Broadway Breakdown

3d ago

Edward Albee’s final play to open on Broadway remains one of the most controversial: The Goat, or Who Is Sylvia? In this Deep Dive, Matt and guest Robert W. Schneider unpack its infamous premise and explore why a play so boldly bonkers can be so shockingly rewarding. The two also explore how Albee weaponizes language, social taboos, and why the play’s legacy is still undefined. Robert W. Schneider—director, educator, author, and longtime theater historian—is the perfect sparring partner for this conversation. A deep lover of Albee’s work with firsthand experience teaching and contextualizing The Goat , Rob brings historical perspective, production insight, and a fearless willingness to argue the play’s moral, emotional, and theatrical implications. Broadway Breakdown Links Broadway Breakdown: Discord Channel Broadway Breakdown: Substack Timestamps 00:00 – Introduction 06:45 – Plot overview and the play’s infamous reveal 15:30 – Original Broadway production and cultural reaction in 2002 20:00 – Mercedes Ruehl’s performance and the physical toll of Stevie 38:30 – Tony Awards context and critical reception 52:00 – Revivals, casting fantasies, and what it would take to bring it back 1:15:00 – Legacy: is The Goat a masterpiece, a provocation, or both? 1:27:00 – Final thoughts on Albee, tragedy, and modern audiences Key People: Edward Albee (Playwright), Mercedes Ruehl, Bill Pullman, Sally Field, Bill Irwin, Lindsay Duncan, Sarah Paulson, Eddie Redmayne Listener Discussion Questions: Does The Goat still shock modern audiences—or has the culture caught up to it? Is Albee’s language indulgent by design, or does it undermine the play’s momentum? What kind of casting would make a Broadway revival of The Goat viable today? This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit bwaybreakdown.substack.com

Dec 11

Our Deep Dive of Great Comet comes to its conclusion. Actor/singer/diva/Great Comet superfan Natalie Walker remains to dig into the show’s electrifying soundscape, its roots in War and Peace , and how Dave Malloy explodes character, form, and musical vocabulary. Matt and Natalie break down what makes Comet such a singular theatrical experience—structurally, emotionally, and spiritually—and why its legacy continues to glow long after the comet’s tail faded from Broadway. Guest introduction Natalie Walker is an actor, singer, and comedic force known for her singular interpretations of musical theater material. She’s been nominated for a Drama Desk and Lucille Lortel Award and recently brought her sold out show Mad Scenes to Joe’s Pub. Her extensive history with Great Comet across multiple productions—including Kazino, A.R.T., and Broadway—brings insight as both a performer and longtime fan makes her the ideal partner for this deep-dive analysis. Broadway Breakdown Links: Broadway Breakdown Discord Broadway Breakdown Substack Timestamps 00:00 – Welcome & why Great Comet still matters Why Comet remains one of the most daring Broadway productions of the 2010s. 04:30 – Translating Kazino’s immersive chaos to a proscenium Matt and Natalie break down the production design on Broadway. 11:50 – “Charming” and the weaponization of flattery A textual and musical unpacking of Hélène’s manipulation and why “such a shame to bury pearls in the country” is one of song’s great lines. 34:20 – The Abduction: pacing, spectacle, and the Broadway-length debate Matt’s case for trimming the sequence and why certain Broadway changes improved storytelling. 42:30 – Pierre, Natasha & the power of perceived monstrosity Pierre’s meeting with Natasha and how online behavior mirrors the novel’s themes. 59:00 – Pierre’s emotional repression & the final confession A breakdown of Pierre’s “you should be with the brightest, handsomest, best person” scene and why people who seem emotionally constrained often feel the most. 1:24:45 – Social media, discourse & the collapse of the Broadway run How the “Great Comet discourse” spiraled, why it fed into Malloy’s Octet , and what the show reveals about online culture and human empathy. Key people mentioned Creators * Dave Malloy (composer, lyricist, book), Rachel Chavkin (director), Sam Pinkleton (choreography), Mimi Lien (set design), Paloma Young (costumes), Bradley King (lighting) Original Broadway cast * Josh Groban (Pierre), Denée Benton (Natasha), Lucas Steele (Anatole), Amber Gray (Hélène), Grace McLean (Marya D.), Brittain Ashford (Sonya), Nick Choksi (Doléhov) Other notable performers mentioned * Heath Saunders, Shaina Taub, Kuhu Verma ( Octet ) Resources: * Original Broadway Cast Recording – Natasha, Pierre & the Great Comet of 1812 * Tolstoy’s War and Peace (Volume 2, Part 5) — source text for the musical * Dave Malloy’s website & notes on Comet * Ars Nova production materials / archival info * A.R.T. production history * Broadway run timeline & Tony Awards overview * Octet (Dave Malloy) – background and cast information Listener discussion questions * Great Comet blends musical genres with character psychology—what musical shift in the show hits you the hardest, and why? * Which version of Great Comet (Kazino, ART, Broadway) do you think best suits the material—and what would your dream version look like? * Pierre and Natasha’s final scene is deceptively simple—what do you think the moment reveals about each of them that the rest of the show doesn’t? This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit bwaybreakdown.substack.com

