Edward Albee’s final play to open on Broadway remains one of the most controversial: The Goat, or Who Is Sylvia? In this Deep Dive, Matt and guest Robert W. Schneider unpack its infamous premise and explore why a play so boldly bonkers can be so shockingly rewarding. The two also explore how Albee weaponizes language, social taboos, and why the play’s legacy is still undefined.

Robert W. Schneider—director, educator, author, and longtime theater historian—is the perfect sparring partner for this conversation. A deep lover of Albee’s work with firsthand experience teaching and contextualizing The Goat, Rob brings historical perspective, production insight, and a fearless willingness to argue the play’s moral, emotional, and theatrical implications.

Broadway Breakdown Links

Broadway Breakdown: Discord Channel

Broadway Breakdown: Substack

Timestamps

00:00 – Introduction

06:45 – Plot overview and the play’s infamous reveal

15:30 – Original Broadway production and cultural reaction in 2002

20:00 – Mercedes Ruehl’s performance and the physical toll of Stevie

38:30 – Tony Awards context and critical reception

52:00 – Revivals, casting fantasies, and what it would take to bring it back

1:15:00 – Legacy: is The Goat a masterpiece, a provocation, or both?

1:27:00 – Final thoughts on Albee, tragedy, and modern audiences

Key People:

Edward Albee (Playwright), Mercedes Ruehl, Bill Pullman, Sally Field, Bill Irwin, Lindsay Duncan, Sarah Paulson, Eddie Redmayne

Listener Discussion Questions:

Does The Goat still shock modern audiences—or has the culture caught up to it?

Is Albee’s language indulgent by design, or does it undermine the play’s momentum?

What kind of casting would make a Broadway revival of The Goat viable today?

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?