>>HASKINS: Coming up on “Theater Talk”…>>ZINOMAN: I didn’t see “Bruce Springsteen” show ’cause it’s ridiculously expensive, but what did people think of his performance? That was one I was really looking forward to.>>GREEN: I found it very moving. I thought it encapsulated the theme of the show, the unintentional theme of the show.>>HASKINS: Which was?>>GREEN: Taking care of your community, reaching out.>>VINCENTELLI: By raising prices to an absurd level? Is that how you take care of your community?>>GREEN: Well, that’s not in the song. ♪♪ ♪♪>>HASKINS: This is “Theater Talk.” I’m Susan Haskins. Here with me are so many glorious cohosts, starting with Jesse Green, co-chief drama critic — theater critic — pardon me — of The New York Times. Over to Patrick Pacheco. Do you know you have been on this show upward of 80 times?>>PACHECO: And you’re still on?>>HASKINS: Eighty times.>>PACHECO: You’re still on-air.>>HASKINS: And he is a man-about-town and is the author of the celebrated new book “The American Theatre: Oral History.” You say it.>>PACHECO: “American Theatre Wing: An Oral History.”>>GREEN: He got a big plug for it on the Tony Awards.>>HASKINS: He certainly did.>>GREEN: Patti LuPone in a silver lamé gown came out and talked about it.>>HASKINS: I was so busy looking at her dress that I missed the — All right. Julie Halston — celebrated actress and raconteur and glorious cohost.>>HALSTON: Oh, thank you.>>HASKINS: Elisabeth Vincentelli of The New York Times, The New Yorker, and “Three on the Aisle” podcast.>>VINCENTELLI: Born here.>>HASKINS: Born here. Jason Zinoman of The New York Times. Adam Feldman, Time Out New York dance and theater editor and the President of the New York Drama Critics Circle. Michael Musto — NewNowNext.com.>>MUSTO: And guess who’s got the most predictions right on GoldDerby.com?>>GREEN: Wow.>>MUSTO: Susan has things to do, all. [ Laughter ]>>SIMPSON: Wow.>>HASKINS: Jan Simpson, BroadwayRadio and the “Broadway News,” and, so, first, we want to start by talking about what was last night the Tony Awards.>>GREEN: So, how many did you get right?>>HASKINS: Well, not that many. People did so badly.>>GREEN: It was a tough year to predict.>>HALSTON: I got all of them right except for three.>>GREEN: Really? Is that true?>>HALSTON: Uh-huh.>>PACHECO: Then you won.>>GREEN: That’s almost impossible. Did anyone do better than that?>>HALSTON: I just was sitting there, but I got them all right.>>MUSTO: I didn’t predict a “Band’s Visit” sweep. “The Band’s Visit” got 10 out of 11, but I should have, because when you look at the competition, the other three nominated musicals were kiddy shows, silly shows — “SpongeBob,” “Frozen,” and “Mean Girls.”>>VINCENTELLI: But they’re still good shows.>>MUSTO: Right, but…>>GREEN: That was met with deafening silence.>>ZINOMAN: They’re not the kind of shows that win Tony Awards.>>VINCENTELLI: Well, that may be a problem.>>FELDMAN: We talked about this when we were doing our Prediction Show, but, at a certain point, you’re sitting down with the ballot, and you’re looking at what you want to represent Broadway, and these other shows, as good as they are in many ways, just aren’t really on brand.>>MUSTO: But we were honoring all these literary things last night, all of these literary efforts and highbrow stuff. What gets the biggest ovation? “[Bleep] Trump.” [ Laughter ] We can do a little better than that.>>HASKINS: He was just cutting right to the chase. He wasn’t gonna mess around with, you know, metaphors and –>>GREEN: Well, it is a kind of metaphor, I hope.>>HASKINS: Yes.>>GREEN: Most of the show did have a kind of quieter, more dignified approach to politics, very personal in its politics. A lot of the winners spoke movingly about politics as filtered through their own personal experience and the experience of theater. I appreciated that. I don’t know. How did that come across to all of you?