This Week on Broadway for October 19, 2025: Ragtime @ Lincoln Center

Summary

BroadwayRadio: This Week on Broadway for October 19, 2025

Episode Theme:
Broadway's Premier Podcasts dives into major current NYC theater, most notably the Lincoln Center transfer of Ragtime (from City Center), with reviews and discussion on recent Broadway and Off-Broadway openings, a historical perspective on revivals, new cast albums, and the ongoing legacy of New York theater.

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Hosts

• James Marino (Host)
• Peter Filichia (playwright, theater journalist, historian)
• Michael Portantiere (theater reviewer, photographer, founder of castalbumreviews.com)

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Key Discussion Points & Segment Summaries

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[08:03] Ragtime at Lincoln Center (Vivian Beaumont Theater)

Michael Portantiere reviews the Ragtime transfer (from City Center):

• Staging & Venue:

  • The Lincoln Center set offers “some more scenery” but isn’t the main reason to attend—the focus remains on the music and story.
  • Vivian Beaumont’s three-quarter thrust stage means “the farthest seat away ... would be considerably closer than at the Ford Center,” making the action more intimate and engaging for audiences.
  • Minimalist scenic elements "give an idea of where you are" but maintain focus on performances.

• Cast & Performances:

  • Most of the key cast transferred from City Center, including Joshua Henry (Coalhouse Walker), Casey Levy (Mother), Brandon Uranowitz (Tateh), Nichelle Lewis (Sarah), Colin Donnell (Father), Ben Levi Ross (Mother's Younger Brother), Shaina Taub (Emma Goldman).
  • Brandon Uranowitz's performance as Tateh singled out for excellence.
  • Michael highlights the benefit of seating, venue intimacy, and the emotional impact of the production.

• Artistic Approach:

  • “It’s about archetypes more than characters. Some characters don’t even have names—Mother, Father, Tata (‘father’ in Yiddish).”
  • “Doctorow was trying to do something very specific, and he achieved it brilliantly. So did the creators of the musical.”
  • Praises the staging, direction (Lear deBessonet), underscore performances, and emotional connection.

• Reflecting on Critical Reception & Themes:

  • Reviews “overwhelmingly positive,” but acknowledge “inherent flaws” like multiple climaxes, abundance of ballads—though Michael sees this as true to the novel’s style.
  • Notable Quote:
    • “It’s a beautiful production of a masterpiece. A flawed—slightly flawed—masterpiece. That’s how I would put it.” — Michael Portantiere (12:48)
  • Addresses recent criticisms of "black tragedy and white savior tropes" and “jingoistic patriotism.”
    • Michael: “Isn’t that history? Are we supposed to rewrite history because we don’t like the way that some things happened?” (13:40)
  • Final number staged as “Wheels of a Dream” sung softly—“the hope is still there. But the dream has not yet been achieved.” (14:42)

• Creators in Attendance:

  • Lynn Ahrens and Stephen Flaherty, creators of Ragtime, were present, “thrilling to see and talk with the creators of a masterpiece.” (16:18)
  • Discussion of Lynn Ahrens’ past work on “Schoolhouse Rock” (“No More Kings,” thematically linked to recent protests).

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[16:47] Waiting for Godot (Hudson Theatre)

All three hosts discuss Jamie Lloyd’s new revival with Keanu Reeves, Alex Winter, Brandon J. Dirden, Michael Patrick Thornton.

• Peter Filichia's Review:

  • Entered skeptical after Jamie Lloyd’s controversial “Sunset Boulevard.”
  • Brandon J. Dirden (as Pozzo): Stands out—“What a performance … brought such life to the character.” (18:27)
  • Praises Michael Patrick Thornton (Lucky), who authentically uses a wheelchair, noting improvement over insensitive casting practices elsewhere.
  • Set (Sutr Gilmore) “arresting,” lighting (John Clark) “wonderful—subtle changes you notice only after the fact.”
  • “Really think John Clark’s lighting is wonderful ... the best type of lighting is when you notice it after the fact.”

• Michael Portantiere on Direction & Set:

  • Minimalism fits Godot: “You get more here … the set is quite extraordinary and arresting … like the main set for TV series The Time Tunnel.”
  • Noted humor emerges more as the play progresses.
  • Brandon J. Dirden’s Southern accent as Pozzo adds a new dimension; Reeves and Winter effectively balance seriousness and comedy.
  • “Maybe Godot is the kind of play you appreciate more as you get older … this was the best I’ve ever seen.” (24:53)

• Context on Revival Culture:

  • James questions the “why” of new Godot revivals.
  • Peter counters: younger/new audiences, limited runs, missed past productions, the value of introducing classics to new generations.

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[28:52] Crooked Cross (Mint Theater Company at Theatre Row)

Michael and Peter offer contrasting views:

• Michael:

  • Sees it as a rare Mint misfire. Plot promising (German family and Nazism in 1930s), but execution is “boring ... very talky … predictable … not particularly compelling.” (29:05)
  • Acknowledges historical context and intention to draw resonance with current events.

• Peter:

  • Appreciated the acting's subtlety and realism.
  • Found the 1937 play impressive for foreshadowing events like Kristallnacht (1938), writing “seeds of this really impressed me tremendously.”
  • Relationship between a Christian woman and Jewish man is central and depicted with nuance.
  • “There were so many lines that sounded as if they were written today … impressive on that level.”

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[34:15] Mexodus (Audible’s Minetta Lane Theater)

• Peter: Initially skeptical of concert style (“Hey New York, how you doing?”) but was “won over by the strong storytelling ... story of slavery and the Underground Railroad really packs a wallop.” (34:15)
• Black and white men relate history through music in the style of Dead Outlaw.
• Both Peter and Michael give strong recommendations.

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[35:43] Let’s Love (Atlantic Theater Company, written by Ethan Coen)

• Michael:
  • Program is “three one-acts ... good cast ... lots of scatological content and vulgarity.”
  • Stage transitions awkward (abrupt blackouts, confusing the audience as to when to applaud/end).
  • Some humor lands well (Mary McCann as “The Broad”), but overall “I did much more smiling than laughing ... not must-see theater.”
  • Describes a realistic vomiting scene that visibly disturbed the audience.
• Peter:
  • Notes audience member left during vomit scene.
  • Points out implausible plot device in one-act (strangers left alone in someone's apartment).
  • Praises Nellie McKay (“galvanizing”) for musical interludes, commends her performance as a highlight.
  • “Not must-see theater.”

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[47:13] Mark William: If I Can Dream (Live Cast Album)

• Peter:
  • Praises the young singer Mark William for reviving, freshening, and honoring “songs from yesteryear”—from High Spirits (“You Better Love Me”) to Kiss of the Spider Woman (“Give Me Love”), to “Let Me Be Your Star” from Smash.
  • “He really does a fine job of finding these songs and embracing them.”
  • Live recording from Green Room 42.

