“These shows require good instincts, a committed cast, and the kind of intimacy that only community theatre can pull off.”
“Not every protest looks the same. Some Les Mis cast members won’t perform next month and some will. Both choices deserve respect. Performing isn’t betrayal. It can be an act of protest, too. Let’s hold space for all the ways artists show up.”
“Refusing to perform for someone who built his brand on cruelty and fear isn’t intolerance — it’s integrity. It’s having a spine. And in this case, it’s incredibly on brand for a show that literally ends with a plea for a better world.”
“This isn’t just about skipping a show. It’s about refusing to perform revolution for someone who’s spent a career trying to suppress it.”
“Why hasn’t The Producers been revived on Broadway? With London rolling out the red carpet for a new West End run, it’s time Broadway remembered just how much we need this outrageous, joyful, tap-dancing love letter to theatre.”
“Yes, we excel at diversifying funding through ticket sales and grant proposals to sympathetic foundations. But we also tend to keep our boards at arm’s length, treat our audiences solely as ticket buyers rather than potential donors, and, perhaps most damaging, remain vague about our missions.”
“This is a concert production. Not a rewrite of the Gospel. You don’t have to buy a ticket. But maybe take a beat before condemning those who see the divine in a new key.”
“We’re living in a moment of book bans, rising hate crimes, deep divisions, and a whole lot of noise. Ragtime doesn’t flinch from the ugliness, but it also refuses to give up on hope.”
“This is about how we dangle opportunity in front of hopefuls to generate buzz, build followers, create engagement—and then snatch it away when it’s time to get serious.”