>>MUSTO: Well, three of “The Band’s Visit” winners — Tony Shalhoub, David Kromer, and Ari’el Stachel — spoke of their own experience and about diversity. They didn’t speak specifically about the show. I thought that was very resonant.>>PACHECO: And John Leguizamo was very emotional in talking about the babies that had been separated at the border.>>GREEN: That was not on the air, though.>>PACHECO: It was not on the air.>>GREEN: Unfortunately.>>MUSTO: And, boy, was it a gay Tony Awards. Except for the two hosts, Sara Bareilles and Josh Groban, it was the gayest. Even Bruce Springsteen had 10 bracelets on. [ Laughter ]>>HALSTON: No, but it’s always the gayest, isn’t it?>>MUSTO: This is the gayest of the gayest. They don’t always say, “Happy Birthday, Judy Garland.”>>GREEN: Well, when Tony Kushner says it, it’s not gay, it’s American.>>HALSTON: That’s right. It’s literary.>>HASKINS: Talk about that not being on the broadcast. One thing I did have a problem with was, for example, that they didn’t give the Best Composer on the air, and so we at home didn’t know that that had happened, or if you weren’t watching your cellphone, and it’s sort of the momentum of the show was not building properly for us.>>GREEN: Well, what does the composer have to do with it anyway?>>SIMPSON: But they did it for the Book.>>VINCENTELLI: They were scoring tons of the — like, I think they got Lighting and Sound, so they were really building up in awards that we didn’t see on the air.>>FELDMAN: The creative awards have been off the air for many years, and, lately, they have also been going back and forth about Best Score and Best Book and whether or not they –>>SIMPSON: But they put Book on because they thought Tina Fey was going to win.>>FELDMAN: Or they knew it was gonna be interesting TV.>>SIMPSON: And Itamar Moses winning for it showed the limitations of campaigning, because she was everywhere, and you thought that she was the sentimental favorite.>>MUSTO: I actually did pick the best thing in every category. I should factor that in when I do my predictions. Maybe they’ll pick the best one.>>GREEN: It’ll never happen again, Michael.>>MUSTO: I know.>>HALSTON: But not to have David Yazbek was insane.>>FELDMAN: He also would have given a funny speech.>>GREEN: But as bad as that is, I just wanted to say that the Best Play nominees, the names of the authors of the plays were not even mentioned.>>HASKINS: Oh.>>FELDMAN: And then when the Best Play prize was announced, they cut off the playwright. They cut off his mic and played him offstage, and, like, the producer pool that he was surrounded by didn’t know what to do.>>VINCENTELLI: Well, they should have known because they’re the ones who started talking before he did, so…>>FELDMAN: But, I mean, as we’ve talked about before, it’s a double win for the producers and the playwright, and usually both of them get a chance, and they wanted, I guess, to give more time to show the accountants.>>GREEN: Should they revert to a separate category for best writer of a play?>>SIMPSON: Absolutely. Absolutely. There should be play and then the production.>>MUSTO: They used to have Best Author and Best Play.>>SIMPSON: Because people were voting for “Harry Potter” because of the production.>>HASKINS: Yes.>>GREEN: Right, and unlikely would it have won if there were a category for best writing of a play.>>SIMPSON: Yeah.>>GREEN: Or — Well, I guess that’s what we’re all going to go picket the Tony Offices about, right? [ Light laughter ] Who’s with me?>>FELDMAN: So that was the low moment of the telecast, to me, was that playoff.>>GREEN: But there were lots of high moments.>>MUSTO: I think the big shocks were Laurie Metcalf, which I thought — First of all, she’s brilliant in “Three Tall Women.” Also, there’s a lot of sympathy for her. She just lost a high-paying TV job because of Roseanne.>>HALSTON: I’m not that sympathetic.