BroadwayRadio: This Week on Broadway – October 26, 2025

Episode Overview

This episode centers on recent events and reviews in the Broadway community, with in-depth discussions of major revivals, new works, and adjacent theater news. The panel—James Marino, Peter Felicia, Janetessa Fox, and Michael Portantier—offers critiques on new productions (“Ragtime” at Lincoln Center, “Not Ready for Prime Time,” “Oh Happy Day” at the Public Theater), the “Kiss of the Spider Woman” film adaptation, and memorable cabaret/pops performances. They weave in personal anecdotes, historic context, and humorous interplay, resulting in a lively, insightful episode for theater fans.

Panelist Introductions & Banter

Timestamps: 03:25–08:12

• James Marino welcomes co-hosts and introduces their credentials, highlighting Peter’s extensive theater writing, Janetessa’s reporting, and Michael’s work as a reviewer and photographer.
• Light banter about Carnegie Hall leads to Michael revealing he is training as a docent there, humorously noting the venue’s storied history. (“You can ask me any question. I probably won’t be able to answer all of them because the history goes back to 1891.” – Michael, 07:01)
• Chat turns briefly to tours of other New York institutions, such as Yankee Stadium.

Review: “Ragtime” at Lincoln Center Theater

Timestamps: 09:08–20:35

Key Points and Critical Insights

• Peter Felicia praises the revival’s adaptation to the Vivian Beaumont’s thrust stage, noting director Lear deBessonet’s masterful translation from City Center’s proscenium setup.
  • “It works astonishingly well on the Vivienne Momo stage... I thought that was one of the great strengths.” (09:23)
• Minimal, non-ornate scenery contrasted with the original production’s opulence—“the show is so magnificent, always has been.”
• Performance Highlights:
  • Michelle Lewis (Mother) receives a standing ovation; Joshua Henry (Coalhouse) gets extended applause. Casey Levy (Mother), Brandon Uranowitz (Tateh), and Ben Levy Ross (Mother’s Younger Brother) all recognized.
  • Noted diversity in casting: “There really is such a melting pot feeling here that reminds us that America once was a welcoming melting pot.” (14:06)
• Sociopolitical Context: The musical’s themes of race and the American dream felt urgent, with Peter lamenting contemporary backpedaling on social justice:
  • “It’s sad to think that in the 27 years since ‘Ragtime’ that I can’t say that things have much improved.” (13:38)
• James echoes Peter, discussing the four mid-show standing ovations and extolling the upgraded staging and deeper resonance at Lincoln Center.
  • “I think that this production is far, far better than City Center.” (16:15)
• Tony predictions abound: strong prospects for Best Actor, Best Actress, and featured categories.

Notable Quotes

• Peter Felicia: “The barometer for standing ovations meaning something is when that happens in the middle of the show... only count if you get them in the middle, as opposed to the knee jerk reaction at the end.” (15:25)
• Michael Portantier (on making a movie musical): “So much of it is direct address... They would have to come up with a film equivalent of that. I expect maybe that’s one reason why there’s not a movie of it yet.” (17:44)

Review: “Not Ready for Prime Time” at MCC Theater (Newman Mills)

Timestamps: 21:13–28:23

Key Points and Critical Insights

• Play Subject: The creation of “Saturday Night Live,” focusing on Lorne Michaels and the original cast.
• Michael Portantier found the direction and script lacking:
  • “Very little humor in it, which obviously was going to be a kiss of death, given the subject matter... kind of boring in general.” (21:13)
• Pitfalls of Portrayed Icons: The cast faced “tremendous pitfalls” playing such legendary comedians; the writing failed to support them.
• Peter Felicia adds that the staging made sightlines and audibility difficult; moments of audience engagement were rare except for Evan Rubin as Gilda Radner/Roseanne Roseannadanna:
  • “It was almost like you were in the middle of the ocean drowning and you found a life preserver.” (24:34)
• The show’s lack of affiliation with NBC or SNL is clarified—a point of confusion.

Notable Quotes

• Peter Felicia: “I wish people resembled the characters more... for the most part, for virtually 99 and 44/100% of the time, it's really quite boring.” (25:12)

Review: “Kiss of the Spider Woman” Film Adaptation

Timestamps: 28:43–43:32

Key Points and Critical Insights

• Janetessa Fox delivers an in-depth, scholarly history of the source material, from Puig’s novel to various stage and screen adaptations.
• Screenplay Critique: Condon’s screenplay blends elements from different sources, resulting in characters and themes that sometimes “don’t always fit together perfectly and the seams can really show.” (approx. 30:45)
• Tonal Mismatch: The central film-within-film fantasy does not mirror the main prison storyline as effectively as other versions.
• Characters’ Evolution: By softening the antagonism between Molina and Valentine, the film loses some dramatic impact:
  • “Having [Valentine] be supportive from the very beginning means he doesn't have nearly as far to grow.” (32:45)
• Performance Praise:
  • Diego Luna, newcomer Tonatiuh, and Jennifer Lopez each play multiple roles. Lopez’s performances are mixed, excelling as the movie star and Spider Woman but less effective as Aurora.
• Production Design: Visual allusions to classic MGM musicals; costumes and cinematography applauded.
• Industry Frustrations: Weak marketing undermined box office—“There were no marquees in Times Square, no. Nothing in the subway stations. ...people who I know were interested in seeing it didn't know it had been released.” (40:50)

Notable Moment

• Michael provides direct feedback from Bill Condon on the “Lady in the Dark” references, revealing the filmmaker’s intent (37:08–39:15).