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[47:46] Outplay’s Cafecino 1X — Historic Off-Broadway One-Acts

• Michael:
  • Attended for history and personal interest.
  • Features recreated one-acts (Albee’s The Zoo Story, Wilson’s The Madness of Lady Bright, Hoffman’s Good Night I Love You), plus a song from Dames at Sea.
  • Praises Jack Orico’s challenging performance in The Zoo Story.
  • Notes significance of Cafe Cino as birthplace of gay theater and experimental work.
  • “Glad I attended for the historical aspect of these recreations.”

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Notable Quotes & Memorable Moments

• Michael Portantiere:

  • “It’s a beautiful production of a masterpiece. A flawed—slightly flawed—masterpiece. That’s how I would put it.” ([12:48])
  • On criticism of Ragtime: “Isn’t that history? Are we supposed to rewrite history because we don’t like the way some things happened?” ([13:40])
  • On Godot: “This was the best one I’ve ever seen.” ([24:53])
  • On Mark William: “…he really does a fine job of finding these songs and embracing them.” ([45:08])

• Peter Filichia:

  • On Helen Doctorow: “There wasn’t a day of our marriage I didn’t want to kill him.” ([13:20])
  • On being won over by Mexodus: “While I was resistant at first, they won me over tremendously.” ([34:15])
  • On Crooked Cross: “Seeing the seeds of this really impressed me tremendously.” ([33:12])

• Audience Moment:

  • “At my performance [Let's Love], somebody who is dead center in the first row got up at that scene [the vomiting] and left the theater.” — Peter Filichia ([40:05])

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Additional Segments

[54:50] Brain Teaser Results and New Question

• Last episode’s answer: Carol Channing.
• This week’s brain teaser: The film of The Iceman Cometh, the film of Jersey Boys, a Marvin Hamlisch musical—what links these three items, in this order?

[56:09] Film Reviews: Blue Moon & Kiss of the Spider Woman

• Blue Moon: Richard Linklater’s fictionalized take on Lorenz Hart’s night at Sardis as Oklahoma opens. Praised for Ethan Hawke’s performance; some timeline liberties.
• Kiss of the Spider Woman (film): Mixed reviews, “intermittently very successful.” Major cuts and changes, different feel from the original stage production.

[67:10] Musical Tributes

• Tribute to Ellen Mitchell, longtime Staten Island community theater stalwart and friend, with audio of her singing “If” from a 1976 high school concert.

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Timestamps for Major Segments

• Ragtime at Lincoln Center: 08:03–16:42
• Waiting for Godot: 16:47–28:01
• Crooked Cross: 28:52–34:15
• Mexodus: 34:15–35:43
• Let’s Love: 35:43–47:13
• Mark William album: 47:13–47:46
• Outplay’s Cafecino 1X: 47:46–53:48
• Brain Teaser/Fan Mail/Contacts: 54:50–56:09
• Film Reviews (Blue Moon, Kiss of the Spider Woman): 56:09–67:10
• Ellen Mitchell tribute/music moments: 67:10–end

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Overall Tone & Listener Value

The episode balances insightful, occasionally passionate critique (“Isn’t that history?”), humor (anecdotes about personal reactions, notable audience moments), and profound appreciation for theater history and craft. The hosts' camaraderie and deep knowledge ensure even listeners unfamiliar with current NYC theater come away engaged, informed, and intrigued.

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For further info, production dates, and links, visit BroadwayRadio.com and see episode show notes.

Transcript

[Peter Felicia]

Morning, Zoe. Got donuts.

[James Marino]

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[Peter Felicia]

Well, I dig the mattress and I.

[James Marino]

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[Peter Felicia]

So Dana.

[James Marino]

Oh no, I'm not really prepared. I couldn't possibly at t mobile get the new iPhone 17 Pro on them. It's designed to be the most powerful iPhone yet and has the ultimate pro camera system. Wow, impressive.

[Peter Felicia]

Let me try.

[Michael Portantier]

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[Peter Felicia]

Get iPhone 17 Pro because they've got the best network.

[James Marino]

Nice. Je free.

[Michael Portantier]

You heard them. T mobile is the best place to get the new iPhone 17 Pro on us with eligible traded in any condition.

[Peter Felicia]

So what are we having for lunch?

[James Marino]

Dude, my work here is done.

[Michael Portantier]

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[Peter Felicia]

And 35 device connection charge.

[Michael Portantier]

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[Peter Felicia]

On analysis by Oklahoma Speed Test Intelligence.

[Michael Portantier]

Data 182025 visit t mobile.com you have.

[James Marino]

Hundreds of worries, I have one. And the moon grows dima at the tides low ebb and her black be shimmer. And you're aching to move.

[Michael Portantier]

But you're caught in the web of.

[James Marino]

The spider woman in her velvet cave. You can't run, you can't scre. You can hide but you cannot escape. Hello and welcome to Broadway radio's this week on Broadway for Sunday, October 19, 2025. My name is James Marino and in the broadcast today we have Peter, Felicia and Michael Portentier. Peter is a playwright, journalist and historian with a number of books. Peter's new day by day desk calendar show tuned for today 366 songs to brighten your year is available at finer retailers. Peter also has columns at Masterworks, Broadway, Broadway select and many other places. Hello, Peter.

[Peter Felicia]

Hi, Peter.

[James Marino]

Are you surprised?

[Peter Felicia]

Well, you're referring of course to the song surprise from Ambassador, which was the musical version of Henry James book the Ambassadors. Plural. So it opened in London, didn't run long. 86 performances, was it? And yet it still came to Broadway, where, I'm sorry to say it only ran a week. One Saturday to one Saturday. If you look at the best plays book of that year, there's a misprint that says it ran 19 performances. No, nine anyway. But you know, the score is. Is one I go to a lot. I'm very surprised how often I play this album, I think it's because I look at my collection alphabetically and shows up early. Ambassador. But the song Surprise is optimistic and is one of the reasons why I chose it. But I will say if you listen to the first two songs on that London cast album, both of them with lyrics by Hal Hackety, have a last line that's terrific. So they're worth hearing too.

[James Marino]

All right. And also, Peter, you are otherwise engaged tomorrow night, aren't you?

[Peter Felicia]

Yes, I'm going to see Joan now. I never thought I'd see this musical again. Now, again, as a veteran of 13,000 plus shows, there's only one that I went to that I immediately returned to the next night and that was back in 1976 in Boston where there was a production of Al Carmines. Joan. Al Carmines is better known for Promenade show that opened the Promenade Theater, in fact, and a few other shows as well. However, Joan is, is about Joan of Arc, latter day Joan of Arc, but I'm sorry to say that she's a terrorist. I mean, there's no other way about it. But the score is phenomenal. It got a 2 record set with the entire show, which was too much. I wish it had just been a conventional album of songs. But the songs are magnificent, magnificent. And as a result, I had to return the second night to see it one more time. And I'm delighted that at the Green Room tomorrow night they're doing it again. And I think it will play better because it's going to be a 75 minute concert and I think they'll play down some of the more unattractive book aspects that certainly are even less attractive today. But boy, am I looking forward to hearing that score again.