>>MUSTO: And she also was supposed to get the Oscar, and she didn’t get that.>>HALSTON: Really, I think Laurie’s fine. I don’t think we have to worry about Laurie and her show.>>HASKINS: Almost everyone predicted Denise…>>SIMPSON: Gough.>>HASKINS: Yeah, for “Angels in America.”>>MUSTO: The other shock was “Once On This Island” winning Revival, but think about it. All three Revivals were about men mistreating and abusing women, right? But in “Once On This Island,” he mistreats her not as badly as the other two.>>GREEN: Yeah, but she dies in that one.>>MUSTO: She turns into a tree.>>SIMPSON: Don’t get me started on “Once On This Island.”>>GREEN: No, let’s get you started on “Once On This Island.”>>HASKINS: What about “Once On This Island”?>>SIMPSON: The idea of a woman, first glance, giving her life for a man. Let’s start there.>>FELDMAN: Oh, but she becomes a tree at the end, and his kids can play in it.>>VINCENTELLI: I cannot stand this musical, and, in fact, I actually got a letter in the mail sent to my personal address, and I think I was trolled by one of the producers because I got a letter in the mail with a reprint — I think it may have been your review, Jesse… [ Laughter ] …that’s it, sent to my personal address, and I think it was one of the producers of “Once On This Island.”>>GREEN: One of the 600 producers.>>VINCENTELLI: No, I think I know which one it was.>>GREEN: Nathan Lane looked really over that goat, let me tell you. [ Laughter ]>>VINCENTELLI: I think it’s a really good production of a horrible show.>>PACHECO: I think it’s Michael Arden. I think it was a tribute to Michael Arden’s reinvention — original and very imaginative reinvention of this musical.>>SIMPSON: I think the two classic musicals sort of split, and it just ran down the middle.>>PACHECO: We’re doing what we did on the Prediction Show, which is making all of these psychological assumptions that steered us wrong in the first place. I think it’s because they were voting for what their heart said.>>FELDMAN: And I think that anyone viewing at home wouldn’t have been surprised by the two wins for Best Musical and Best Revival of a Musical, ’cause those were the two numbers, I think, that came off the best on the Tony telecast.>>GREEN: What about in the “Carousel” dance?>>PACHECO: “Frozen” sold the most tickets.>>HASKINS: Really?>>ZINOMAN: “Frozen” I watched with my 9-year-old, and a large swath of Broadway is targeted more towards her than us. [ Laughter ] Because of that, I paid close attention, and, by far, she liked the “Frozen” number, and part of it is because it did fill that huge stage — that snow, that spectacle.>>SIMPSON: Well, wasn’t she already preconditioned to love the “Frozen” number?>>ZINOMAN: She actually was not — Both kids watched it, and, of course, they’re comparing it to the movie.>>SIMPSON: Yeah.>>ZINOMAN: And I think they actually liked it on TV more than –>>GREEN: If they had a Tony Shalhoub doll growing up, they would have loved “The Band’s Visit.” I thought that number from “The Band’s Visit” was one of the best-filmed stage numbers I’ve seen on the Tonys ever.>>VINCENTELLI: Yes, absolutely.>>FELDMAN: It was like “Ring of Keys.”>>GREEN: It was that. It was exactly –>>MUSTO: I felt “Carousel” miscalculated. That number is a showstopper onstage. It didn’t translate to TV. It doesn’t always. They should have highlighted the talent like Jessie Mueller, Joshua Henry, Renée Fleming. Lindsay Mendez won the Tony. We didn’t get to see her perform.>>ZINOMAN: I’m curious what people thought ’cause I didn’t see the “Bruce Springsteen” show because it’s ridiculously expensive, but what did people think of his performance? That was one I was really looking forward to.>>FELDMAN: That was this year’s equivalent of David Hyde Pierce singing “Penny In My Pocket” from “Hello, Dolly!”>>MUSTO: Times five.>>FELDMAN: Like, here’s Bruce Springsteen. You’ve been waiting all night. He is gonna talk for five minutes, and then he will give you, like, one minute — two hours.