BroadwayRadio: This Week on Broadway for October 5, 2025 – "Punch" @ Manhattan Theatre Club
Date: October 5, 2025
Host: James Marino
Panelists: Peter Filicia, Michael Portantier
Episode Overview
This episode spotlights the Manhattan Theatre Club’s new production, "Punch," and includes detailed discussions and critical reviews of other plays, musicals, and theatre news currently on and off-Broadway. The show maintains its signature friendly banter and in-depth critical analysis, covering both mainstream and lesser-known shows.
Key Discussion Points & Insights
Opening Thoughts & National "Do Something Nice" Day
- Peter Filicia highlights “Why Can’t We All Be Nice,” noting the clever writing and positive message, tying in with National Do Something Nice Day.
- “Nice must be some part of good. I mean, really.” – Peter Filicia [01:40]
Peter’s Cincinnati Trip & High School Drama
- Shares an anecdote about unexpectedly seeing his play performed at Fairfield High School, OH, and commends the school's advanced theater facilities.
- “They have a theater that very much resembles the new house... two theaters, a scene shop, costume shop at a high school. It's incredible.” – Peter Filicia [03:38]
Featured Review: "Punch" at Manhattan Theatre Club
General Impressions
- Peter Filicia: Initially struggled with "thick accents" but adjusted. Praises writing and performances, especially Will Harrison (Jacob), Victoria Clark (the mother), Sam Robarts (father), and the direction by Adam Penford (a "traffic cop" for a busy stage).
- The play is notable for its adaptation of a real-life incident—a young Englishman’s tragic punch leads to a fatality, and he must face the victim's family.
- Awards Watch: Early favorite for multiple nominations.
- “If you get flummoxed at the beginning, stay with it because it will reap rewards. And it's ultimately very heartwarming and very nice for a play that does involve, well, let's face it, a murder.” – Peter Filicia [07:50]
[05:16] – [08:01] Peter Filicia’s Detailed Review
[08:18] – [12:47] Michael Portantier’s Turn
Victoria Clark’s Performance
- Both Michael and Peter found it refreshing to see Victoria Clark in a dramatic, non-musical, British-accented role.
- “She's such a wonderful actress, and she was very wonderful in this. She had a very moving performance as the mother of the central character.” – Michael Portantier [08:18]
The Cast’s Accents & Performances
- Will Harrison's British accent deemed "100% authentic" by Michael.
- Ensemble cast praised, though Michael critiques the double- and triple-casting, finding it distracts from character depth and contributes to long Act 1.
- “I think this play was hindered greatly by the amount of multiple roles played by certain people in the cast.” – Michael Portantier [10:16]
- “It's worth it. Stay with it... Punch is just a, it's, it's gripping. It held me.” – James Marino [13:18]
Structure & Pacing
- All agree the first act is heavy on exposition but the payoff is significant in Act 2.
- Noted that the play is based on a true story involving themes of forgiveness after tragic loss.
Relevance & Thematic Depth
- Discussion on the real-life nature of the story, comparisons to forgiveness narratives, and the emotional intensity of the confrontation scenes.
Awards Prognostication
- Early slotting in the season could risk "Punch" being overlooked, but it stands out as a strong contender.
[14:23] “Interesting... we never do see the young man who is murdered. He's not portrayed in this play.” – Michael Portantier
[14:23] Show runs at the Samuel J. Friedman Theater through November 2
Other Theatre Reviews & Discussions
"Murdoch: The Final Interview" @ Theater 555 [14:59]
- Explored as a one-person “tour de force” by Jamie Jackson.
- Noted for strong performance rather than revelatory insight.
"Caroline" @ MCC Theater [16:57]
- Unique approach: young trans person’s identity not central conflict.
- Emphasis on mother–daughter–grandmother relationships and generational tension.
- River Lip Smith (Caroline) and Chloe Grace Moretz (Maddie, the mother) highlighted for standout performances.
- “If David Cromer is taking on a project, it does have a great deal of worth, and this is no exception.” – Peter Filicia [23:19]
"Oklahoma!" @ Northern Kentucky University [23:59]
- Praised for dynamite student casting and innovative choreography by Genevieve Perino.
- Curtain call energy and ensemble joy specifically commended.
