Broadway Breakdown

<p>Edward Albee’s final play to open on Broadway remains one of the most controversial: <em>The Goat, or Who Is Sylvia?</em> 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.</p><p>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 <em>The Goat</em>, Rob brings historical perspective, production insight, and a fearless willingness to argue the play’s moral, emotional, and theatrical implications.</p><p></p><p><strong>Broadway Breakdown Links</strong></p><p>Broadway Breakdown:  <a target="_blank" href="https://discord.gg/AgjWNpzF">Discord Channel</a></p><p>Broadway Breakdown: <a target="_blank" href="https://bwaybreakdown.substack.com/?utm_campaign=profile_chips">Substack</a></p><p></p><p><strong>Timestamps</strong></p><p> 00:00 – Introduction</p><p> 06:45 – Plot overview and the play’s infamous reveal</p><p> 15:30 – Original Broadway production and cultural reaction in 2002</p><p> 20:00 – Mercedes Ruehl’s performance and the physical toll of Stevie</p><p> 38:30 – Tony Awards context and critical reception</p><p> 52:00 – Revivals, casting fantasies, and what it would take to bring it back</p><p> 1:15:00 – Legacy: is <em>The Goat</em> a masterpiece, a provocation, or both?</p><p> 1:27:00 – Final thoughts on Albee, tragedy, and modern audiences</p><p><strong>Key People:</strong></p><p>Edward Albee (Playwright), Mercedes Ruehl, Bill Pullman, Sally Field, Bill Irwin, Lindsay Duncan, Sarah Paulson, Eddie Redmayne</p><p><strong>Listener Discussion Questions:</strong></p><p> Does <em>The Goat</em> still shock modern audiences—or has the culture caught up to it?</p><p> Is Albee’s language indulgent by design, or does it undermine the play’s momentum?</p><p> What kind of casting would make a Broadway revival of <em>The Goat</em> viable today?</p> <br/><br/>This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit <a href="https://bwaybreakdown.substack.com?utm_medium=podcast&#38;utm_campaign=CTA_1">bwaybreakdown.substack.com</a>

<p>Our Deep Dive of <em>Great Comet</em> comes to its conclusion. Actor/singer/diva/Great Comet superfan <strong>Natalie Walker</strong> remains to dig into the show’s electrifying soundscape, its roots in <em>War and Peace</em>, and how Dave Malloy explodes character, form, and musical vocabulary. Matt and Natalie break down what makes <em>Comet</em> 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.</p><p><strong>Guest introduction</strong></p><p><strong>Natalie Walker</strong> 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 <em>Mad Scenes</em> to Joe’s Pub. Her extensive history with <em>Great Comet</em> 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.</p><p><strong>Broadway Breakdown Links:</strong></p><p>Broadway Breakdown <a target="_blank" href="https://discord.gg/UTGVBprYtr">Discord</a></p><p>Broadway Breakdown <a target="_blank" href="https://bwaybreakdown.substack.com/?utm_campaign=profile_chips">Substack</a></p><p><strong>Timestamps</strong></p><p><strong>00:00 – Welcome & why </strong><strong><em>Great Comet</em></strong><strong> still matters</strong>Why <em>Comet </em>remains one of the most daring Broadway productions of the 2010s.</p><p><strong>04:30 – Translating Kazino’s immersive chaos to a proscenium</strong> Matt and Natalie break down the production design on Broadway.</p><p><strong>11:50 – “Charming” and the weaponization of flattery</strong> 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.</p><p><strong>34:20 – The Abduction: pacing, spectacle, and the Broadway-length debate</strong> Matt’s case for trimming the sequence and why certain Broadway changes improved storytelling.</p><p><strong>42:30 – Pierre, Natasha & the power of perceived monstrosity</strong>Pierre’s meeting with Natasha and how online behavior mirrors the novel’s themes.</p><p><strong>59:00 – Pierre’s emotional repression & the final confession</strong>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.</p><p><strong>1:24:45 – Social media, discourse & the collapse of the Broadway run</strong>How the “Great Comet discourse” spiraled, why it fed into Malloy’s <em>Octet</em>, and what the show reveals about online culture and human empathy.</p><p><strong>Key people mentioned</strong></p><p><strong>Creators</strong></p><p>* Dave Malloy (composer, lyricist, book), Rachel Chavkin (director), Sam Pinkleton (choreography), Mimi Lien (set design), Paloma Young (costumes), Bradley King (lighting)</p><p><strong>Original Broadway cast</strong></p><p>* Josh Groban (Pierre), Denée Benton (Natasha), Lucas Steele (Anatole), Amber Gray (Hélène), Grace McLean (Marya D.), Brittain Ashford (Sonya), Nick Choksi (Doléhov)</p><p><strong>Other notable performers mentioned</strong></p><p>* Heath Saunders, Shaina Taub, Kuhu Verma (<em>Octet</em>)</p><p><strong>Resources:</strong></p><p>* Original Broadway Cast Recording – <em>Natasha, Pierre & the Great Comet of 1812</em></p><p>* Tolstoy’s <em>War and Peace</em> (Volume 2, Part 5) — source text for the musical</p><p>* Dave Malloy’s website & notes on <em>Comet</em></p><p>* Ars Nova production materials / archival info</p><p>* A.R.T. production history</p><p>* Broadway run timeline & Tony Awards overview</p><p>* <em>Octet</em> (Dave Malloy) – background and cast information</p><p><strong>Listener discussion questions</strong></p><p>* <em>Great Comet</em> blends musical genres with character psychology—what musical shift in the show hits you the hardest, and why?</p><p>* Which version of <em>Great Comet</em> (Kazino, ART, Broadway) do you think best suits the material—and what would your dream version look like?</p><p>* 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?</p> <br/><br/>This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit <a href="https://bwaybreakdown.substack.com?utm_medium=podcast&#38;utm_campaign=CTA_1">bwaybreakdown.substack.com</a>

