
"Not every show is right for your stage. If your community doesn’t have the type of talent a show requires, you probably shouldn’t do it."
“As the curtain rises again on a Scott Rudin production, the industry must decide whether the spotlight should still shine on him or finally turn elsewhere.”
“Being a member of an audience can provide a lot of challenges, as we all have our own idiosyncrasies and weaknesses. One of mine that I struggle with is being a big-time fidgeter.”
“With its timeless themes, compelling characters, and potential for artistic innovation, Grand Hotel is a revival worth waiting for.”
“The Thomaston Opera House, a place that should feel like a creative home, is making a lot of people feel uncomfortable, unwelcome, and unheard.”
“A beloved community theatre has closed its doors. Not because of a lack of passion or audience support, but because of a troubling mix of copyright violations, financial mismanagement, and lost trust.”
“La Scala is drawing a clear line: this isn’t a casual tourist stop. It’s a cultural institution, and you are expected to dress like it. So should Broadway do the same?”
“If the audience is cheering and laughing through scenes of trauma, does that change the impact, or just reflect the complicated way we process these topics today?”
“This is a plea to every stage manager out there: if something feels unsafe, stop the show. Period. You are the last line of defense between a hiccup and a hazard.”
“I believe it is time for theatre artists to step forward and play a role in changing our design and production process; to put sustainability in the front of every production, at the beginning of every design process.”
“What’s refreshing about Nguyen’s She Kills Monsters is that not only does it shine a spotlight on LGBTQ characters, but that it does not use their sexuality as a placeholder for personality.”