Paddington won big last night at the Olivier Awards and honestly? America needs this show right now.

Scott Rudin is producing the new Death of a Salesman revival, and that is reason enough for me to stay away.

For guest writer Jessa Blackthorne, audience participation at The Rocky Horror Show isn’t just tradition, it’s personal. She explains why the communal, chaotic, and joyfully interactive spirit of the show still matters so much today.

If actor safety is truly the priority, then a Broadway transfer of Evita needs to reflect that. Rachel Zegler’s well-being should matter far more than preserving a flashy staging choice that may not be safe to recreate in New York.

Chinese Republicans isn’t a workplace satire. It’s a play about power. And it’s not here to comfort you.

There is nothing wrong with reimagining old favorites. Especially when it opens doors instead of closing them

BroadwayCon has always felt like a love letter to theatre fans. This year, I get to be part of it — closing the weekend with a panel on writing and the voices behind how theatre is seen and remembered. Would love to see you there.

If Legally Blonde comes back to Broadway as a tour stop, it won’t be the first—and it won’t be the last. The trend is becoming harder to ignore.

Broadway could use a little joy right now. That’s why I can’t stop smiling about Titanique finally sailing in.

Some holiday traditions find you when you’re young and stay with you forever. For me, it was A Christmas Carol at MSG.

Some performances stay with you long after the curtain falls. Here are the women who played Elphaba and Glinda that live in my heart for good.

Renewing my annual plea for Broadway to do the obvious and bring The Muppets Christmas Carol to the stage each December.

Some thoughts on why The Queen of Versailles is closing so soon, and why the story is bigger than ticket sales.

“Not all celebrity casting is stunt casting. When stars take the work seriously, they elevate the show. When they don’t, everyone can tell.”

If a show performs on a Broadway stage, those performers deserve Broadway pay — full stop.

“Receipts don’t lie,” one investor said. So why are Cabaret’s producers so terrified to show them?

Dreamgirls is finally coming back to Broadway in 2026 and that is thrilling news. The only caution is the “nationwide casting search.” Hopefully it is about real discovery and not just a marketing stunt. This show deserves sincerity.

Anastasia never became the Broadway juggernaut people thought it would. I’ve been reflecting on why, and why I still liked it anyway.

Hear me out: free Broadway previews. Not forever. Not a free-for-all. Just the first week, lottery-style, and suddenly the room looks like the city again. It’s a fantasy, sure, but it also raises a real question about who gets to be in the room.