Broadway Breakdown

• 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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• Matt Reviews: KISS OF THE SPIDERWOMAN (2025) w/ Ali Gordon

  Cinema in the Cell BlockIn 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.Timestamps00:00 – 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 MentionedCreators: Manuel Puig (novel), John Kander & Fred Ebb (music & lyrics), Terrence McNally (book)Original Cast: Chita Rivera, Brent Carver, Anthony CrivelloFilm Team: William Hurt, Raúl Juliá, Bill Condon (director), Jennifer Lopez, Diego Luna, Tonatiuh ElizarrarazRelated Mentions: Rob Marshall, Tony KushnerBroadway Breakdown LinksBroadway Breakdown DiscordBroadway Breakdown, A Cabaret Now: TixWe Have Reached the End of Our Show by Ali Gordon — bookshop.orgKiss of the Spider Woman (1993 Broadway Cast Recording)Kiss of the Spider Woman (1985 film)Broadway Breakdown SubstackListener Discussion QuestionsWhat 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

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• Deep Dive: HEDWIG AND THE ANGRY INCH (Part 2) w/ Preston Max Allen

  Deep Dive: HEDWIG AND THE ANGRY INCH (Part 2)The Gospel of Glam RockIn Part 2 of this Deep Dive, Matt continues to unpack the gender-bending punk musical confessional that is Hedwig and the Angry Inch. Continuing the journey with Matt is writer and composer Preston Max Allen (We Are the Tigers, Caroline).Broadway Breakdown Links:Broadway Breakdown:  SubstackBroadway Breakdown: Discord Community“Broadway Breakdown, A Cabaret Now”: TixPreston Max Allen’s Caroline at MCC Theater: TixTimestamps7:20 – Origins: John Cameron Mitchell and Stephen Trask’s downtown beginnings, from Squeezebox to Jane Street14:50 – Defining “genderpunk”: queerness, camp, and creation from trauma30:45 – The music of Hedwig: glam rock, Bowie, and heartbreak44:25 – “Origin of Love”: the myth that made a musical51:00 – The film (2001): cult hit, critical darling, and indie landmark59:20 – Broadway revival (2014): Neil Patrick Harris, Lena Hall, and the mainstreaming of queer theater1:08:10 – The gender debate: casting controversies and the show’s evolving identity politics1:16:45 – Hedwig’s legacy: postmodern mythmaking and queer catharsis1:23:00 – Closing thoughts: what Hedwig still teaches us about self-inventionKey People MentionedCreators: John Cameron Mitchell (creator, original Hedwig), Stephen Trask (music & lyrics)Original cast & creative team: Miriam Shor (Yitzhak), Peter Askin (director), Mike Potter (wig & makeup design)Film (2001): John Cameron Mitchell (writer/director/star), Andrea Martin, Michael PittBroadway revival (2014): Neil Patrick Harris, Lena Hall, Michael C. Hall, Darren Criss, Taye DiggsListener Discussion Questions- When is Hedwig performing and when is she confessing? Are the two interchangeable? - How does the character of Hedwig’s identity resonate in the broader conversation around gender today? - Would you say that Hedwig found love with Tommy? Is Yitzhak’s care for Hedwig requited? And how can love influence even the smartest of us to make unhealthy choices? 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: HEDWIG AND THE ANGRY INCH (Part 1) w/ Preston Max Allen

  HEDWIG AND THE ANGRY INCH (Part 1): Gender, Glam, and the Birth of a Cult ClassicBroadway Breakdown kicks off its latest deep dive with Hedwig and the Angry Inch—the downtown rock musical that redefined what Broadway could be. Host Matt Koplik and guest Preston Max Allen unpack how John Cameron Mitchell and Stephen Trask’s creation blurred the lines between concert, confession, and theater, tracing its journey from gritty queer clubs to Tony-winning phenomenon. Together, they explore why Hedwig still resonates as a story of gender, artistry, and transformation.Guest IntroductionPreston Max Allen is a writer and composer whose work includes the musical We Are the Tigers and the new play Caroline (MCC Theater). Their sharp insight into queer storytelling and character-driven songwriting makes them the perfect guest to dissect Hedwig—a show that’s as emotionally raw as it is musically electric.Broadway Breakdown Links:Broadway Breakdown SubstackBroadway Breakdown DiscordBroadway Breakdown (A Cabaret, Now): TixTimestamps:00:00 – Introduction and why Hedwig still matters03:30 – The East Village scene and queer club origins07:45 – Building Hedwig’s persona: camp, pain, and performance12:00 – Stephen Trask’s music and the sound of identity18:00 – Off-Broadway breakthrough at the Jane Street Theatre28:30 – Rock opera vs. traditional musical theater39:00 – Hedwig’s influence on shows like Rent, Spring Awakening, and Six44:15 – The film adaptation: intimacy through the lens48:00 – Teasing Part 2: Broadway, Neil Patrick Harris, and beyondKey People MentionedCreators: John Cameron Mitchell (book, original Hedwig), Stephen Trask (music & lyrics)Original Cast: John Cameron Mitchell, Miriam Shor (Yitzhak)Broadway Cast: Neil Patrick Harris, Lena Hall, Michael C. Hall, Darren Criss, Taye DiggsResources & Links🎥 Whether You Like It or Not: The Story of Hedwig (Documentary)🎭 Off-Broadway Production (Jane Street Theatre)🎤 Broadway Production – John Cameron Mitchell🎤 Broadway Production – Neil Patrick Harris📘 Hedwig Wikipedia Page📰 Criterion Collection Essay: “She Sings the Body Electric”🗞️ Rolling Stone Oral History: “Gender Bender: The Story of Hedwig”🗞️ New York Times 1998 Review (Off-Broadway)🗞️ New York Times 2014 Review (Broadway Revival)🎬 New York Times 2001 Film ReviewListener Discussion QuestionsHow does Hedwig challenge traditional ideas of gender, identity, and storytelling in musical theater?What makes Hedwig timeless, even as queer narratives evolve?Which version of Hedwig—downtown club, Broadway revival, or film—feels most authentic to you? 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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