[James Marino]

All right, excellent. So also with this is Michael Portantier. Michael's a theater reviewer and essayist. He's the founder and editor of castalbumreviews.com he is also a theatrical photographer whose photos have appeared in the New York Times and other major publications. You could see his photography [e-mail] hello, Michael. Hello, Michael. You sound like you are just 30 stories high up in the air, are you?

[Michael Portantier]

I don't get the illusion.

[James Marino]

Your apartment is very, very high and you have, you have a bird's eye view of Manhattan. 24 24, 24, 24 stories.

[Michael Portantier]

Yeah, I'm down in the depths on the 90th floor.

[James Marino]

Either one of you, either one of you get a view of yesterday's no Kings protests.

[Peter Felicia]

No, I wasn't in town.

[Michael Portantier]

I have buildings in my way.

[James Marino]

Your X ray vision, you couldn't see through the buildings. Yeah, it was. I, I saw a lot of, A lot of photographs that made Times Square look like it was. Looked like it was New Year's Eve and, and then some. It looked even more packed than New Year's Eve, if you can imagine.

[Michael Portantier]

And I'm told there was even a nice showing on Staten island which did my heart really good. I was very surprised, but happy to hear that.

[Peter Felicia]

Yeah. Yeah.

[James Marino]

So nice, nice showings in the middle of America and Idaho and Ohio and Texas and various things like that. Very.

[Michael Portantier]

Yes.

[James Marino]

Very encouraging.

[Michael Portantier]

Yes.

[James Marino]

So there was no show last week. We got quite a few emails. I'm sorry, I thought that I had mentioned it on air. I did, but I didn't highlight it enough for people to listen to for listeners to have noted it down. We did take the week off last week. I was otherwise engaged and could not record last week. And Matt was traveling as well. Matt is in New York City as we speak. Tons and tons of shows as Matt does on his monthly, bi. Monthly trips up to New York City to fulfill his outer Critics circle requirements and see lots of friends and do what he loves. So there was no show last week, so you didn't miss anything. But we have a lot of catching up to do. Let's start off with Michael got over to Lincoln center to see the Rev of Ragtime, which was a transfer from City Center. Michael was it. I'm sure you'll talk about it, but you know, let us know what the differences were from City center, if any.

[Michael Portantier]

Well, there is, as Peter asked before we started recording, there is some more scenery, but you should know going in that that's not going to be the primary reason to see this production. It's to see it for the incredible SC by Stephen Flaherty and Lynn Ahrens and the the wonderful book by Terence McNally based on the novel by E.L. doctorow and the direction by Lear Debessonet and choreography by Eleanor Scott. Music direction by James Moore. And the fabulous performances. Almost everyone, I believe, a transfer from City center, including most prominently Joshua Henry as Coalhouse Walker, Casey Levy as mother, Brandon Uranowitz as Tata, but also Nichelle Lewis as Sarah, Colin Donnell as father Ben, Levi Ross as mother's younger brother. He was absolutely fantastic in this show. Shana Taub as Emma Goldman. I could go on and on. We know how big the cast is. I went with Gerard Alessandrini and we both agreed that one of the best things about this production is the venue, the original production of Ragtime on Broadway was at what was then called the Ford center for the Performing Arts, which I think from the beginning was unfortunately recognized as what one might call a barn. It's very large and just the way it's constructed, I would say most of the audience feels they're very far away from the action. Whereas at Lincoln center and the Vivian Beaumont with its three quarter thrust set up, I would say the farthest seat away from the stage of the Vivian Beaumont would be considerably closer than many of the seats that one would have had in the Ford Center. So first of all, there's the size and configuration of the theater, the fact the seating capacity is much lower, and then just the, the fact that, you know, the, the way that the staging is done with big corded thrust, it, it brings you closer to the action. And so. And then on top of that, as I mentioned, there is not that much in the way of scenery. There are no flats in this production that I can think of, just lovely scenic elements that come in and out and just to give an idea of where you are. And they look very nice, but they're not substantial. But the lack of all that, plus the fact that you feel so much closer to the action just is a tremendous benefit to the show in terms of bringing you into the characters and the music and the story. So I think that is maybe the most noteworthy aspect of this production. That plus the, the fabulous performances. It's interesting to see how people's reaction to the show has changed over the years, you know, with the changing times. And I, I think what I like about the reviews that I read of this production is that although they were all overwhelmingly positive, with maybe one exception or two, they, they do recognize that there are some inherent flaws in the show because of the way it's written and the novel that it's based on. There are a lot of climaxes, there are a lot of power ballads and anthems, and that's just. But I think again that that that's all appropriate to what Doctorow wrote as adapted by these really brilliant artists. And I. So I think that it's. The show is what it is. It's about archetypes really more than characters. I mean, some of the characters don't even have names. Mother, father. Tata Tate just means father, I believe in, in Yiddish. So even he doesn't really have a name. And the mother's younger brother, etc. There are a few with names. Sarah and then Coal House and then the historical characters. But it, you know, I think Dr. O was trying to do something very specific. And he achieved it brilliantly. And so did the creators of the musical. So I would run, not walk to see Ragtime. It's a beautiful production of a. Of a masterpiece. A flawed. A slightly flawed masterpiece. That's how I would put it.

[Peter Felicia]

Have I mentioned what happened when I met Helen Doctorow, his widow?

[James Marino]

I don't recall.

[Peter Felicia]

I said, sure. What was your husband like? And she said, there wasn't a day of our marriage I didn't want to kill him. I swear that's true.

[James Marino]

Did she go further?

[Peter Felicia]

There you have me, Abby.

[James Marino]

Well, Peter's going to see Ray time later this week. I'm gonna see it later today. So we'll talk about it again next week. The underlying property is one of my favorite. And so I'm really looking forward to this.

[Michael Portantier]

Two more quick comments in the New York Times review. Some people, I just can't understand where they're coming from. She said Laura Collins used. And again, it was mostly array. But she said the story of Coal House, albeit buoyed by Flaherty's music, leans hard into black tragedy and white savior tropes. And I'm just like, well, but isn't that history? I mean, are we supposed to rewrite history because we don't like the way that some things happened? I. I don't get that. And then one of the other reviews who will remain nameless, objected to the jingoistic patriotism of Ragtime. Seriously?

[Peter Felicia]

Well, I don't.