"Mexico" @ Audible Minetta Lane Theater [27:27]
- Michael raves: “Absolutely extraordinary,” with inventive use of live looping and instrumentation by Brian Quijada & Nigel D. Robinson.
- Illuminates little-known part of the Underground Railroad story (to Mexico).
"The Other Americans" @ The Public [34:00]
- John Leguizamo takes a more mature role as a father.
- Family drama about interference and "everybody having an opinion," though a little predictable.
"Pen Pals" @ DR2 Theater [36:27]
- Kathleen Chalfant and Ellen McLaughlin lauded for chemistry in this "Love Letters"-style two-hander, based on a true, platonic pen-pal relationship.
"Marilyn, Mom and Me" (Backers Audition) [42:50]
- Docudrama about Eileen Heckart and Marilyn Monroe, featuring Anthony Rapp and Alicia Soper. Billed for potential strong future production, particularly highlighting Soper’s captivating Monroe.
"Sweeney Todd" @ NYU Steinhardt [45:48]
- Michael loved the open pit and nearly uncut production.
- Frustrations aired over digital-only programs (QR code failed), raising concerns about accessibility and the "go green" rationale.
"Torería" @ WP Theater [52:31]
- Set in Mexico; woman wants to be a bullfighter.
- Critique of overused device: characters overhearing at the wrong time.
"Nothing Like Broadway!" @ Marjorie S. Dean Little Theater [55:05]
- Mixed review: excellent lyrics, but accompaniment and book heavily critiqued.
- Praise for standout Josie Miller.
Notable Quotes & Memorable Moments
-
On Accents in “Punch”:
“Will Harrison... his Brit accent is absolutely, to my ears, 100% authentic.”
– Michael Portantier [09:52] -
On Forgiveness Theme:
“Some people have the ability to rise above to that point. I am not sure that I could do it, but I think to see it dramatized in this way is amazing.”
– Michael Portantier [11:10] -
On Live Looping in “Mexico”:
“You have to experience it live so you can see them actually create this every single night from scratch.”
– Michael Portantier [31:39] -
On Digital Programs:
“Given that the cell reception in the theater is terrible, don't you think NYU, with all its millions, could have sprung for a printed program?”
– Michael Portantier [48:25]
Timestamps of Important Segments
- Intro, Cast & Announcements: [00:00 - 04:54]
- "Punch" at MTC main review: [04:58 - 14:23]
- "Murdoch: The Final Interview": [14:59]
- "Caroline" at MCC: [16:57]
- "Oklahoma!" at NKU: [23:59]
- "Mexico" at Audible Minetta Lane: [27:27]
- "The Other Americans": [34:00]
- "Pen Pals" at DR2: [36:27]
- "Marilyn, Mom, and Me": [42:50]
- "Sweeney Todd" at NYU: [45:48]
- "Torería" at WP Theater: [52:31]
- "Nothing Like Broadway!": [55:05]
- Patricia Routledge Tribute: [60:32]
In Memoriam: Patricia Routledge
- Celebrated for her Tony-winning performance in "Darling of the Day" (a rare mid-run win), "1600 Pennsylvania Avenue," and "Pirates of Penzance."
- Praised for her unique comedic and dramatic gifts.
- “You’ve never seen anything like it. Indeed. When have you ever seen a duet for one, you know, in a song with two first ladies?” – Peter Filicia [62:54]
Musical Moments
- Tribute to Julie Andrews on her 90th birthday, featuring “How Can I Wait” and “If Love Were All” from her 1961 album “Broadway’s Fair Julie.”
“Julie Andrews was in a class by herself... please enjoy these two selections.” – Michael Portantier [67:11]
Wrap-Up & Listener Engagement
- Brain teaser and musical moments round out the episode.
- Encouragement to subscribe and explore further at BroadwayRadio.com.
Summary
This episode is a must-listen for anyone interested in current NYC theater, featuring a rich and honest discussion of "Punch" (Manhattan Theatre Club) with balanced critical perspectives—applauding its acting, realistic emotional journey, and thematic depth while noting structural flaws and length. The panel’s conversational, knowledgeable tone—peppered with theatrical anecdotes and snippets of musical theater history—makes it engaging and enlightening for both theater insiders and newcomers. Other reviews offer a snapshot of both established and up-and-coming works, always framed by the hosts’ deep love for the stage.