The PBD Academy's The World Goes ’Round: Broadway Begins Here

  

My face still hurts less than 24 hours after seeing The World Goes 'Round, the acclaimed revue built around the music of John Kander and Fred Ebb.

 

Why does my face hurt?

 

Never before in all my years of seeing musicals and playing the songs from the Great American Songbook that emerged from many of those musicals have I smiled so much, even tearing up at times to the point that I couldn't tell whether it was laughter born of the joy knowing the future of such music is assured, or whether I was mourning the passing of a time now seemingly threatened by the rapid erosion of so many of the cultural and political values I have cherished throughout my life.

 

I would like to think it is the former, and I will concentrate on the joy here. In full disclosure, I was not prepared to write a review of this show, failing to bring my trusted notebook and pen. I expected a superb student performance. Instead, I found myself watching a production that, in every important respect, matched the professionalism of many musicals Ann and I have seen on Broadway and locally.

 

So, here is my reaction to this production. Attention must be paid!

 

This is the culmination of Palm Beach Dramaworks' summer Academy, an intensive training program that offers aspiring young actors and stage managers the rare opportunity to work under professional conditions. Guided by the company's Director of Education and Community Engagement, Gary Cadwallader, the students rehearse in the same theater, with many of the same artistic standards and production values that distinguish Palm Beach Dramaworks' regular season. The result is far more than a school production; it is an opportunity for exceptionally talented young performers to test themselves in an environment where excellence is expected.

 

Pictured clockwise from bottom, Tristan Dominquez, Kayla Brown, Max Leighton, Danica Slavin, Bella Catania, Photo by Jason Nuttle

Cadwallader not only selected The World Goes 'Round, but directed it as well, and his directorial hand is evident throughout. Rather than telling a single story, the revue, conceived by Scott Ellis, Susan Stroman, and David Thompson, seamlessly weaves together nearly two dozen songs by Kander and Ebb—from familiar classics such as Cabaret, Chicago, and New York, New York to lesser-known gems—creating a showcase of the remarkable range, wit, humor, and emotional depth of one of Broadway's greatest songwriting partnerships.

 

When it opened Off-Broadway in March 1991, Ellis was the director and Stroman the choreographer. Her original choreography is faithfully reproduced here by Cadwallader, making such amusing numbers as the ode to “Sara Lee” baked goods and the delightful "Coffee in a Cardboard Cup" thoroughly inventive and memorable.

 

Assistant director Elizabeth Dimon, another Palm Beach Dramaworks veteran, also deserves recognition. An accomplished actress and singer herself, she clearly helped these young performers understand that acting a song is every bit as important as singing it. Brian O'Keefe's costumes added immeasurably to the fun, particularly in the number "Class," the delicious duet that appeared in the stage version of Chicago but was inexplicably omitted from the film. That number reduced my smile to tears of laughter.

 

Roger Arnold's sound and projection designs were seamlessly integrated into the production, while Genny Wynn's lighting consistently drew the eye exactly where it belonged. Kudos, too, to musical director Lisa Stephens, who played the keyboard along with a five-piece orchestra. These are among the professionals whose talents helped elevate this production while giving the young performers the support they deserved.

 

Having played the scores from many Broadway musicals on the piano myself, I couldn't help but recognize similar sensibilities in the music and lyrics that occasionally recalled Stephen Sondheim's contribution to the Broadway musical and even Jacques Brel's to the French chanson. There are songs throughout the Kander and Ebb canon that sometimes channel the spirit of those masters. As far as songwriting teams are concerned, Kander and Ebb deserve to be remembered in the same breath as Rodgers and Hammerstein. As a revue, The World Goes 'Round stands comfortably alongside Side by Side by Sondheim and Jacques Brel Is Alive and Well and Living in Paris, both of which, not too coincidentally, Palm Beach Dramaworks produced in its salad days before occupying the Don and Ann Brown Theatre.

 

Here I am raving about the content and professionalism of the production, but let's hear it for the student performers: Kayla Brown, Bella Catania, Tristan Dominquez, Max Leighton (all from Dreyfoos School of the Arts), and Danica Slavin (Cardinal Newman High School). What remarkable talent, discipline, and dedication. I only hope I am around long enough to follow their professional careers. It is impossible to single out the individual virtues of each performance because they functioned so beautifully as an ensemble. Their impressive vitae, along with the complete song list, can be found in the photographs from program below.

 

If there is a criticism to be made, some might argue that the program is too long. I found myself thinking just the opposite. There are enough wonderful Kander and Ebb songs left untouched that one could easily imagine The World Goes 'Round, Part II.

 

Thank you, Palm Beach Dramaworks and the young members of The Academy, for bringing tears of joy—and hope for the future.

 

Is Anybody There? The Foxes Multiply

 

As usual, a political cartoon encapsulates the truth—this one by Matt Davies in Newsday.

 

In February, I argued that the midterms may be a chimerical defense against autocracy, highlighting Kurt Olsen's appointment as Director of Election Security as a "fox in the henhouse." I said then that "putting a man sanctioned for spreading election falsehoods in charge of 'integrity' feels like a satirical plot point a novelist would reject as too preposterous." Rather than recapitulating everything, here is the link to Is Anybody There? The Systematic Dismantling of the Midterms.

 

The recent appointments of Bill Pulte and Todd Blanche reinforce that warning by suggesting a broader consolidation of political control over institutions traditionally expected to operate independently. Like Olsen, both men are widely viewed as unwavering political loyalists. Todd Blanche, nominated to serve as Attorney General, appears tasked with reshaping the Department of Justice by targeting political opponents while diminishing independent oversight. Bill Pulte, appointed concurrently as Acting Director of National Intelligence despite having no intelligence background, appears intended to exert direct political influence over the nation's intelligence community. In my opinion, these appointments undermine the integrity of elections (the Midterms in particular)—ironically, the very thing T***p claims he’s concerned about. 

