | Broadway by the Season Overview | 04:30–06:43 | | Bo the Musical Review | 15:26–20:12 | | Pygmalion Review & Discussion | 20:40–33:08 | | Romy and Michele: The Musical | 34:17–41:53 | | Marilyn Maye at 54 Below | 42:54–46:22 | | Streaming & Industry Controversies | 46:22–55:07 | | Closing/Trivia/Musical Moments | 55:39–62:27 |

Overall Tone & Style

Friendly, expert, lightly comedic, and full of inside-theater insights. Co-hosts frequently reference Broadway’s history, connect present-day productions to past practice, and provide a sense of community for dedicated theater lovers. The podcast is both informative and accessible, offering clear pathways for listeners to explore the shows discussed.

Final Recommendation

• Bat Boy at City Center is a must-see, especially for fans of musical theater that combines camp, heart, and subversive wit.
• Both Bo the Musical and the Gingold Theatrical Group’s Pygmalion are recommended for their inventive approaches and compelling performances.
• Marilyn Maye remains a cabaret marvel worth experiencing live.
• Be aware of shifts in theatergoing customs, from QR codes to digital streaming—Broadway is evolving both onstage and off.
• Romy and Michele’s musical is a high-energy, fun night, particularly for fans of the movie.

For more details and ticket links, check the BroadwayRadio show notes!