Broadway Breakdown

• Matt Reviews: The Queen of Versailles (both of ‘em), Ragtime & A Conversation with Teale Dvornik

  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

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• Matt Reviews: WICKED: FOR GOOD w/ Andrew Chappelle

  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

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• Matt Reviews: Oedipus, The Baker’s Wife, Prince F*ggot & Two Strangers Carry A Cake…

  Episode SummaryIn 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.Timestamps00:00 – 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 YorkResources & Links* Telecharge – tickets for shows mentioned: https://www.telecharge.com/* Broadway Breakdown Discord* Broadway Breakdown SubstackListener 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

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• Deep Dive: NATASHA, PIERRE & THE GREAT COMET OF 1812 (Part 1) w/ Natalie Walker

  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 introductionNatalie 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.Timestamps00:00 – 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 – 24:00Origins at Ars Nova/Off-Broadway30:00 – 33:30 Natasha’s arc and teenage intensity.31:30 – 33:30War & Peace 10148:00 – 52:00Scaling the show up: What was gained, what was lost.56:00 – 1:01:30The 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 – 1:25:20Casting possibilities: why Comet works best with unpredictable talents.Key people mentionedCreators* 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 TaubResources & 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

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• Matt Reviews: Punch, Waiting for Godot, ART, Bat Boy & More

  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 & LinksBroadway Breakdown, A Cabaret Now: TixBroadway Breakdown: DiscordBroadway Breakdown: Substack🎟️ Telecharge – Broadway TicketsTimestamps00:00 – Intro and theater-season chaos check-in03:30 – Punch17:00 – Beau35:00 – Waiting for Godot51:00 – Seat of Our Pants1:08:00 – ART1:25:00 – Little Bear Ridge Road1:43:00 – Bat BoyKey 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 TrenschListener 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

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