This Week on Broadway for November 9, 2025

Main Theme:
The episode centers on coverage of Out of the Box Theatrics’ Off-Broadway production of Beau The Musical at St. Luke’s Theatre, with in-depth critical discussion and context for the show’s place among current New York theater offerings. Co-hosts James Marino, Peter Filicia, and Michael Portantier also share reviews and reports on several new and recent theater productions, news, and cabaret events.

Key Discussion Points & Insights

1. Notable Theater and Musical News

Ragtime has extended through June 14, 2026.

• Lost Boys casting changes: Casey Levy opted to remain in Ragtime, surprising the hosts, who debate her Tony chances between staying in a known show or originating a new role.
• Broadway’s casting and replacement traditions are briefly discussed, referencing John Lloyd Young’s unexpected rise in Jersey Boys.
  (09:06–11:19)

2. Interview Preview: “An Evening with Len Cariou”

• Michael Portantier announces his upcoming live interview with Broadway legend Len Cariou at the Laurie Beechman Theatre (Dec 16, 7pm), which will include conversation and live song performances.
  (04:40–07:16)

• Michael also highlights his new role writing for nightlifeexchange.com, which covers New York City cabaret extensively.
  (08:28–09:06)

3. Review Roundtable

A. Kyoto at Lincoln Center Theater’s Mitzi Newhouse

Reviewer: Peter Filicia
Summary:

• A frenetic, fast-paced play about climate change negotiations based on real events at Kyoto, told from the perspective of agitated protagonist Don Perlman.
• Large cast portrays delegates from around the world. Noted for strong performances, especially Stephen Kunkin and Kate Burton.
• Filicia admires the play’s ambition but warns it’s "murderously hard" to follow due to rapid dialogue and scene changes.
  Quote:

“This is a tough play to keep up with because Fast and Furious, a whole bunch of people, about a dozen of them, are talking about climate change... It might be a good idea to have a few cups of coffee before you go.” – Peter Filicia (12:20–15:48)

B. Beau The Musical by Out of the Box Theatrics at St. Luke’s

Featured Segment
Reviewer: Michael Portantier
Summary:

• Portantier, who saw both the original and current productions, calls it “one of the best new musicals I’ve seen in quite some time.”
• Country/country-rock score by Ethan D. Pakchar draws praise, even from Michael, who isn’t typically a country music fan.
• Story centers on Ace Baker, a young gay man searching for family and identity after discovering a living grandfather, Beau, whom his mother hid from him.
• Michael acknowledges “pretty major issues”—he questions the credibility of a 12-year-old protagonist (suggests making him 16) and finds Ace’s rejection of his mother’s boyfriend “not very real.”
• Despite these, “I can’t praise this show enough... I really think it’s the best musical I’ve seen, best new musical I’ve seen in a long time.”
• The cast, especially Matt Roden (Ace) and Jeb Brown (Beau), receive special mention; the set is transformed into a detailed country bar.
  Quote:

“Even though he's arguably miscast in that sense... it's hard for me to picture anyone else in the role." – Michael Portantier (21:50)
"I really think it's the best new musical I've seen in a long time. And I could conceivably see it on Broadway..." – Michael Portantier (24:35)
Timestamp: (17:38–25:02)

C. The Queen of Versailles at the St. James Theatre

Reviewer: Peter Filicia
Summary:

• Peter believes the show might be better received by skipping the first 10 minutes, which establish a tone of extravagant wealth that alienates the audience.
• He argues for a more sympathetic rags-to-riches framing for protagonist Jackie Siegel (Kristin Chenoweth), whose story is undercut by initial displays of privilege.
• Nevertheless, Jackie is revealed as complex, with “strength, indomitability, resilience,” not just a superficial figure.
• Family dynamics and honesty are notable themes. Standout performances by Nina White as Victoria and strong lyrics by Stephen Schwartz are highlighted. Quote:

“This character is fascinating to me... she's not only honest as the day is long, she's as honest as the day is long on the day we turn the clocks back, I'm telling you." – Peter Filicia (34:56)
Timestamp: (25:28–36:16)

D. Messy White Gaze at the Duke on 42nd Street

Reviewer: Michael Portantier
Summary:

• A dark, comic, pop-culture-laden play by Drew Droege, starring two gay men in NYC who murder an annoying friend “just because.”
• Michael finds the humor hit-or-miss and notes that the central murder undermines audience connection, but the cascade of contemporary references and audience laughter show its appeal. Quote:

“There was a whole lot of laughter in the audience when I saw the show... so I think the old-time comic playwrights would have really approved.” – Michael Portantier (41:39)
Timestamp: (37:10–42:39)

E. 44 The Musical at the Daryl Roth Theatre

Reviewers: Peter Filicia & Michael Portantier
Summary:

• A satirical musical about Barack Obama (“44”); both reviewers label it superficial and marred by a repetitious, cloying title hook.
• Michael notes that when one person writes book, music, lyrics, and directs, "that can be a huge red flag."
• The show’s invitation for the audience to clap and cheer “didn't quite happen”—audiences were not engaged as intended. Quote:

“You’re treating everybody silly. Granted, they don't treat Obama... as silly as they do everybody else, but for me, it got very superficial.” – Peter Filicia (43:04)
“...Beating the audience into submission. And some people, a few people, started to respond...” – Michael Portantier (47:55)
Timestamp: (42:57–49:05)

F. Bat Boy at City Center (Encore Production)

Reviewer: Peter Filicia
Summary:

• Filicia draws an unexpected comparison to Annie, praising Bat Boy for its emotional depth and for making the grotesque title character sympathetic.
• Highlights Taylor Trensch’s physically demanding and heartfelt performance as Bat Boy.
• Notes the consistent evolution of the show, with new songs and dropped numbers compared to its original run. Quote:

“What it has is heart. And who expected heart in Bat Boy?” – Peter Filicia (53:45)
Timestamp: (49:23–54:37)

G. Vape: The Grease Parody at Theater 555

Reviewer: Peter Filicia
Summary:

• A parody following the Grease movie plot, with new lyrics to well-known songs.
• Audience, especially fans of the movie, responded enthusiastically. Quote:

“May I say, the audience had a wonderful time. I'll leave it at that.” – Peter Filicia (55:07)
Timestamp: (55:07–57:08)

Notable Quotes & Memorable Moments

• “I would much rather win a Tony award than create a role.” – James Marino (09:58)
• “When someone writes the book, music and lyrics for a musical and, in this case, also directs it, that can be a huge red flag.” – Michael Portantier, on 44 The Musical (45:30)
• “That’s the strength of Bat Boy. And so, a terrific production.” – Peter Filicia (52:50)

Important Segment Timestamps

• 04:40 — Michael’s Len Cariou interview announcement
• 09:06 — Ragtime extension, Lost Boys casting
• 12:20 — Kyoto review
• 17:38 — Beau The Musical review
• 25:28 — Queen of Versailles review
• 37:10 — Messy White Gaze review
• 42:57 — 44 The Musical review
• 49:23 — Bat Boy at City Center
• 55:07 — Vape: The Grease Parody

Additional Highlights

Cabaret & Nightlife Scene

• Michael Portantier begins reviewing for NightlifeExchange.com, noting the importance and vibrancy of New York’s cabaret world. (08:38)
• Preview of Broadway by the Season benefit concert at Merkin Hall. (07:39)

Closing Musical Moments

• The show opens and closes with songs (“Crush” and “Running”) from Beau The Musical, performed by Matt Roden. Michael endorses the show’s robust marketing, including video trailers and immersive set reconfiguration. (61:00–63:48)

Summary

This episode provided insightful and personal reviews of several major New York City theater productions, with particular enthusiasm for Beau The Musical and Bat Boy. The hosts’ banter, thoughtful analysis, and clear love for theater offer invaluable content for theatergoers seeking honest guidance in a crowded performance landscape.

If you’re considering shows this month:

• Don’t miss Beau The Musical at St. Luke’s, an intimate new musical with broad emotional appeal.
• Queen of Versailles is an intriguing new Chenoweth vehicle, but be wary of its distancing opening.
• For laughs, Messy White Gaze offers satirical sharpness, while Vape is suited for Grease fans seeking a playful parody.
• Avoid 44 The Musical unless you’re prepared for a shallow experience.
• Encore productions like Bat Boy continue to surprise with their heart and craft.

For full details on upcoming events and ticket links, see show notes at BroadwayRadio.com.