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.

Hosts

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

Key Discussion Points & Segment Summaries

[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).

[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.

[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.”

[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.

[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.”

[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.

[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.”

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])

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.

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

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.

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