>>HASKINS: But that’s what he does in his show.>>FELDMAN: He doesn’t. The show is full of music.>>MUSTO: I thought it was torture. It’s like if I did a show about how I went for Chinese food as a kid. Who cares?>>HASKINS: Oh, now, look –>>FELDMAN: I think the show is brilliant, and I don’t think he just gave you the show.>>HASKINS: No, no. That was a very political song in its own way.>>GREEN: Well, the whole show is political, but having seen the show, I think it may make a difference, but you saw it, as well, Adam, and you didn’t find the representation of it onstage to be very convincing.>>FELDMAN: Of “Springsteen”?>>GREEN: Yeah.>>FELDMAN: No, I didn’t think it captured it. I mean, I think he should have done his version of “Born in the U.S.A.” or something if he wanted to be political — a stripped-down blues version of “Born in the U.S.A.”>>GREEN: That’s even more of a downer than “My Hometown.”>>FELDMAN: It’s a downer, but it’s a musical number.>>GREEN: I found it very moving. I thought it encapsulated the theme of the show, the unintentional theme of the show.>>HASKINS: Which was?>>GREEN: Taking care of your community, reaching out.>>VINCENTELLI: By raising prices to an absurd level? Is that how you take care of your community?>>GREEN: Well, that’s not in the song. You’re doing the meta thing here.>>VINCENTELLI: I’m sorry. I’m not being meta. I’m being very literal, actually.>>HALSTON: I went with it, too, though, ’cause he’s a poet. So I appreciated the poetry and I also love him as a performer, so I went with it.>>PACHECO: Jesse, I think you’re right in terms of the overall theme of the show, which was fairly populist for an elitist art form. I mean, and the tone was set by Sara Bareilles and Josh Groban at the very beginning — we’re all losers, you know, and we can relate to you because we’re losers, too. And then it continued all the way through in terms of this kind of populism, so that when De Niro then came out, the people that are sort of against theater and against Broadway could then say, “Oh, those are just those elitist theater people, these arts people.”>>GREEN: So, in a way, you’re arguing that De Niro’s explosion worked against the subtlety of the theme as developed –>>PACHECO: I am. I think his moment — as viscerally satisfying as it was. I understood why people stood up. But I think that it reflected badly on the evening.>>VINCENTELLI: I don’t think so. I think it was a great balance because there was so much subtlety and emotion, and the kids –>>GREEN: The kids.>>VINCENTELLI: And then there was De Niro turning up. I thought the whole thing worked together, actually. It was more like, “Oh, three hours of being nice about it? Enough of that.”>>PACHECO: But it overshadows. That’s the problem.>>VINCENTELLI: I don’t think so.>>GREEN: In the experience of it, it didn’t seem to, but perhaps in the way it will be covered.>>FELDMAN: I thought the Parkland song was the highlight. You know, it was so beautiful, and I thought really tastefully staged.>>MUSTO: And more gay. They’re singing “Rent.”>>FELDMAN: Yeah.>>HASKINS: Does anybody know how that number was conceived, who thought of that and how that came together?>>GREEN: Well, one of the kids from the high school wrote to the Tonys and suggested that they would like to be on the show, and then they worked it out together.>>MUSTO: Why don’t we write to the Tonys?>>GREEN: Yes, well, you have to be a lot younger and cuter and more tragic.>>FELDMAN: And they were giving that award already to the teacher, so it made sense.>>GREEN: And, again, it was staged for the camera very well. I don’t mean to make it sound mechanical that way, but letting us see the response in the audience, which was very powerful. It was very useful to cue, oh, yes, this is really happening.