 

In yesterday's Wall Street Journal, former U.S. Attorney General William P. Barr—once denounced by Trump as "gutless" and a "coward" for refusing to overturn the 2020 election and prosecute political opponents—appears to be seeking a return to Dear Leader's good graces in his op-ed: Confirm Todd Blanche at Justice—He Is Well Qualified and Will Run the Department as Well as Anyone Could Under President Trump.

 

Barr's principal argument is that, regardless of senators' reservations, rejecting Blanche would merely invite an even worse nominee. As he writes, "It wouldn't force the president to make a better choice. It will simply invite more chaos and a less desirable appointment." This line of reasoning not only indirectly admits to Blanche's lack of qualifications, but it also normalizes the idea that the Senate should confirm a nominee not because he is demonstrably independent, but because someone even less acceptable might otherwise be chosen. By that logic, every successive appointment merely lowers the standard further. Isn't it better to reject someone who fails even that diminished test, leaving Blanche to serve only temporarily?

 

Barr concludes: "The nation needs a serious, effective and competent attorney general. America's interests are best served by confirming Mr. Blanche." You decide.

 

Meanwhile, T***p is reportedly using Bill Pulte's controversial acting appointment and the delayed confirmation process as leverage to pressure Congress into passing the SAVE Act—a sweeping elections bill requiring proof of citizenship to vote, mandating photo identification, restricting mail-in ballots, and incorporating additional provisions touching on transgender issues.

 

A concise summary of the SAVE Act appears on the BBC, a source that, in my opinion, has become more consistently reliable than much of today's American media. As the BBC notes, "some Republican-led states have taken up the cause to introduce their own proof-of-citizenship bills. Democrats say the SAVE legislation disenfranchises eligible voters, while Republicans say it is necessary to prevent voter fraud."

 

It is hardly surprising that Republicans would champion legislation that may discourage participation by elderly voters, those in poor health, citizens who rely on mail-in ballots, and even many first-generation Americans who are fully eligible to vote but may find the new documentation requirements burdensome or even onerous. It erects considerable barriers to address what appears to be a minuscule incidence of voter fraud.

 

Taken together, Olsen, Blanche, and Pulte seem well-suited to reducing independent oversight while strengthening executive influence over the institutions charged with enforcing the law, gathering intelligence, and protecting the electoral process. So, regarding the prevention of elections from being "stolen"—long their boss’s pet screed—one must ask: from whom, and by whom? They also divert public attention from unresolved questions surrounding the administration's handling of the Epstein files—an issue that only days ago dominated the national conversation.

 

Democracies rarely disappear in a single dramatic moment. Just look at how the January 6th insurrection of more than five years ago has been swept under the rug of history, the perpetrators either not being called out or, for those arrested, pardoned. It all happened before our eyes, as are these appointments. But history teaches that by the time we recognize a pattern, it has already become the new reality.

 

Postscript:

Yesterday, Mike Johnson, the Speaker of the House, spoke at the ultraconservative Faith & Freedom Coalition’s 2026 Road to Majority Conference, pledging a “protection program” for Trumpublicans… “heaven forbid, these Democrats, y’all, impeachment is not even the big concern. They will turn every committee of Congress into an investigative body, and they’ll go after the president’s family, the cabinet, his donors and friends. Half of you in this room will be targeted. I run the protection program. I’ll take care of you. Okay? We’re gonna win. We’re gonna win the midterm.” 

 

 

Knicks Nostalgia

 

Everyone is talking about 1973, the last time the Knicks won an NBA championship. But what about the first championship? That was even more of a landmark. From 1969 to 1973, Ann and I followed the Knicks intensely, going to games whenever we could. To us, 1970 was the greatest year of all: their first championship and a playoff series never to be forgotten, with Willis Reed squaring off against Wilt Chamberlain and the Finals going the full seven games.

 

I don't follow professional basketball that closely anymore. Three-pointers galore, replay challenges on the floor, strobe lights and music introducing the players, even the constantly changing uniform styles (hate the knee length shorts). Give me old-time basketball, even a set shot here and there or some underhand foul shooting. Maybe today's teams would wipe the floor with those of yesteryear, but the games of my youth were played with pure heart.

 

Victor Wembanyama's 7'4", 235-pound frame, to me, though, pales beside Chamberlain's 7'1", 280 pounds. Imagine Reed trying to box Chamberlain out at 6'11". Yet Reed more than held his own in the series until he tore a thigh muscle and missed Game 6, allowing Chamberlain to erupt for 45 points and 27 rebounds. Reed's courageous appearance in the opening minutes of Game 7, despite the injury, helped inspire the Knicks to their first championship. His symbolic presence seemed to galvanize the entire team.

 

But I'm getting into details that could go on forever. This entry is pure nostalgia. As I wrote in an earlier blog post, we were married in 1970, on the eve of those historic playoffs:

 

"The ceremony itself was what one would expect from a humanist minister. A substantial part of the service captured our enthusiasm for the then victorious New York Knicks, with names such as Bill Bradley, Dave DeBusschere, Walt Frazier, and Willis Reed sprinkled throughout our wedding vows."

So for me, this feels a little like Halley's Comet arriving ahead of schedule. We were married 56 years ago when the Knicks won their first NBA championship, and now, on the eve of another possible championship, those memories come flooding back. The fact that the occasion may be sullied by the attendance of a man whose presence tends to make every event about himself will not sit well with many Knicks fans.

 

So from many years ago, I present the opening pages of a 1970–71 Knicks program, probably from the last game I attended in person. It captures much of the excitement of those years, and I'm glad I held on to it all this time.