Review: “Oh Happy Day” at the Public Theater

Timestamps: 44:13–47:42

Key Points and Critical Insights

• Peter Felicia finds this Jordan E. Cooper play with music to be “tremendously effective”—combining family conflict, redemption, and fantasy as “three angels” set the tone.
• Cast: Donovan Louis Bazemore and Tamika Lawrence, praised as revelations.
• Direction: Stevie Walker-Webb’s pacing keeps the show moving with “one surprise after the other.”
• Production Extended through November 9: Indicating strong word-of-mouth and audience interest.

Notable Quotes

• “A very, very effective play with music... a freight train that keeps going and going and going with one surprise after the other.” (45:22)

Review: “Playing Shylock” at Theatre for a New Audience (Brooklyn)

Timestamps: 48:17–54:22

Key Points and Critical Insights

• Premise: Saul Rubinek plays a version of himself justified in a show-within-a-show setup—“Merchant of Venice” canceled mid-performance due to antisemitism protests.
• Michael finds the conceit effective, allowing the play to explore modern debates about Shakespeare’s “Shylock” and antisemitism with power:
  • “Saul Rubinek in this one-person show does a brilliant job... one of the best one-person shows I’ve ever seen.” (50:49)
• Peter notes the show is slightly overlong and repetitive but overall “worthwhile” and “clever under the circumstances.” (52:22)

Review: “Ho Church” at Ars Nova

Timestamps: 54:22–57:44

Key Points and Critical Insights

• Peter Felicia attends this Brandon Kyle Goodman solo show, which uses a faux-church setting to preach sex positivity.
• Audience Participation: High enthusiasm, minimal lewdness despite graphic puppetry; the message is to embrace sexuality.
• Social Relevance: Challenges outdated teachings and shame surrounding sex—“Sex is just one of those things that we should really embrace rather than be fearful of.” (54:39)

The New York Pops: Movie Musical Magic & Cabaret Highlights

Timestamps: 58:26–66:16

• Michael gushes over the New York Pops at Carnegie Hall, focusing on hearing lush original and movie orchestrations live (“Oklahoma,” “The Sound of Music”).
• Guests included Yu Pinero (Phantom’s longest-running Broadway star) and Elizabeth Stanley.
• Highlights: Stanley shines in “Unusual Way” from “Nine” and “Back to Before” from “Ragtime.”
• Michael reviews Daniel Reichard’s “Hello, Neighbor” (songs from children’s classics) at the Laurie Beechman and Julie Styne tribute at the Cabaret Convention.

In Memoriam: June Lockhart

Timestamps: 66:16–70:49

• Panel remembers June Lockhart, who passed at 100; discussion of her Tony-winning Broadway work (“For Love or Money”) and iconic TV roles (“Lassie,” “Lost in Space”).
• Anecdotes & Humor: Peter fantasizes about the “Lost in Space” cast mounting “She Loves Me” in space.

Brain Teaser & Closing Musical Moments

Timestamps: 71:38–76:19

• Brain Teaser: Peter provides this week's and last week's trivia challenges.
• Musical Moments: Michael offers a comparative lesson—a juxtaposition of “The Sound of Music” film and stage orchestrations, reflecting on the importance of faithful adaptation.

Notable Quotes & Standout Moments

• “It’s sad to think that in the 27 years since ‘Ragtime’ that I can’t say that things have much improved.” — Peter Felicia, 13:38
• “The barometer for standing ovations meaning something is when that happens in the middle of the show... as opposed to the knee jerk reaction at the end.” — Peter Felicia, 15:25
• “Very little humor in it, which obviously was going to be a kiss of death, given the subject matter.” — Michael Portantier, 21:13 (“Not Ready for Prime Time”)
• “Having [Valentin] be supportive from the very beginning means he doesn't have nearly as far to grow.” — Janetessa Fox, 32:45 (“Kiss of the Spider Woman”)
• “A very, very effective play with music... a freight train that keeps going and going and going with one surprise after the other.” — Peter Felicia, 45:22 (“Oh Happy Day”)
• “Saul Rubinek... does a brilliant job. It was an absolute gem and I was so, so glad that I went.” — Michael Portantier, 50:49 (“Playing Shylock”)

Timestamps for Important Segments

• 03:25 — Host introductions, Carnegie Hall banter
• 09:08 — Review: “Ragtime” at Lincoln Center (Peter, James, Michael)
• 21:13 — Review: “Not Ready for Prime Time” (Michael, Peter)
• 28:43 — Review: “Kiss of the Spider Woman” film (Janetessa, Michael)
• 44:13 — Review: “Oh Happy Day” at Public Theater (Peter)
• 48:17 — Review: “Playing Shylock” at TFANA (Michael, Peter)
• 54:22 — Review: “Ho Church” at Ars Nova (Peter)
• 58:26 — The New York Pops & cabaret performances (Michael)
• 66:16 — Tribute: June Lockhart (Peter, Michael)
• 71:38 — Brain Teaser & Musical Moments (Peter, Michael)

Tone & Style

The episode is conversational, historically informed, and punctuated with smart humor and friendly ribbing among co-hosts. Critiques are candid but respectful, often contextualized with theater history or personal anecdotes. The group’s fondness for musical theater’s legacy and their optimism about its future come through, even when discussing disappointments.

For Further Exploration

• Ragtime at Lincoln Center: Performances through Jan 4, 2026; strong reviews portend award nominations and possible extension.
• Oh Happy Day at The Public: Extended to Nov 9, 2025—highly recommended for fans of new American drama with musical elements.
• Playing Shylock at TFANA: Must-see for those interested in Shakespearean reinterpretation.
• Kiss of the Spider Woman (Film): Streaming release set for Nov 11; recommended for fans of musical and literary adaptations, despite narrative seam issues.
• Cabaret & Pops: Seek out New York Pops events and cabaret conventions for an orchestral theater fix.

For complete show notes and links, visit broadwayradio.com.