[Michael Portantier]

I mean, it questions, you know, America from the. Almost from the beginning to the end. And one wonderful thing in this production that they, that they carried over from the encore's presentation is the final number is a reprise of Wheels of a Dream. And it is sung very hopefully as an anthem by the whole company. But when they get to the last lyric, the. Well, the last word, they pause right before and they sing Wheels of A. And then they pause and they sing Dream very, very softly and wistfully as to make it very clear that the hope is still there. But the dream has not yet been achieved.

[James Marino]

So Ragtime famously. Lynn Ahrens part of the creative team there. Lynn Ahrens also, I think it was 50 years ago. Rob Johnston helped me here. Schoolhouse Rock. There they. One of the things. No, no More kings she wrote 50 years ago.

[Peter Felicia]

No kidding.

[James Marino]

Real kings. Yeah. And so lots of Schoolhouse Rock coming up yesterday for no More Kings. Very, very interesting. And it's sort of, again, you know, jingoistic. I don't think anybody would ever use jingoistic to describe Lynn Ahrens in her work.

[Michael Portantier]

Yeah, I don't. I just don't know where that came from. By the way, Lynn and Steven were at the performance that we attended, and we got to see them after. And how thrilling is that to be able to, you know, know and talk with the creators of a masterp like this?

[James Marino]

So. And. And their third. Third time on Broadway.

[Peter Felicia]

Right?

[Michael Portantier]

Yes.

[James Marino]

With. With Ragtime. Yeah. So. All right, so next up, the three of us got over to see Waiting for Godot.

[Michael Portantier]

Yes.

[James Marino]

Bravo, Gado. You know, I. I have to always picture Patrick Stewart saying it. He says it cor often.

[Peter Felicia]

That's a great idea.

[James Marino]

So. So, Peter, why don't you get us started on Gato?

[Peter Felicia]

Well, longtime listeners know how I felt about Jamie Lloyd, Sunset Boulevard. I'm still waiting for his phone call to apologize, but it hasn't come in yet. I guess I was busy doing this, you know, I understand. So. So I was stealing myself for the worst, and I don't feel I got it. I really feel the guys are up to the task. And aside from the moment when they certainly referenced the movie they did together, that got a nice chuckle from the audience. I'm not sure that was necessary. To me. What was really extraordinary beyond belief, which I wasn't prepared for at all, was the performance by Brandon J. Durden, who I thought brought such life to this character that I had never seen before. I'm. I'm a veteran of a lot of waiting for, however you want to pronounce the last name. A lot of them going back, in fact, ironically enough, to a production in Boston where Danny Meehan, we really know.

[James Marino]

Wow.

[Peter Felicia]

Yeah. From who taught her everything she knows. Eddie from Funny Girl, who expected that he would show up in this play. But anyway, Brandon J. Dirt plays Pozzo and brilliantly. God almighty, what a performance. And I have to say that as good as I think the two stars are, Keena Reeves and indeed, who really showed tremendous strength, and Alex Winter very fine, too. I really feel that Brandon J. Dirt is one that I came out thinking of more than anybody else. Was very nice, too. Is that Michael Packard Thornton playing Lucky is someone who uses a wheelchair. And at the end of the show, when the curtain calls come, you see that he's using a wheelchair, that he genuinely uses that in real life. And it reminded me of a flaw that happened in the musical 13 some years back with a character who used crutches. And at the end of the show, he bounded on stage, running on to take his Curtain call. But they could have used an actor who used crutches, and I was sorry they didn't. So at least that doesn't happen here. So a very dramatic set. Not exactly what you expect when you see this play. So. So Gilmore did it. It's. It's really arresting. And I really think that John Clark's lighting is wonderful because it's the type of lighting where you suddenly realize, oh, the lighting has just changed. Yeah. And that's the best type of lighting when there are changes to be made that you don't notice it until after it.

[James Marino]

So.

[Peter Felicia]

All right, Jamie, you don't have to call and apologize for this, but I'm still waiting for that Sunset Boulevard call.

[James Marino]

Michael, how about you?

[Michael Portantier]

Well, I'm a little surprised that you were so fearful in this case, Peter, because if I'm correct, your main objection to Sunset Boulevard was that it was so incredibly minimalist.

[Peter Felicia]

Isn't that more than anything else that I don't think. If you. If you weren't familiar with the story, I don't think you would get it. That's what I felt was really the problem with Sunset Boulevard. It wasn't the minimalism. It was the fact that things were going at a breakneck. People looking out at us while singing, not looking at each other. That's what bothered me.

[Michael Portantier]

Oh, okay. All right. So my mistake. But, well, anyway, for those who were bothered by the minimalism of Sunset Boulevard, obviously that. That's not going to be an issue here because Waiting for Godot is one of the most minimalist plays ever written. And in fact, one could argue that you get more indeed here, because I agree, the Sutra Gilmore set is quite extraordinary and arresting. Somewhat slightly creepy. How hard to even describe what it is. But it reminded me more than anything else of the set, the main set for the TV series, the Time Tunnel. And I thought that, you know, for those who remember, you know, that that whole show from the 60s, I think that was a good thing because there was always something obviously creepy about the Time Tunnel. It's this huge funnel like thing that. That. That seems to be made of wood almost. Some people have compared. It looks like maybe the inside of a tree if you cut a tree open, except that it's, you know, it's very wide, the side that's close to the audience and then diminishes as it goes back. So it looks like a. A cone or a funnel. And the characters spend a lot of time sitting on the edge of it, but then also they spend some time walking into it. And sometimes like trying to climb up the walls, the curved walls on the side and then, and then falling down, which is used for, for both mainly for comedy purposes, but sometimes not. My. My only real criticism in this production was I. It seemed to me that maybe there could have been more humor in the first port. Took a while for the, the humor of the characters to, to show itself. And I think humor is necessary at, at various points in the play because, you know, to, to counter the, the, the darkness. And that's what it's really about. How, how, you know, how that's what's happened. That's what happens in life, isn't it? The humor and the, you know, the good stuff counters the, the, the darkness and the abyss. So I, but I really do love the set. I think that that was a great, a great thing. I thought all of the performances were wonderful. I completely agree about both Brandon J. Dearden and Michael Patrick Thornton. Interesting that Brandon J. Dearden chose to play his role of Pozzo with a very distinct Southern accent that obviously lends a whole nother interpretation to it. And I thought, yes, I thought both Keanu Reeves and Alex Winter were extraordinary and exemplary in terms of really playing the text and, and only maybe invoking their, their big hit movie movies in one brief moment and a very appropriate moment where the, the line is. What is the line? Something like, like we were back in the old days. And I won't describe exactly how they evoke Bill and Ted's excellent adventure, but it's delightful and the audience absolutely loves it. I also would say that maybe, generally speaking, it seems to me that Waiting for Godot is the kind of play that one appreciates more and more as one gets older, I think maybe for obvious reasons. So I would say that, that, you know, through a combination of the, the excellence of the production and also that factor that this was the, the best one I've ever seen.

