Broadway Breakdown

• 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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• Deep Dive: THE DROWSY CHAPERONE w/ Eli Rallo

  This episode dives into the unlikely rise of The Drowsy Chaperone—a show that started as a wedding gag and became one of Broadway’s most beloved meta-musicals. Matt traces its origins, Tony-winning triumph, and enduring legacy, before sitting down with writer and cultural commentator Eli Rallo to unpack why this fizzy 1920s spoof still resonates (and where it might stumble with modern audiences).Eli Rallo is a writer, podcast host, and social media force whose sharp wit and cultural savvy have made her a leading voice on how we consume art, media, and nostalgia. With her background in theater and her talent for cutting through the noise of internet discourse, Eli brings fresh perspective to what makes Drowsy both a love letter to musical comedy and a sly critique of it.Important Links* Broadway Breakdown Substack – extended essays, reviews, and extras* Discord community – join the Breakdown conversation* Tickets: Broadway Breakdown Cabaret – Nov 14 at Green Room 42* Eli Rallo’s book Does Anyone Else Feel This Way?Timestamps* 0:00 – Intro & listener shoutouts* 6:15 – Origins: how a goofy wedding present became a full musical* 12:30 – Toronto Fringe to Broadway: David Mirvish’s backing, the expanded book, and early buzz18:50 – Broadway production: Sutton Foster, Beth Leavel, Danny Burstein, and Bob Martin step into the spotlight* 33:22 – Conversation with Eli Rallo begins* 35:00 – Why Drowsy feels so post-9/11: silliness as healing, optimism as defiance* 44:00 – Cracks in nostalgia: racism, sexism, and the show’s deliberate discomfort* 1:06:00 – Man in Chair & fandom: the ultimate “theater kid” surrogate and the perils of loving flawed art* 1:12:00 – Today’s Broadway climate: Eli and Matt on rushed shows, weaker new musicals, and audience expectations* 1:22:00 – Closing thoughts & legacy: how Drowsy crystallizes the love/hate paradox of musical theaterKey People Mentioned* Creative team: Bob Martin & Don McKellar (book), Lisa Lambert & Greg Morrison (music & lyrics), Casey Nicholaw (director/choreographer)* Original Broadway cast: Sutton Foster (Janet Van de Graaff), Beth Leavel (The Drowsy Chaperone), Danny Burstein (Aldolpho), Bob Martin (Man in Chair)* Notable names & revivals: Elaine Paige (West End), Jeffrey Rush (Australia), Ariana Grande (film rumor)* Critics & figures: Ben Brantley, David MirvishListener Discussion Questions* The Drowsy Chaperone is both a satire and a love letter—do you think audiences today can embrace its mix of nostalgia and critique?* Which performance stands out most to you from the original cast—Sutton Foster, Beth Leavel, Danny Burstein, or Bob Martin—and why?Would a Broadway revival of Drowsy thrive in today’s climate, or would the discourse swallow it whole? 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: WHO'S AFRAID OF VIRGINIA WOOLF? (w/ Kevin Zak)

  Who’s Afraid of Virginia Woolf? – Broadway’s Darkest Comedy of MarriageEdward Albee’s Who’s Afraid of Virginia Woolf? isn’t just a play — it’s a three-act battlefield where truth, illusion, and liquor collide. In this episode, host Matt Koplik and returning guest Kevin Zak (Ginger Twinsies) unpack the razor-sharp brilliance of Albee’s 1962 masterpiece, from its iconic opening line (“What a dump!”) to its Pulitzer Prize controversy, unforgettable revivals, and enduring queer resonance.​​Guest: Kevin ZakKevin Zak is an actor, writer, and director currently represented Off-Broadway with his camp send-up Ginger Twinsies, a twisted love letter to The Parent Trap. A Lucille Lortel Award nominee, Kevin brings a mix of pop-culture fluency, theatrical insight, and unapologetic humor that makes him the perfect co-pilot for dissecting Albee’s darkly comic masterpiece.Broadway Breakdown Links:Broadway Breakdown DiscordBroadway Breakdown SubstackBroadway Breakdown (A Cabaret, Now): TixTimestamps0:00 – Intro and Kevin Zak returns2:00 – First encounters with Virginia Woolf (Elizabeth Taylor, “What a dump”)10:00 – Plot breakdown and themes: truth, illusion, and emotional warfare17:00 – Queer subtext, Albee’s glass closet, and The Boys in the Band24:00 – Dream casting: Laurie Metcalf, Catherine O’Hara, Betty White?32:00 – The “games” as comedy rooted in pain40:00 – Honey’s secret backstory and why Albee cut it52:00 – Why the play feels timeless (and why it should always be running)1:00:00 – Comedy actors breaking our hearts: from Elaine May to Melissa McCarthy1:03:00 – Legacy: Pulitzer drama, the 1966 film, and the Hays Code1:06:00 – Virginia Woolf’s LegacyKey People MentionedPlaywright: Edward AlbeeOriginal Broadway Cast: Uta Hagen, Arthur Hill, George Grizzard, Melinda DillonNotable Revivals: Kathleen Turner & Bill Irwin (2005), Tracy Letts & Amy Morton (2012), Laurie Metcalf & Rupert Everett (2020, cut short by COVID)Film Adaptation (1966): Elizabeth Taylor, Richard Burton, George Segal, Sandy DennisOther Names Dropped: Elaine Stritch, Imelda Staunton, Carrie Coon, Catherine O’Hara, Betty WhiteResources & LinksWikipedia: Who’s Afraid of Virginia Woolf? (Play)Wikipedia: Who’s Afraid of Virginia Woolf? (Film)Original Broadway Cast Recording (Act I)Original Broadway Cast Recording (Act II)Original Broadway Cast Recording (Act III)1966 Film – Full on YouTubeNY Times 1962 ReviewPulitzer Controversy CoverageThe Politics of Virginia Woolf – SteppenwolfListener Discussion QuestionsDo you see George and Martha as tragic lovers, villains, or both?What performance of Virginia Woolf has left the biggest impression on you?If you could dream-cast a new Broadway revival, who would play George and Martha? 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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