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?

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