Dec 4

Episode Summary Matt dives into two major musical events: Broadway’s divisive, new bio-musical The Queen of Versailles and its two different leading ladies, as well as the long-awaited revival of Ragtime . He breaks down the productions’ strengths, stumbles, creative choices, and star performances before welcoming Broadway content creator and author Teale Dvornik for a candid conversation about audience culture, the changing ecosystem around modern theater and her new book History Hiding Around Broadway . Timestamps 00:00 – Opening & Episode Setup Matt tees up the week’s reviews and previews what’s ahead. 02:10 – The Queen of Versailles A breakdown of the musical’s glossy aesthetic, technical elements, score, staging, and script; Matt’s take on Kristin Chenoweth’s performance; questions about tone, satire, and emotional center; comparisons to other wealth-focused musicals. 23:00 – Ragtime Initial expectations vs. what the production delivers; performances, orchestrations, pacing, and the challenge of modernizing a massive period musical; where this revival succeeds, where it pulls back, and how it reframes the material for 2025 audiences. 45:00 – Interview: Teale Dvornik A thoughtful, candid conversation about Broadway marketing, social-media influence, community behavior, and how digital audiences impact ticket sales, show reputation, and performer well-being. Teale offers insight from inside the industry — and clears up several misconceptions about influencers, access, and online discourse. Key People Mentioned The Queen of Versailles * Kristin Chenoweth , Sherie Rene Scott, Stephen Schwartz , Lindsey Ferrentino , Michael Arden Ragtime * Lynn Ahrens & Stephen Flaherty , Terrence McNally , E.L. Doctorow Interview * Teale Dvornik Resources & Links Broadway Breakdown: Discord Broadway Breakdown: Substack Buy History Hiding Around Broadway Listener Discussion Questions * What do you think would make The Queen of Versailles work? And could time be kinder to it down the line? * How should a modern revival approach a large, politically charged musical like Ragtime ? * Has an individual performance changed your opinion on a show? This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit bwaybreakdown.substack.com