>>ZINOMAN: What about the hosts? I thought it was interesting to have hosts whose strength was singing and who weren’t centered on telling jokes.>>GREEN: And modest.>>ZINOMAN: Were modest, likeable. I thought, overall, the show lacked a certain wit.>>HASKINS: A certain edge.>>ZINOMAN: It didn’t have a lot of laughs or an edge, but it didn’t strain to entertain the way it often does.>>HASKINS: Last year, speaking of straining and entertaining, we had Kevin Spacey. So they took a big step away.>>FELDMAN: I thought this was a smart way to respond to last year’s, you know, and to really — Because the two of them, Josh and Sara, both exude this warmth and kindness and sort of decency, and so that was a nice way to really push away from last year.>>GREEN: What are you saying about Kevin Spacey?>>FELDMAN: I’m saying nothing.>>MUSTO: They seemed like nice people who wandered in who sing nice harmonies.>>GREEN: Well, but that could be perfect for this moment.>>MUSTO: They don’t scream “theater.” Let’s face it. He was a replacement. She wrote a show and was a replacement.>>JENNA: ♪ Let’s make mistakes ♪>>MUSTO: She wrote a song for “SpongeBob.” Whoop-de-do.>>VINCENTELLI: I don’t agree, because, actually, he’s been very vocal. He’s always loved theater.>>MUSTO: So have I. I’m not hosting the Tonys. [ Laughter ]>>FELDMAN: Maybe you should.>>VINCENTELLI: Taking it a little bit further, he’s not just moonlighting and he came in as a replacement, and she, also, has been very committed to Broadway.>>MUSTO: Oh, come on. So you’re saying they’re equal to Angela Lansbury and –>>VINCENTELLI: No, of course I’m not saying that, but I thought they were great as hosts, and I think their love for theater cannot be questioned.>>FELDMAN: I thought they were charming, and it removed a little bit of the hard-sell “Come see us — Broadway” aspect, and it made more of like a community.>>VINCENTELLI: It lacked the desperation that it often has.>>GREEN: That’s right.>>VINCENTELLI: Very often it’s just like, “Love us,” and they didn’t have that at all.>>HASKINS: And they had completely different writers, I noticed, at the end.>>GREEN: Well, that was evident.>>FELDMAN: Yeah.>>HASKINS: No.>>GREEN: There really wasn’t very much that was hideously tacky in it.>>SIMPSON: And they didn’t overstay their welcome, either. They were on, they were charming, and then they got off, which is good.>>GREEN: Well, speaking of that, it may be time for us to get off of this subject. Thank you, Jan.>>SIMPSON: Well, nice.>>VINCENTELLI: Nice segue.>>HALSTON: Good segue.>>HASKINS: Now, it’s the end of the season, and we wanted to ask all of you to look back at the season and choose something that you thought was particularly extraordinary that you wanted to acknowledge.>>GREEN: Whether on Broadway or Off-Broadway, or in your own living room if that’s where it happened.>>PACHECO: I’d say “Three Tall Women” was the experience for me. It was a tale of redemption and forgiveness, not only for what it was about, but also for the playwright, as well. I mean, obviously, this was the play that redeemed him about a mother that he hated in many respects and brought him out of the wilderness, and –>>GREEN: Are we talking about Edward Albee?>>PACHECO: Yes, Edward Albee, and this was about Francis, his mother, and this was a sterling revival, bringing back three magnificent performances, so… And it was the best comedy on Broadway, as well as this existential look at our mortality.>>GREEN: Well, starting with that, I –>>HALSTON: Wow.>>VINCENTELLI: Okay.>>HALSTON: I don’t know what to say. I mean, the minute you start saying “existential,” you know, we’re in a whole ‘nother conversation. No, for me, it was seeing Katrina Lenk in “The Band’s Visit.”