Broadway Breakdown

Tennessee Williams’s The Glass Menagerie is one of the most produced and most analyzed plays in the American canon…and now it’s our turn! Matt and guest Amy Jo Jackson explore the play’s autobiographical roots and why memory—not realism—is the engine that drives its enduring emotional power. From Laura’s fragility to Amanda’s survival instincts, this episode argues for Menagerie as a living, elastic work that changes depending on who’s telling the story.Amy Jo Jackson is a theater artist, educator, and longtime Williams devotee whose work centers on text-driven performance and classical American drama. Her deep familiarity with The Glass Menagerie—as both a practitioner and analyst—makes her an ideal guide through the play’s emotional contradictions, historical context, and performance challenges.Broadway Breakdown Links:Broadway Breakdown Discord: HereBroadway Breakdown Substack: HereTimestamps03:15 – Tennessee Williams’s life and autobiographical parallels07:40 – Memory play vs. realism: what Williams was reinventing18:00 – Amanda Wingfield: villain, survivor, or both?25:00 – Laura’s interior life and the danger of sentimentality31:45 – The Gentleman Caller and dramatic inevitability38:00 – Original Broadway production and early critical response43:30 – Film adaptations and what gets lost on screen50:00 – Major Broadway revivals and shifting interpretations1:12:30 – Legacy: why directors keep returning to this playKey people mentionedTennessee Williams, Laurette Taylor, Julie Harris, Jessica Tandy, Sally Field, Cherry Jones, Zachary Quinto, Paul NewmanListener discussion questionsDoes knowing The Glass Menagerie is autobiographical change how you watch it?What is your marker for when fragility is played right?Can one move up without moving forward? 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

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 LinksBroadway Breakdown:  Discord ChannelBroadway Breakdown: SubstackTimestamps 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 audiencesKey People:Edward Albee (Playwright), Mercedes Ruehl, Bill Pullman, Sally Field, Bill Irwin, Lindsay Duncan, Sarah Paulson, Eddie RedmayneListener 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

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 introductionNatalie 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 DiscordBroadway Breakdown SubstackTimestamps00:00 – Welcome & why Great Comet still mattersWhy 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 monstrosityPierre’s meeting with Natasha and how online behavior mirrors the novel’s themes.59:00 – Pierre’s emotional repression & the final confessionA 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 runHow 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 mentionedCreators* 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 informationListener 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

Episode SummaryMatt 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.Timestamps00:00 – 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 MentionedThe Queen of Versailles* Kristin Chenoweth, Sherie Rene Scott, Stephen Schwartz, Lindsey Ferrentino, Michael ArdenRagtime* Lynn Ahrens & Stephen Flaherty, Terrence McNally, E.L. DoctorowInterview* Teale DvornikResources & LinksBroadway Breakdown: DiscordBroadway Breakdown: SubstackBuy History Hiding Around BroadwayListener 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

Matt Reviews: Wicked: For Good with Andrew ChappelleMatt 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 & LinksBroadway Breakdown DiscordBroadway Breakdown SubstackTimestamps00:00 – 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 MentionedFilm Cast: Cynthia Erivo, Ariana Grande, Michelle Yeoh, Jeff GoldblumCreative Team: Stephen Schwartz, Winnie Holzman, Jon M. ChuOther Titles Referenced: Chicago, Dreamgirls, Hamilton, The Wizard of Oz, SuffsListener Discussion QuestionsDid 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