Nov 27

Matt Reviews: Wicked: For Good with Andrew Chappelle Matt is joined by Broadway actor and podcast host Andrew Chappelle for a theater-nerdy breakdown of the hotly anticipated Wicked: For Good . Together, they dig into how Part Two stacks up against Part One, what the film gets right (and very right), and where it stumbles on its way down the Yellow Brick Road. From pacing to performances to the Wizard of Oz tie-ins, this episode explores why Wicked remains one of the most passionately debated properties in modern musical theater. Resources & Links Broadway Breakdown Discord Broadway Breakdown Substack Timestamps 00:00 – Welcome to Oz… Again Matt and Andrew introduce the episode and their shared history with the Wicked universe. 08:45 – Revisiting Part One & the Big Pacing Debate Matt’s qualms with Part One resurface and why movie musicals today struggle with airflow and pacing. Andrew counters with why he loves the “epic fantasy” pacing of the films. 10:40 – Comparing Film vs. Stage Energy Andrew describes seeing Wicked live again and realizing how fast the Broadway version moves — and how intentionally the films do not . 14:20 – No Good Deed Andrew declares No Good Deed the film’s peak — a visceral, intermission-style gut punch. Matt shares his own favorite moments, especially Ariana Grande’s performance. 22:40 – Can Art Be Too Safe? A conversation about modern creative fear, audience reactions, and why art that tries not to offend often loses its punch. 25:20 – The Wizard of Oz Problem (or Feature?) The backlash to Act Two’s deeper Wizard of Oz connections — and why fans remain divided. 56:50 – New Songs: Going for the Oscar Original songs in movie musicals: the pressure, the pitfalls, and why audiences scrutinize additions to iconic scores. Key People Mentioned Film Cast: Cynthia Erivo, Ariana Grande, Michelle Yeoh, Jeff Goldblum Creative Team: Stephen Schwartz, Winnie Holzman, Jon M. Chu Other Titles Referenced: Chicago , Dreamgirls , Hamilton , The Wizard of Oz , Suffs Listener Discussion Questions Did Wicked: For Good capture the emotional high of the stage version for you — or did the cinematic scope change it? How do you feel about the additional Wizard of Oz tie-ins? Did they enhance the story or distract from it? What makes a movie musical adaptation succeed — pacing, performance, fidelity to the stage show, or something else entirely? This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit bwaybreakdown.substack.com

Nov 25

Episode Summary In this bonus review episode, Matt tackles four very different productions— Oedipus , The Baker’s Wife , Prince F*ggot , and Two Strangers Carry a Cake Across New York . From classics, revivals, new works, and small downtown gems, he breaks down what sings, what stumbles, and what you might want to spend your money (or not spend your money) on this season. He also addresses audience questions about ticket pricing, press seats, and the realities of covering an entire Broadway season as a critic and podcaster. Timestamps 00:00 – Intro & Season Updates Live-show successes, upcoming cabaret dates for Broadway Breakdown , and how bonus review episodes will fit into the schedule. 02:30 – On Ticket Pricing, Press Seats & “Cringe” Feedback Matt clarifies misconceptions about requesting press tickets and discusses the financial/logistical realities of reviewing an entire season. 10:20 – Oedipus Overview of the production, standout performances, and early-season Tony nomination predictions—particularly in featured actor/actress categories. 18:10 – The Baker’s Wife A full dive into the show’s infamously chaotic production history, the new Classic Stage Company staging, Schwartz’s revisions over the years, and performances that make (or don’t make) the revival sing. 33:00 – Prince Faggot A nuanced review of the play’s thematic ambition, its monologue structure, moments that soar, moments that miss, and why the final monologue feels disconnected from the whole. Plus praise for the cast and a shout-out to excellent house staff. 45:55 – Two Strangers Carry a Cake Across New York A discussion of structure, pace, tone, and how well (or not) the piece handles its ideas about connection and modern loneliness. (Transcript references structural critique connected to this section.) Key People Mentioned * Mark Strong, Lesley Manville, Robert Icke - Stars and Director/Adapter of Oedipus * Stephen Schwartz – composer/lyricist of The Baker’s Wife * Carol Demas, Patti LuPone, Paul Sorvino – original Baker’s Wife figures in the show’s rocky history * Ariana DeBose, Scott Bakula, Nathan Lee Graham, Judy Kuhn - members of the CSC production of The Baker’s Wife * David Greenspan – praised in Prince F*ggot * Kuhnsie – featured Diva of the Week, singing “Meadowlark” * Sam Tutty, Christiana Pitts - Stars of Two Strangers Carry a Cake Across New York Resources & Links * Telecharge – tickets for shows mentioned: https://www.telecharge.com/ * Broadway Breakdown Discord * Broadway Breakdown Substack Listener Discussion Questions * Which of the four shows reviewed would you prioritize seeing, and why? * How do you balance ticket prices with the desire to keep up with a Broadway season—what makes a show “worth it” to you? * For revivals like The Baker’s Wife , do you prefer faithfulness to the original vision or bold reinvention? This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit bwaybreakdown.substack.com