[James Marino]

It's the, the journey, not the destination in this show. And you really have to buy into these characters in order to understand, to get to the journey. And I, I think what you're saying, Michael, I agree with, is that as I've gotten older and older, it's more been about the journey than the destination, you know, not the Are we there yet?

[Michael Portantier]

Right, exactly. Exactly.

[James Marino]

So my thought about Gadot, this production is I, I sort of always, I, I always, especially in revivals, I always ask why? Why? And I, I don't have. When's the last Gato production that was on Broadway?

[Peter Felicia]

The NATO.

[Michael Portantier]

Yeah.

[James Marino]

Yeah. So again, The. The. Why. Why do this again? Is it just.

[Peter Felicia]

I have an answer for that. And that is the fact that a lot of people were not around for that. Right. Too young for it or weren't even born yet or indeed didn't go the first time. So many plays today are limited engagements. It's easy to miss them because they come and go so quickly around here. So as a result, I never am saying, oh, they're doing that again, because that's me, because I go all the time. Of course, but you are serving a public that wasn't around, wasn't paying attention the first time around. I have fallen in love with theater since the last production.

[James Marino]

We should correct up 2013, 2014 production with Ian McKellen, Billy Crudup, Shuler Hensley, Patrick Stewart, Gatto.

[Michael Portantier]

Right. So that was the last one.

[James Marino]

Yeah, that was the last one. You know, roughly 10, 11 years ago.

[Michael Portantier]

I did not see the legendary one with Steve Martin and Robin Williams.

[Peter Felicia]

I didn't either.

[Michael Portantier]

That, by all reports, was quite something.

[Peter Felicia]

It's. It's amazing to me how time flies because I was writing about on your Feet, the Emilio and Gloria Estefan musical. Yeah, that seemed like 10 years ago. Wow.

[James Marino]

Yeah, I enjoyed that to the day.

[Peter Felicia]

Almost to the day. November 5, 2015 is when it opened. I mean, that's amazing to me. Ten years.

[Michael Portantier]

Well, I think that. I think the pandemic, you know, factors into that. Yeah. Yeah, sure.

[Peter Felicia]

I suppose. Yeah.

[James Marino]

So Waiting for Gato at the Hudson Theater is running through January 4, 2026, right now. I wonder if it would be interesting to replace them with other celebrities or if they would need to or things like that to keep it going. Also, January 4th is the end of scheduled end of ragtime. But also, Lincoln center doesn't have anything scheduled after that in the Beaumont.

[Michael Portantier]

Right.

[James Marino]

So it could theoretically extend. So we'll have to see about that. Next up, Michael and Peter made it over to Theater Row to see the Mint production of Crooked Cross. Michael, why don't you get us started on this?

[Michael Portantier]

Well, I. Maybe this is a minority opinion, but in my opinion, it's one of the very, very rare misfires for the Mint because of the play itself. I mean, the way I look at it is if. If someone told you that there was a play written by a woman in the. In the 30s, in the early 30s, about a German family, some of whose members get sucked into the. The Nazi party and some do not. And if they told you that that play had not been revived since then, you might think, well, what's the reason for that. And maybe the reason is that it's not very good. And I sadly have to say that in my opinion this play by Sally Carson is not it. Somehow the plot is as I described it, but it somehow was just boring to me. Beside, you know, regardless of the. What sounds like such a very, very compelling story, I think part of the issue is that it's, it's almost, almost a one set show and I think that constrained the playwright greatly because of considering what the story is. If, if it had been written as a movie perhaps and, and there had been more opportunity to move out and, and show us the world at large or, you know, anything more than, than just the, the, you know, the, the home of this one family. One room of the. The home of this one family. I think maybe that would have helped. But as it was, it was just very talky and I thought the points that were made were very obvious and some of it was quite predictable and as I say, to me, really rather boring overall. So I, I don't fault the acting or the direction. I guess I fault the choice of the play. Although one can certainly understand why Jonathan bank, who directed the show in addition to being the artistic director of the Mint, would choose to do a play like that at this time, considering what's happening in America right now. But, but to me, even despite the resonance and the fact that this was written in the first place, which is really so extraordinary, it just did not work for the reasons I mentioned.

[James Marino]

All right, Peter, what did you think?

[Peter Felicia]

I liked it quite a bit actually. I was very impressed by the fact that this was originally a novel in 1934 by Sally Carson and she adapted into a play in 1937. And which was really something is the fact that that Crystal knocked that famous night when indeed the Germans really showed what was on their minds was the following year. This must have. I always take myself back to a time when I'm seeing a play and I have to say that I was back in 1937 and very impressed with what was being written at that time. So that's why it resonated with me. Also, I have to say that the acting was the type of acting I like best, where people don't seem like they're acting at all, they're just talking. So there was nothing heightened about the acting in the worst sense of what that means. They were real people up there to me, having real problems. And boy, were there problems. Of course, now you might say, well, of course there's going to be a problem. When a Christian woman is interested in a Jewish man who's a doctor, by the way. And. And of course, the family members have a great deal to say as well. So while I understand that, indeed, there seems to be an inevitability of it all, and we know where it's not going to work out without everybody living happily ever after, Seeing the seeds of this really impressed me tremendously. And yes, I agree that Jonathan bank must have chosen it partly because of what is happening today, because there were so many lines that sounded as if they were written today. It's impressive on that level as well. So I thought it was very worthwhile. And by the way, Crooked Cross refuse to the fact that they refer to that term for swastika. And indeed, that's what that means. And boy, it is a crooked cross, isn't it? And a cross that they had to bear. And other people are also bearing it as we speak.

[James Marino]

All right, so the Min Theater Company's production of Crooked Cross is running at theater row through November 1st. We'll have a link to that in the show notes. Peter, you got down to Audible's Manetaline Theater to see Mexico. Michael talked about it two weeks ago. What did you think?

[Peter Felicia]

Well, I'm never going to be inclined to like a show where somebody comes to go and says, hey, New York, how you doing? I hate that show. I really do. I mean, that. That's a concert, that's not a musical. And yet once that was over, I really got engrossed in the story. And this is a very good story. It's one black man, one white man telling the story. Done the style of Dead Outlaw, if you will. They're playing instruments. There's also. It's amazing how they start playing instruments and suddenly the sound takes over and without a hitch. I mean, it's really quite impressive to see, but the story of slavery and the Underground Railroad really packs a wall up here. So while I was resistant at first, they won me over tremendously. And I'm very glad that I was able to put aside my concert hating feelings and embraced it for what it certainly did so well.

[James Marino]

Okay, so that's two thumbs up. Separated by two weeks from Peter and Michael, Mexidus is running at the Audible Manettelane Theater through November 1st. And we'll have a link to that in the show notes. Peter and Michael also were over at the Atlantic Theater Company where they saw a production of let's Love. Michael, why don't you get us started on that?

