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 introduction

Natalie 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 Discord

Broadway Breakdown Substack

Timestamps

00:00 – 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 mentioned

Creators

* 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 information

Listener 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?

Episode Summary

Matt 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.

Timestamps

00:00 – 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 Mentioned

The Queen of Versailles

* Kristin Chenoweth, Sherie Rene Scott, Stephen Schwartz, Lindsey Ferrentino, Michael Arden

Ragtime

* Lynn Ahrens & Stephen Flaherty, Terrence McNally, E.L. Doctorow

Interview

* Teale Dvornik

Resources & Links

Broadway Breakdown: Discord

Broadway Breakdown: Substack

Buy History Hiding Around Broadway

Listener 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?

Matt Reviews: Wicked: For Good with Andrew Chappelle

Matt 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 & Links

Broadway Breakdown Discord

Broadway Breakdown Substack

Timestamps

00:00 – 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 Mentioned

Film Cast: Cynthia Erivo, Ariana Grande, Michelle Yeoh, Jeff Goldblum

Creative Team: Stephen Schwartz, Winnie Holzman, Jon M. Chu

Other Titles Referenced: Chicago, Dreamgirls, Hamilton, The Wizard of Oz, Suffs

Listener Discussion Questions

Did 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?

Episode Summary

In 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.

Timestamps

00:00 – 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 York

Resources & Links

* Telecharge – tickets for shows mentioned:

https://www.telecharge.com/

* Broadway Breakdown Discord

* Broadway Breakdown Substack

Listener 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?

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 introduction

Natalie 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.

Timestamps

00:00 – 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-Broadway

30:00 – 33:30 Natasha’s arc and teenage intensity.

31:30 – 33:30War & Peace 101

48:00 – 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 mentioned

Creators

* 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 Taub

Resources & 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?

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 & Links

Broadway Breakdown, A Cabaret Now: Tix

Broadway Breakdown: Discord

Broadway Breakdown: Substack

🎟️ Telecharge – Broadway Tickets

Timestamps

00:00 – Intro and theater-season chaos check-in

03:30 – Punch

17:00 – Beau

35:00 – Waiting for Godot

51:00 – Seat of Our Pants

1:08:00 – ART

1:25:00 – Little Bear Ridge Road

1:43:00 – Bat Boy

Key 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 Trensch

Listener 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?

Cinema in the Cell Block

In 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.

Timestamps

00:00 – 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 Mentioned

Creators: Manuel Puig (novel), John Kander & Fred Ebb (music & lyrics), Terrence McNally (book)

Original Cast: Chita Rivera, Brent Carver, Anthony Crivello

Film Team: William Hurt, Raúl Juliá, Bill Condon (director), Jennifer Lopez, Diego Luna, Tonatiuh Elizarraraz

Related Mentions: Rob Marshall, Tony Kushner

Broadway Breakdown Links

Broadway Breakdown Discord

Broadway Breakdown, A Cabaret Now: Tix

We Have Reached the End of Our Show by Ali Gordon — bookshop.org

Kiss of the Spider Woman (1993 Broadway Cast Recording)

Kiss of the Spider Woman (1985 film)

Broadway Breakdown Substack

Listener Discussion Questions

What do you think are the rules a movie musical needs to adhere to in order to “work”?

Deep Dive: HEDWIG AND THE ANGRY INCH (Part 2)

The Gospel of Glam Rock

In 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:  Substack

Broadway Breakdown: Discord Community

“Broadway Breakdown, A Cabaret Now”: Tix

Preston Max Allen’s Caroline at MCC Theater: Tix

Timestamps

7:20 – Origins: John Cameron Mitchell and Stephen Trask’s downtown beginnings, from Squeezebox to Jane Street

14:50 – Defining “genderpunk”: queerness, camp, and creation from trauma

30:45 – The music of Hedwig: glam rock, Bowie, and heartbreak

44:25 – “Origin of Love”: the myth that made a musical

51:00 – The film (2001): cult hit, critical darling, and indie landmark

59:20 – Broadway revival (2014): Neil Patrick Harris, Lena Hall, and the mainstreaming of queer theater

1:08:10 – The gender debate: casting controversies and the show’s evolving identity politics

1:16:45 – Hedwig’s legacy: postmodern mythmaking and queer catharsis

1:23:00 – Closing thoughts: what Hedwig still teaches us about self-invention

Key People Mentioned

Creators: 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 Pitt

Broadway revival (2014): Neil Patrick Harris, Lena Hall, Michael C. Hall, Darren Criss, Taye Diggs

Listener 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?

HEDWIG AND THE ANGRY INCH (Part 1): Gender, Glam, and the Birth of a Cult Classic

Broadway 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 Substack

Broadway Breakdown Discord

Broadway Breakdown (A Cabaret, Now): Tix

Timestamps:

00:00 – Introduction and why Hedwig still matters03:30 – The East Village scene and queer club origins

07:45 – Building Hedwig’s persona: camp, pain, and performance

12:00 – Stephen Trask’s music and the sound of identity

18:00 – Off-Broadway breakthrough at the Jane Street Theatre

28:30 – Rock opera vs. traditional musical theater

39:00 – Hedwig’s influence on shows like Rent, Spring Awakening, and Six

44:15 – The film adaptation: intimacy through the lens

48:00 – Teasing Part 2: Broadway, Neil Patrick Harris, and beyond

Key People Mentioned

Creators: 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 Diggs

Resources & 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 Review

Listener Discussion Questions

How 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 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 theater

Key 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 Mirvish

Listener 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?