Nov 20

Matt and guest Natalie Walker ( The Big Gay Jamboree, Last Bimbo of the Apocalypse ) blast off into the glittering, vodka-drenched universe of Natasha, Pierre & The Great Comet of 1812 —Dave Malloy and Rachel Chavkin’s electro-pop opera spun from a 70-page slice of War and Peace . Together they trace the show’s evolution from Ars Nova experiment to Broadway spectacle, unpack why the score still fries their nervous systems (in the best way), and revisit the tent-era intimacy that made audiences feel complicit, overwhelmed, and fully alive. Guest introduction Natalie Walker —actor, comedian, vocalist, and longtime Great Comet superfan—joins the Deep Dive with the passion of someone who quite literally rushed the show “a million times.” Known for her sharp wit, impeccable musical instincts, and encyclopedic knowledge of chaotic theatrical women, she’s the ideal guide for unpacking the show’s origins, its cult-devoted audience, and its singular place in the Broadway ecosystem. Timestamps 00:00 – 04:00 Cold open chaos; setting the stage in Moscow, 1812. 06:00 – 12:00 Natalie’s fan origin story ie when she realized New Musical Theatre Can Still Be Good™ . 10:00 – 14:00 Matt’s first Comet experience, hype culture, and Phillipa Soo’s star-making performance. 13:45 – 24:00 Origins at Ars Nova/Off-Broadway 30:00 – 33:30 Natasha’s arc and teenage intensity. 31:30 – 33:30 War & Peace 101 48:00 – 52:00 Scaling the show up: What was gained, what was lost. 56:00 – 1:01:30 The complexities of Pierre’s backstory, depression, inherited wealth, and moral arc; why the finale belongs to him. 1:10:30 – 1:15:30 Egg shakers, Chavkin’s visual metaphors, and Natasha’s unraveling. 1:22:40 – 1:25:20 Casting possibilities: why Comet works best with unpredictable talents. Key people mentioned Creators * Dave Malloy — book, music, lyrics; original Pierre * Rachel Chavkin, director; Or Matias, music director; Bradley King, lighting designer (“King indeed”); Mimi Lien, scenic designer; Paloma Young, costume designer * Original/Notable Cast: Phillipa Soo, Dave Malloy, Amber Grey, Grace McLean, Lucas Steele, Nicholas Belton, Gelsey Bell, Josh Groban, Denée Benton, Scott Stangland, David Abeles, Shaina Taub Resources & Links * Rachel Chavkin & Dave Malloy: Interview at The Strand * NY Times reviews ( Ars Nova , Kazino , Broadway ) * Great Comet Wikipedia page * “ What Is The Great Comet ? ” * “ How Great Comet Burned Out ” Listener discussion questions * Do you prefer the show intimate or epic? Why? * Which qualities define Natasha or Pierre for you? * How does Great Comet ’s musical style deepen its small slice of War and Peace ? This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit bwaybreakdown.substack.com