[Michael Portantier]

Well, I kind of felt like this Evening was cobbled together by little from little bits written by Ethan Cohen and directed by Neil Pepe. Really good cast. Chris Bauer, Dylan Galula, Dionne Graham, Mary McCann, who's absolutely phenomenal in it. Nellie McKay Mackay. Is that how she says?

[Peter Felicia]

Yes. Makai.

[Michael Portantier]

Makai, right, yeah. Nellie Mackay is in it, providing musical interludes. One at the. Before the. The. The play starts and then between the, the. The. You know, between the different plays and combination of well known songs and, and not well known songs. I'm not sure if the not well known ones were original, but I, I didn't know them. Also in the cast, Noah Robbins. Really great to see him back on stage again. CJ Wilson and Mary Wiseman. But it's three one acts by Ethan Cohen, two of which are quite short and the third of which is much longer and has multiple scenes. But one of my major problems with the show is that the transition between scenes weren't even transitions. There were these really quick blackouts. People would be talking, suddenly the lights would black, there would be no music, and then the lights would come up very abruptly again. And one thing that that did is it made the audience. I felt like it made the audience not know when or if they should applaud. And I also think that the audience didn't know when the whole thing was over because it was just another blackout, you know, like all of the rest. And there was no sense of conclusion. So I, I thought there was a very awkward moment when it was the end of the show and the audience didn't realize it. And then gradually, and then finally the lights came up and everyone came on and the audience realized, oh, it's over. So let's applaud for the cast. There's a lot of good humor in these three little plays, I would say. But then there's a lot of, of really not funny humor and also a tremendous amount of scatological content in the play. One thing that I'll mention, that it could be viewed as a spoiler, but I guess you could also view it as a trigger warning. So bear that in mind. In one of the plays, there's a moment where one of the characters vomits quite realistically to the point where a lot of people in the audience are literally going, ooh, ooh. Now we, we did see that before in God of Carnage, but I don't know, I, I thought it just was more well motivated there and handled better here. It's. It. It didn't seem to really work very well, although Noah Robbins played it as well as he possibly could have. So I was, yeah, I, I mean, I, I, I was put off by the, by the, by the huge amount of scatological content and the tremendous amount of vulgarity in, in the three plays. I didn't think that they, that they benefited from that. And it was, it would have been much better if there was a lot less of it. And, and so that, that was, that was my, my main issue. And I, I think it's a, it's a fun evening other than that. But I, I would have liked it a lot better if, if there wasn't constant, if there weren't all these constant things making me just kind of cringe a little bit because of the vulgarity and the scatology.

[James Marino]

All right, Peter, what'd you think?

[Peter Felicia]

Well, at my performance, somebody who is dead center in the first row got up at that scene, the vomiting, and left the theater, which was really something. I mean, the lights are up pretty bright at that point. And I mean, it was very obvious that this woman had just had enough and was leaving. Okay, I'm gonna go to a, a different point. And that is one of the plays has a woman named Susan who's hiring a mafia type to beat up her old boyfriend. She has hard feelings about him. Okay? So we then see the ex boyfriend with his new love. And yet, you know, he still has some feelings for her because she wants him to come over to the apartment. She gives him that impression, and he shows up.

[James Marino]

Up.

[Peter Felicia]

Who also shows up is his new girlfriend. And it turns out that his new girlfriend used to be a lover of the hitman. Okay? Now eventually what you see is that the hitman and his old girlfriend wind up in bed together in that apartment that isn't theirs. Because we are told that the, the woman, the, her name is Susan, she's the one who's hired the hitman and her old boyfriend leave the apartment to go out. Now, who leaves two strangers in your apartment? Remember, it's her apartment. So she's leaving a hitman with her replacement, so to speak, in, in that apartment. Who would do that? So that's my big problem there. I was delighted to see Nellie Mackay, who we gave a Theater World Award some years back. She was very much of a folkie then. Here she is essentially sitting at the piano and doing some great American songbook songs. I mean, she has matured so wonderfully. She was galvanizing to me. I, if, really, if I didn't see her name in the program, I wouldn't have known it was she. I impressed by what she was doing. It's one of my favorite performances in a musical this season, even though this isn't a musical. So otherwise, you know, the, the other things are moderately amusing, pleasant. I did much more smiling than laughing, but I, I don't think this is much must see theater.

[Michael Portantier]

I wonder if Ethan Cohen like set out to write, write three one act plays or if they were just bits. The play that Peter's talking about is the one that's by far the longest. The other two are quite short. The opening one has Mary McCann as a character called the Broad. And she really, I would say it's almost worth it to see this show for her performance and she's trying to pick up a guy in a bar and you'll see what happens with that. And then the third play is. Well, it's just two people on a date that have met through J date and one of the jokes is that one of the people is not Jewish. So that, that was one of the funnier jokes in the thing. But those, those two plays are very, very short and slight, whereas the, the middle one is the longer one that, that has all the blackouts that I thought were so awkward.

[James Marino]

Okay, so let's Love at Atlantic Theatre Company is running through November 22nd. We'll have a link to that in the show notes. It seems to be sold out all through just the everything except for the last week of the performance. So if it's something that's interesting to you, don't wait on it because it looks like the tickets are going all right. Peter, you got a new album from Mark William that you wanted to let us know about. So tell us about this album.

[Peter Felicia]

I'm so impressed by this young man who finds these songs from yesteryear and is so willing to give them a second, third or fourth hearing. One is you Better Love Me, which is from High Spirits, which some audiences will see later in the season. We just heard that Andrea Martin, Katrina Link have joined the cast and, and that's going to be very special. But anyway, Mark does you better Love Me, which is a terrific song by you, Martin and Timothy Gray. So he does Feeling Good from her. The grease paint smell of the craft. The song that really is emerged everybody thought way back when that who can I turn to was going to be the song that was going to last. And it's a wonderful song. But Feeling Good has really lasted because it's been used in so many commercials. But here Mark William does a wonderful job of it. Give me Love from Kiss of the Spider Woman is. Is included as well. The music that makes me dance, the final song from Funny Girl. Girl. Though I've always maintained that the song that should be in that spot is a song where Fanny essentially says, I was so stupid to be taken in by looks. I. You know, rather than, she's still in love with the guys. So getting to something far more recent, let me be your star, the Mark shaming, Scott Whitman song that we heard earlier this year, at least for a little while. So it's just so wonderful to see somebody who. I'm not sure if he's even 30, but I. I doubt he's old enough to be elected president, but he really does a fine job of finding these songs and embracing them. So my love is in the air for him. Just as he starts off with love is in the air, the song that was dropped from Funny Thing Happened the Way the Forum, but has been reclaimed many times. And he's the latest to do it, and I'm glad he did. The album is called if I can Dream. We talked about dreams earlier. And this is a live recording done at the aforementioned Green Room 42, which is on 10th Avenue or 11th. 10th. 10th, I think, on near 42nd Street. So it's a great place to go. It really is a lovely room. And he certainly did a fine job. He also wrote a few songs, so see what you think of him as a songwriter.