<p><strong>Episode Summary</strong></p><p>Matt dives into two major musical events: Broadway’s divisive, new bio-musical <em>The Queen of Versailles</em> and its two different leading ladies, as well as the long-awaited revival of <em>Ragtime</em>. He breaks down the productions’ strengths, stumbles, creative choices, and star performances before welcoming Broadway content creator and author <strong>Teale Dvornik</strong> for a candid conversation about audience culture, the changing ecosystem around modern theater and her new book <em>History Hiding Around Broadway</em>.</p><p><strong>Timestamps</strong></p><p><strong>00:00 – Opening & Episode Setup</strong> Matt tees up the week’s reviews and previews what’s ahead.</p><p><strong>02:10 – </strong><strong><em>The Queen of Versailles</em></strong> 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.</p><p><strong>23:00 – </strong><strong><em>Ragtime</em></strong> 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.</p><p><strong>45:00 – Interview: Teale Dvornik</strong> 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.</p><p><strong>Key People Mentioned</strong></p><p><strong>The Queen of Versailles</strong></p><p>* <strong>Kristin Chenoweth</strong>, <strong>Sherie Rene Scott,</strong> <strong>Stephen Schwartz</strong>, <strong>Lindsey Ferrentino</strong>, <strong>Michael Arden</strong></p><p><strong>Ragtime</strong></p><p>* <strong>Lynn Ahrens & Stephen Flaherty</strong>, <strong>Terrence McNally</strong>, <strong>E.L. Doctorow</strong></p><p><strong>Interview</strong></p><p>* <strong>Teale Dvornik</strong></p><p><strong>Resources & Links</strong></p><p>Broadway Breakdown: <a target="_blank" href="https://discord.gg/UTGVBprYtr">Discord</a></p><p>Broadway Breakdown: <a target="_blank" href="https://bwaybreakdown.substack.com/?utm_campaign=profile_chips">Substack</a></p><p>Buy <a target="_blank" href="https://www.hachettebookgroup.com/titles/teale-dvornik/history-hiding-around-broadway/9780762489107/?lens=running-press">History Hiding Around Broadway</a></p><p><strong>Listener Discussion Questions</strong></p><p>* What do you think would make <em>The Queen of Versailles</em> work? And could time be kinder to it down the line?</p><p>* How should a modern revival approach a large, politically charged musical like <em>Ragtime</em>?</p><p>* Has an individual performance changed your opinion on a show?</p> <br/><br/>This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit <a href="https://bwaybreakdown.substack.com?utm_medium=podcast&#38;utm_campaign=CTA_1">bwaybreakdown.substack.com</a>