>>DINA: ♪ Friday evening ♪ ♪ Omar Sharif ♪ ♪ In black and white and blurry through tears ♪>>HALSTON: It’s just such a luminous performance. I loved seeing her in “Indecent,” but “The Band’s Visit” was just — You know, I love to see sort of a star in the making or a performance that is just so, you know, unforgettable, and she deserved the Tony, but it was just that whole performance will be something I’ll never forget. So, for me, that was it. Katrina Lenk.>>GREEN: How about you, Elisabeth?>>VINCENTELLI: For me, probably it would be “Yerma” at the Park Avenue Armory, which was a London import, starring Billie Piper, who had she been nominated or eligible for a Tony, I think, would have created a real problem for Glenda Jackson. It’s an adaptation. It’s more like a rewriting of an old Lorca play, and the level of craft and the just emotional, just power, but, also, I just want to reiterate the amount of craft in there. The lighting and design were at such a level that really made a lot of Broadway production — most of them look completely shoddy and amateurish, and it was just really off the charts. So…>>HASKINS: You know who produces that — that is responsible for that kind of vision?>>VINCENTELLI: I mean, well, the director is –>>HASKINS: The Armory — who brought it in? Do you know?>>VINCENTELLI: The Armory produced it with, I guess, some people. They don’t have funds of their own — some people with money.>>HASKINS: Yeah, some people with money — right.>>VINCENTELLI: But Billie Piper — she won the Olivier in London.>>ZINOMAN: I think I’ll say the ensemble for “Lobby Hero,” which is a play I’ve been entertained with for years, but I found that a real test of a great play is one that can allow for new interpretations over the years, and while this wasn’t a dramatic re-imagining involved here by any stretch of the imagination, a lot of those performances were quite different than ones that I remember originally, and I’ll just single out Michael Cera, who I think is becoming to Lonergan onstage what Leo DiCaprio is for Scorsese on film, and he’s doing “Waverly Gallery” coming up in the fall, but you wouldn’t expect him to give a kind of harder-edge, less-ingratiating portrait that kind of brings out the irony of the title of that play in a way that the previous actors I’ve seen who’ve done that play have.>>GREEN: Mm.>>VINCENTELLI: Good one.>>FELDMAN: It’s tough to say. Going along with what both of you kind of were talking. The set-design stuff, there was some amazing setwork this year, not just in “Yerma,” but, also, “People, Places and Things” had an amazing set.>>VINCENTELLI: Yeah.>>FELDMAN: “Richard III.”>>VINCENTELLI: Oh, yeah — fantastic.>>FELDMAN: And, also, there’s a moment that maybe my takeaway moment from the Broadway season is the transition between the two acts in “Three Tall Women.” Miriam Buether, who designed it, did this spectacular thing, where they dealt with what had been an act break in this astonishing way that left me, at least for a few minutes, just wondering where I was and wondering where the actors were, what was a mirror, you know, and it was perfect for that moment when the whole play shifts, and, I mean, it’s a few minutes, but it was magical for me. Of the plays, I would say Amy Herzog’s “Mary Jane” Off-Broadway is the one that has stuck with me, and, I think, has sort of made me a better person.>>GREEN: It has?>>FELDMAN: Yeah. I know. Believe it or not.>>GREEN: This is that?>>FELDMAN: Imagine what I was in September.>>HALSTON: We’re seeing the better person. [ Laughter ]>>MUSTO: Please see it again.>>FELDMAN: I said “better.”>>HASKINS: “Better person.”>>FELDMAN: I’ll be best. I’ll be best one day.>>MUSTO: Well, I judged this extraordinary go-go boy contest in New Jersey… [ Laughter ] …but as far as theater, I’d have to go, also, with “Three Tall Women,” and I was really happy when Laurie Metcalf won Featured Actress because all the tom-toms have been beating for Glenda, Glenda, Glenda, and the reality is, all three actors are superb — Glenda Jackson, Laurie Metcalf, and Alison Pill in this total reinvention of a play I never realized was so funny, which they play different shades of the same impossible, but sometimes charming person. It’s the kind of thing you do want to see again and again.