[James Marino]

All right, so Mark Williams, if I can dream is on the yellow. What's it called? Yellow Sound Label. Yellow Sound Label, yes. And we'll have a link to that in the show notes.

[Michael Portantier]

It's Mark William, by the way. Singular.

[Peter Felicia]

Singular.

[James Marino]

Singular, yeah. It is correct in front of me. I'm just stupid.

[Peter Felicia]

No, no, no. Everybody else, you know, has the S at the end, so it's not surprising he would do that. So.

[James Marino]

All right, next up, Michael, you got to see something that gives us a historical look into Off Broadway called out Slay presents Cafecino 1X.

[Michael Portantier]

Yes, out outplay is the name of the company. This is the same company that presented a production event that I saw and reviewed and really liked. When was that? Last year? I guess earlier. Much earlier this year. And so that was part of the reason why I attended this, but also because I was really intrigued by the, you know, by the program. I mean, I know a little bit about the Cafe Chino, which was really a birthplace of. Of gay theater and in the, you know, off or off off Broadway movement in New York City. And it really was quite famous in its day, starting, you know, from A shoestring and really continuing on a shoestring. Some people know it, Moses, the, the original birthplace of dames at sea, which is maybe different from the, the kind of thing that they, that they generally did. And that's, that's why it was maybe most successful because it was more mainstream in, in many ways. And this, this show presented 3, 31 acts that were originally done at cappuccino. The Zoo Story by Edward Albee, the Madness of Lady Bright by Lanford Wilson, and Good Night I Love youe by William M. Hoffman. The Zeus story was originally 1956. Madness of Lady Bright was 64 and Good Night I Love youe was 65. And then there was. Representing Dame Sidcy, there was one song from that score, let's have a Simple Wedding. So it really was an interesting presentation. I had never seen Good Night, I Love you or the Madness of Lady Bright. So this was my opportunity to do so. I would say they're both very experimental and non. Linear. And it's interesting in the oeuvre of Lanford Wilson, the Madness of Lady Bright because he, he then really changed the style of his writing thereafter. You know, for people who know obviously the 5th of July and all of his other plays, I think they're much more realistic and linear than the Madness of Lady Bright, which is really a portrait of this fellow, this homosexual guy, kind of losing his mind in his room alone. But he has these voices that he keeps hearing from his past. And in this production those voices were enacted by two actors on stage, which I think maybe was a mistake, but that's the way they chose to do it. And Good Night I Love you also is not, you know, it's not a, a realistic, linear kind of a play. And, and certainly neither is the Zeus story by Edward Albee. Very, very odd. It's. I was reminded when I researched it that it is considered his first play and it is a one act and that he later revised and expanded and gave another title to. But, but this was the original version of it. It's about very, very odd play about a fellow named Peter who's sitting in the park and is accosted by another fellow named Jerry, who really seems to be out of his mind. And the play is almost a monologue for Jerry. Peter says very little during it and it's, and most of what he does is reactive. So that was notable. And, and the whole, this whole production, I would say it, it, it had its, its, its pluses and minuses. The acting was very good overall in general, but by Far it it had an absolutely astounding performance by this fellow named Jack Orico or excuse me O R R I C O Jack Orico as Jerry in the Zoo Story, which is must be one of the ever to memorize because the character is. Seems to be so insane that he really jumps from one thing to another and there doesn't seem to be any connection from one line to the next that he's saying during much of what he says. Anyway. I, I can't even imagine how someone memorizes that that role. Maybe they tape it and then they just listen to it constantly. But whatever. Uh, and, and aside from the memorization, he just really created an indelible character of this very odd, insane person. And I think that maybe you'll be hearing from Jack or Rico again. So I'm glad I attended the show for that reason and also for the historical aspect of these recreations of things that were done by, by Joe Chino. That was the. The name of the fellow who ran Cafe Chino who were produced by him at the Cafe Chino back in the day, which really was a very historic place. And it's worth looking it up to, to read about the history of it. It's quite fascinating.

[James Marino]

All right, so we'll have a link to outplay in the show notes and you can check it out for. For other stuff that they're doing coming up. All right, before we get on to 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 subscribe link that way each and every time we have a new episode of this week on Broadway, it'll be automatically downloaded to Apple Podcast for you. Of course, you don't have to listen to us in Apple podcasts. There's many ways to get us. One way is Patreon P A t r e o-n.com Broadwayradio get us a little bit early, plus a few extra benefits in Patreon and support all of the Broadway radio podcasts. Contact information for Peter from Michael and me can be found in the show [e-mail] as well as links to some of the things we've talked about today. So, Peter, do you have an answer to the brain teaser for from two weeks ago?

[Peter Felicia]

Yep. This legendary Broadway performer once received an Oscar nomination as Best Featured Actress. Some years later, on stage, she played a character who had once won an Oscar as Best Featured Actress. I'm talking about Carol Channing. Who received a best supporting actress Oscar nomination for Thoroughly Modern Millie and played Sylvia Glenn, a best supporting actress Oscar winner, in Legends. Notice that the question said this legendary Broadway performer. That word was carefully chosen. So Paul Witty was first, Sean Logan, J. Aubrey Jones, Stephen Sokoloff, Greg Blazer, who was the accountant on Legends, which is the reason why he got it, Brigadoon. And finally, Tony Janicki after a half dozen or so attempts. So this week's question, the film of the Iceman Cometh. The film of Jersey Boys, a musical by Marvin Hamlisch. Why are these three items linked together and in this order?

[James Marino]

Okay, if you have an answer for that, email [e-mail] we'll let you know if you're on the right track. So, Michael, you saw some movies this week?

[Michael Portantier]