<p><strong>Matt Reviews: </strong><strong><em>Wicked: For Good</em></strong><strong> with Andrew Chappelle</strong></p><p>Matt is joined by Broadway actor and podcast host <strong>Andrew Chappelle</strong> for a theater-nerdy breakdown of the hotly anticipated <em>Wicked: For Good</em>. 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 <em>Wicked</em> remains one of the most passionately debated properties in modern musical theater.</p><p><strong>Resources & Links</strong></p><p><a target="_blank" href="https://discord.gg/8rT3RpCU">Broadway Breakdown Discord</a></p><p><a target="_blank" href="https://bwaybreakdown.substack.com/?utm_campaign=profile_chips">Broadway Breakdown Substack</a></p><p></p><p><strong>Timestamps</strong></p><p><strong>00:00 – Welcome to Oz… Again</strong> Matt and Andrew introduce the episode and their shared history with the <em>Wicked</em> universe.</p><p><strong>08:45 – Revisiting Part One & the Big Pacing Debate</strong> 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.</p><p><strong>10:40 – Comparing Film vs. Stage Energy</strong> Andrew describes seeing <em>Wicked</em> live again and realizing how fast the Broadway version moves — and how intentionally the films do <em>not</em>.</p><p><strong>14:20 – </strong><strong><em>No Good Deed</em></strong> Andrew declares <em>No Good Deed</em> the film’s peak — a visceral, intermission-style gut punch. Matt shares his own favorite moments, especially Ariana Grande’s performance.</p><p><strong>22:40 – Can Art Be Too Safe?</strong> A conversation about modern creative fear, audience reactions, and why art that tries not to offend often loses its punch.</p><p><strong>25:20 – The Wizard of Oz Problem (or Feature?)</strong> The backlash to Act Two’s deeper Wizard of Oz connections — and why fans remain divided.</p><p><strong>56:50 – New Songs: Going for the Oscar</strong> Original songs in movie musicals: the pressure, the pitfalls, and why audiences scrutinize additions to iconic scores. </p><p></p><p><strong>Key People Mentioned</strong></p><p><strong>Film Cast:</strong> Cynthia Erivo, Ariana Grande, Michelle Yeoh, Jeff Goldblum</p><p><strong>Creative Team:</strong> Stephen Schwartz, Winnie Holzman, Jon M. Chu</p><p><strong>Other Titles Referenced:</strong> <em>Chicago</em>, <em>Dreamgirls</em>, <em>Hamilton</em>, <em>The Wizard of Oz</em>, <em>Suffs</em></p><p><strong>Listener Discussion Questions</strong></p><p>Did <em>Wicked: For Good</em> capture the emotional high of the stage version for you — or did the cinematic scope change it?</p><p>How do you feel about the additional Wizard of Oz tie-ins? Did they enhance the story or distract from it?</p><p>What makes a movie musical adaptation succeed — pacing, performance, fidelity to the stage show, or something else entirely?</p> <br/><br/>This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit <a href="https://bwaybreakdown.substack.com?utm_medium=podcast&#38;utm_campaign=CTA_1">bwaybreakdown.substack.com</a>

<p><strong>Episode Summary</strong></p><p>In this bonus review episode, Matt tackles four very different productions—<em>Oedipus</em>, <em>The Baker’s Wife</em>, <em>Prince F*ggot</em>, and <em>Two Strangers Carry a Cake Across New York</em>. 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.</p><p>He also addresses audience questions about ticket pricing, press seats, and the realities of covering an entire Broadway season as a critic and podcaster.</p><p><strong>Timestamps</strong></p><p><strong>00:00 – Intro & Season Updates</strong> Live-show successes, upcoming cabaret dates for <em>Broadway Breakdown</em>, and how bonus review episodes will fit into the schedule.</p><p><strong>02:30 – On Ticket Pricing, Press Seats & “Cringe” Feedback</strong> Matt clarifies misconceptions about requesting press tickets and discusses the financial/logistical realities of reviewing an entire season.</p><p><strong>10:20 – </strong><strong><em>Oedipus</em></strong> Overview of the production, standout performances, and early-season Tony nomination predictions—particularly in featured actor/actress categories.</p><p><strong>18:10 – </strong><strong><em>The Baker’s Wife</em></strong> 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.</p><p><strong>33:00 – </strong><strong><em>Prince Faggot</em></strong> 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.</p><p><strong>45:55 – </strong><strong><em>Two Strangers Carry a Cake Across New York</em></strong> 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.)</p><p><strong>Key People Mentioned</strong></p><p>* <strong>Mark Strong, Lesley Manville, Robert Icke</strong> - Stars and Director/Adapter of <em>Oedipus</em></p><p>* <strong>Stephen Schwartz</strong> – composer/lyricist of <em>The Baker’s Wife</em></p><p>* <strong>Carol Demas, Patti LuPone, Paul Sorvino</strong> – original <em>Baker’s Wife</em> figures in the show’s rocky history</p><p>* <strong>Ariana DeBose, Scott Bakula, Nathan Lee Graham, Judy Kuhn</strong> - members of the CSC production of <em>The Baker’s Wife</em></p><p>* <strong>David Greenspan</strong> – praised in <em>Prince F*ggot</em></p><p>* <strong>Kuhnsie</strong> – featured Diva of the Week, singing “Meadowlark”</p><p>* <strong>Sam Tutty, Christiana Pitts</strong> - Stars of <em>Two Strangers Carry a Cake Across New York</em></p><p><strong>Resources & Links</strong></p><p>* <strong>Telecharge</strong> – tickets for shows mentioned:</p><p> https://www.telecharge.com/</p><p>* <strong>Broadway Breakdown </strong><a target="_blank" href="https://discord.gg/8rT3RpCU"><strong>Discord</strong></a></p><p>* <strong>Broadway Breakdown </strong><a target="_blank" href="https://bwaybreakdown.substack.com/"><strong>Substack</strong></a></p><p><strong>Listener Discussion Questions</strong></p><p>* Which of the four shows reviewed would you prioritize seeing, and why?</p><p>* How do you balance ticket prices with the desire to keep up with a Broadway season—what makes a show “worth it” to you?</p><p>* For revivals like <em>The Baker’s Wife</em>, do you prefer faithfulness to the original vision or bold reinvention?</p> <br/><br/>This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit <a href="https://bwaybreakdown.substack.com?utm_medium=podcast&#38;utm_campaign=CTA_1">bwaybreakdown.substack.com</a>