>>SIMPSON: I’m going to go with “Harry Clarke,” which was a one-man show that Billy Crudup did, where he plays this Midwestern guy who re-creates himself as a sort of roguish Englishman, and then comes to New York and seduces a family, and I do mean seduces a family, and he plays all of the roles, and it’s really a master class in acting. I just had a great time.>>HALSTON: And David Cale did a great job. I mean, he’s the writer, and he’s just fantastic.>>HASKINS: We’re running out of time, so I’m going to be really fast. I loved the Stephen Adly Guirgis plays over at Signature Theatre, the revivals. I saw “Our Lady of 121st Street” just this weekend, a wonderful company. I particularly want to single out Quincy Tyler Bernstine — wonderful actress I first saw in “Ruined,” who completely — She did this role, I couldn’t imagine who she was. She’s one of our great, great actresses.>>GREEN: I agree with everything everyone said, and mine is strange. I went back to see — You’re gonna hate this — “Dear Evan Hansen” again, and Rachel Bay Jones playing the mother of Evan Hansen, that was the performance that floored me more than anything I’ve seen this year.>>HEIDI: ♪ When it all feels so big ♪>>GREEN: As much as I loved everything you all talked about, once again, I think it has to do with being the parent of kids who are just about to be not kids anymore, and it’s just too much for me. So, you know, don’t take me to that show again is what I’m saying.>>HASKINS: The Tony winner Rachel?>>GREEN: Yes.>>SIMPSON: Yes.>>HASKINS: Okay, so, everybody, this is the end of the season, and it’s kind of a bittersweet day for us here because this is the last show after 20 years that we are going to be taping here at CUNY TV, and I just want to say that I am so sad to leave our wonderful crew here. The crew at CUNY TV has been so magnificent and allowed us to make this wonderful, creative production, and I want to thank all of you who have guest-cohosted, and we plan to be back in the fall, and I hope you will all be here with us. You were to guest-cohost, Patrick. You’ve been here 80 times.>>PACHECO: That’s because I’m as old as Glenda Jackson.>>HASKINS: Oh, God love her. All right, so, but we have this…>>HALSTON: Oh, my.>>HASKINS: So we want to thank our crew at CUNY TV. You have been wonderful. [ Cheers and applause ] Now, look, I’m not going to name you all again because we’re turning this over now to our composer and musical director, Tyrik Washington, who’s here with Tyrik Washington to do a performance to end our show.>>GREEN: Yes. [ Applause ] ♪♪>>WASHINGTON JR.: “Theater Talk.” ♪♪ ♪ Until we meet again ♪ ♪ Just hold on, my friend ♪ ♪ Until we meet again ♪ ♪ This is not the end ♪ ♪ Until we meet again ♪ ♪ Just hold on, my friend ♪ ♪ Until we meet again ♪ ♪ This is not the end ♪ ♪ The storms will come ♪ ♪ The wind will blow ♪ ♪ The troubles may run, but here we are ♪ ♪ The hurt may show ♪ ♪ If you believe, you’ll know ♪ ♪ We will meet again ♪ ♪ Just hold on, my friend ♪ ♪ We will meet again ♪ ♪ This is not the end ♪ ♪ And we will meet again ♪ ♪ Just hold on, my friend ♪ ♪ We will meet again ♪ ♪ This is not the end ♪ ♪ The storms will come ♪ ♪ The wind will blow ♪ ♪ The troubles will set ♪ ♪ The hurt may show ♪ ♪ If you believe, you’ll kno-o-w ♪ Take a solo. ♪♪ ♪♪ ♪ Until we meet again ♪ ♪ Just hold on, my friend ♪ ♪ Until we meet again ♪ ♪ This is not the end ♪ ♪♪ [ Cheers and applause ]>>HASKINS: We’ll see you all next season. Thank you. Thank you, all, and thank you, CUNY TV.>>MUSTO: Thank you, CUNY. [ Applause ] ♪♪>>HASKINS: Our thanks to the Friends of “Theater Talk” for their significant contribution to this production.>>ANNOUNCER: We welcome your questions or comments for “Theater Talk.” Thank you.