Yes. As a lead into our musical moments, I wanted to give capsule reviews of two movies that are currently in theaters that are of great interest to musical theater enthusiasts. And one of them is Blue Moon, screenplay by Robert Kaplow, K A P L O W, not to be confused with Rob Capilow, K A P I L O W, who is a composer, conductor and music commentator who does those wonderful shows at Merkin hall and elsewhere. At first I was confused about the difference between them, but they are two different people. And directed by Richard Linklater. And this is a fictionalized account of how Lorenz Hart spent the evening at Sardis on the night that Oklahoma opened on Broadway. Of course, Hart had been Richard Rogers writing partner for many years and very successfully, but he had his demons and he had his issues. And so now Rogers is moving on and hooked up with Oscar Hammerstein to write what wound up becoming the biggest hit of Roger's career. And so it's a very difficult night for Larry Hart, played brilliantly by Ethan Hawke in, in this movie. So it is, I mean, it's not presented as a documentary. But that said, there are, it's funny if you're going to put Easter eggs in, in a play or a movie. You know, on the one hand, you know, if you're going to put an Easter egg in, you're obviously appealing to the consenti, the people who are going to recognize them as Easter eggs. But the thing is, if you're appealing to the people who are the consente and know the history really well, then they're also going to notice if things are inaccurate. You know. So for example, this movie at one point has Oscar Hammerstein at the party and he has a young boy with him who he introduces to Larry Hart. And that young boy is supposed to be Stephen Sondheim. And I think most of us know that that would not be accurate, that Sondheim was not at opening night of Oklahoma, although he was, I believe, at opening night of Carousel. Yeah. So maybe that. I don't know, maybe that. That's dramatic license enough to do that, to have the meeting, but other people, it's gonna take it out of the. I think this. There's no reference to this fact. And I also looked it up, but I got the feeling that this screenplay might have started as a play and it could almost still be done as a play because it's. It takes place entirely, except for a very brief prologue. It takes place entirely in. In a bar at Sardis. And so. And it is very, very talky. The whole first long section of it is almost a monologue for. For Larry Hart. He's. He's interacting with the bartender and there are some other people in the bar, but it's. It's very much a monologue. And then there are very few characters, main characters in it. And so I wonder if it was originally written as a play. And I do think it's still. You could. Could pretty much take the screenplay and do it right now as a play with a unit set of the bar at Sardis. By the way, the bar at Sardis is, as is depicted. It's supposed to be the little bar. But the little bar in the movie is maybe about five times the size as the one, the one in the actual Sardis, which again, how wonderful that you can go to Sardis, you know, tomorrow. And it looks basically the same as it does in this movie that's set in night 1943. So some. Some things do last, don't they? The Margaret Qualley is in the film playing a fictionalized version of a composite character, I suppose, of a woman that. That hard is supposedly in love with. It really fudges the whole question of his sexuality. His. His homosexuality is mentioned, but it's. But at the same time, he seems to be obsessed with this woman and. And not in a platonic way. So I thought that was really very confusing. Andrew Scott is excellent in his acting as Richard Rogers, but I would say he. In terms of looks and personality, he seems nothing like Richard Rogers. So it's fun to see him in it, but maybe that's not a. A recreation so much. And there are lots of other Easter eggs in it that people are going to enjoy spotting. But I thought the movie was commendable very commendable for Hawk's magnificent performance and not so commendable in many other ways. And the other film I wanted to mention is the Kiss of the Spider Woman, which unfortunately I'm reading is a, a huge box office flop. Artistically, I would say it's intermittently very successful. It has an extraordinary performance by Tonu, this fellow with one name who plays Molina and Diego Luna as Valentine Valentin. Jennifer Lopez plays multiple roles, but primarily Aurora the Spider Woman. And I think that maybe she has the, if she has star quality, it's not the same kind that Cheetah Rivera had certainly. And so I think a lot of people are going to miss that. And then there were other there were a lot of changes in the show. Lots of songs are cut. All of the songs that are in it are presented as part of the film within the the film. And but interestingly, some songs were restored and there are even some quasi new songs in some cases. John Kander apparently took lyrics that were written by Fred Ebb and never had music set to them and he set music to them. So 1, 2, 2 links were including in the show notes that you'll really, I think you'll want to check out. One is something that was posted by someone who goes by the handle Aurora Spider Woman. And I think I know who that person is, but I'm not sure so I'm not going to say who it is. But anyway, it's a clipping of cut and restored songs from the original production and here is what he wrote about it. Here are six Kander and Eb's song seen in the 1990 world premiere production of Kiss of the Spider Woman at Purchase, New York. These are videos of six songs that were cut and that's really fascinating to to watch that. And the other link is an amazing video that I didn't know existed until three days ago of the complete, complete performance of the original Broadway production of Kiss of the Spider Woman with Chita Rivera and Brent Carver and at all. So that's something you might really, really want to check out. And if you do go to see the movie of Spider Woman either in theaters or when it makes its way to to streaming and whatever, I would be curious to hear people's reactions to it because it's very, very different from the show in in many ways. So our musical moments for for today. The opener is Kiss of the Spider Woman, a clip from the the trailer of the movie as sung by Jennifer Lopez and the closer is something I I hope you can indulge Me, I wanted to memorialize a friend of mine who, who recently died, who I knew for more than quarter, I'm sorry, more than half, half a century because I met her in high school and we did shows together beginning back then. Her name was Ellen Mitchell and she was a real star and stalwart of community theater on Staten island and elsewhere. I saw her play Vera in a production of Pal Joey that was at the Heights Players in Brooklyn years ago. But her many, many roles on Staten island included the title role in Mame and then much more recently, within the last year, she apparently was diagnosed with cervical cancer. But she still, within the last year, she played Martha Brewster in Arsenic and Old Lace. And I sent a photo of that to be included in the show notes of her performing with her co star Barbara Scalise in that show. They were really both fantastic. And then she also, within the last year appeared in a production of and the World Goes Round and in the ensemble of a production of Fiddler on the Roof that I reported on. So she really was great and I think everyone loved her and, and her life touched so many others because of all of the shows she was in. There were a lot, a lot, a lot of people at our wake and they were obviously very, very upset about her passing. So I dug out, as a memorial to her, a clip of her singing in a show that we did in 1976, a choral concert that had also a lot of solos in. And on that occasion she sang the pop song if. If a picture paints a thousand words and why can't I paint you that one. And bread.

[James Marino]

David Gates and bread. David Gates and Bread.

[Michael Portantier]

Yes, exactly.

[James Marino]

That was their original show.

[Michael Portantier]

Yeah, yeah. David Gates. Thanks for. I had forgotten his name. He had a great voice too. But this is Ellen Mitchell singing that song. Song at probably age 17 or 18. And I mean, it's, you know, it's not perfect, but I think you'll enjoy hearing what she sounded like back then and how, you know, how you can sometimes tell talent at a very young age. So farewell to Ellen Mitchell and we'll all really miss her very, very much.

[James Marino]

Okay, so on behalf of Michael Portanti Air and Peter Felicia, this is James Marino saying thanks so much for listening to Broadway radios this week on Broadway. Bye bye bye day you Sam Foreign.

[Michael Portantier]

Hi, I'm Chris Gethard and I'm very excited to tell you about Beautiful Anonymous, a podcast where I talk to random.

[Peter Felicia]

People on the phone.

[Michael Portantier]

I tweet out a phone number. Thousands of people try to call, talk to one of them. They stay anonymous. I can't hang up. That's all the rules. I never know what's gonna happen. We get serious ones. I've talked with meth dealers on their way to prison. I've talked to people who survive mass shootings. Crazy, funny ones. I talked to a guy with a goose laugh. Somebody who dresses up as a pirate on the weekends. I never know what's gonna happen.

[James Marino]

It's a great show.

[Michael Portantier]

Subscribe today, Beautiful Anonymous.