Nov 13

Matt returns with a packed roundup of New York’s latest plays and musicals — from existential despair to gay country catharsis. In this marathon of opinions, he weighs in on everything from Keanu Reeves’ Beckett turn to Matt Rodin’s star power and whether Bat Boy might finally fly again. Resources & Links Broadway Breakdown, A Cabaret Now: Tix Broadway Breakdown: Discord Broadway Breakdown: Substack 🎟️ Telecharge – Broadway Tickets Timestamps 00:00 – Intro and theater-season chaos check-in 03:30 – Punch 17:00 – Beau 35:00 – Waiting for Godot 51:00 – Seat of Our Pants 1:08:00 – ART 1:25:00 – Little Bear Ridge Road 1:43:00 – Bat Boy Key People Mentioned * Punch: James Graham (playwright), Victoria Clark, Sam Robards, Will Harrison * Beau: Matt Rodin, Jeb Brown, Douglas Lyons (writer), Josh Rhodes (director) * Waiting for Godot: Keanu Reeves, Alex Winter, Brandon J. Dirden, Michael Patrick Thornton, Jamie Lloyd (director) * Seat of Our Pants: Ethan Lipton (writer), Leigh Silverman (director), Micaela Diamond, Ruthie Ann Miles, Shuler Hensley, Damon Daunno * ART: Yasmina Reza (playwright), Scott Ellis (director), Bobby Cannavale, Neil Patrick Harris, James Corden * Little Bear Ridge Road: Laurie Metcalf, Micah Stock, John Drea, Joe Mantello (director), Samuel D. Harris (playwright) * Bat Boy: Lawrence O’Keefe (composer), Keythe Farley & Brian Flemming (book/lyrics), Kerry Butler, Taylor Trensch Listener Discussion Questions * Did listening give you incentive to see any of these shows? * Is it better to have a mess of a show with some great highs or a show that’s consistently fine? * Should Bat Boy finally make the leap to Broadway, or stay a cult favorite? This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit bwaybreakdown.substack.com

Nov 6

Cinema in the Cell Block In this episode, Matt and returning Pod Mother Ali Gordon dive into the latest movie musical: Kiss of the Spider Woman . Adapted from the Tony-winning musical, Spiderwoman follows homosexual window dresser, Molina, and revolutionary Valentin. The two are cellmates in an Argentinian prison at the height of the country’s military controlled government. The two bond as Molina recites his favorite movie musical starring his favorite actress, La Luna, to help distract the two from the perils of their everyday lives. Matt and Ali untangle the stage show’s campy contradictions, while also highlighting what makes it so magnetic. The two also discuss the story’s origins as a novel and the Oscar-winning 1980’s film that preceded even the stage musical. And what exactly happens to a story about repression when it gets the glossy movie-musical treatment? Ali Gordon, writer, comedian, and longtime Broadway Breakdown favorite, joins to celebrate her debut novel We Have Reached the End of Our Show and to unpack a show she adores, flaws and all. A theater obsessive with razor-sharp insight (and the patience to debate Bill Condon), Ali brings her trademark mix of heart, humor, and “I know this is messy but I love it anyway” energy to the conversation. Timestamps 00:00 – Intro 02:30 – Kiss of the Spider Woman : Ali Gordon’s “favorite wreck” 08:00 – From novel to stage: Manuel Puig’s wild narrative form 11:00 – Queerness and censorship in the musical’s early years 18:00 – The 1985 film vs. the 1993 musical: tone, transness, and tension 23:00 – Valentin and Molina: machismo, fantasy, and the politics of sex 27:00 – Bill Condon’s movie musical: ambition or adaptation confusion? 31:00 – Chicago, Dreamgirls, and the “Godfather of the Movie Musical” myth 45:00 – Gimme Love and the problem with pretty choreography 56:00 – The legacy of Chita Rivera’s Aurora and “Where You Are” 1:00:00 – How Spider Woman fits into the lineage of queer musical theater 1:30:00 – Ali plugs her novel (and her huge thesaurus) Key People Mentioned Creators: Manuel Puig (novel), John Kander & Fred Ebb (music & lyrics), Terrence McNally (book) Original Cast: Chita Rivera, Brent Carver, Anthony Crivello Film Team: William Hurt, Raúl Juliá, Bill Condon (director), Jennifer Lopez, Diego Luna, Tonatiuh Elizarraraz Related Mentions: Rob Marshall, Tony Kushner Broadway Breakdown Links Broadway Breakdown Discord Broadway Breakdown, A Cabaret Now: Tix We Have Reached the End of Our Show by Ali Gordon — bookshop.org Kiss of the Spider Woman (1993 Broadway Cast Recording) Kiss of the Spider Woman (1985 film) Broadway Breakdown Substack Listener Discussion Questions What do you think are the rules a movie musical needs to adhere to in order to “work”? This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit bwaybreakdown.substack.com