While there has been some positive change in the theater world, there is a growing issue of things staying the same. 

For the sake of ease, I’ll refer to it as The-OBC-Did-It-That-Way-Syndrome; that is to say directors forgoing their own artistic input and simply recreating the original Broadway production. It’s an issue I’ve noticed a lot recently, especially at community theater productions or amateur shows. Everything down to the costuming, set, mannerisms and blocking are taken almost 100 percent from the libretto. There is nothing inherently wrong with this – those choices were made with the original creative team and are in the script for a reason – but far too often it impedes directorial creativity and makes the amateur version feel like a pale imitation of the original. The thrill of seeing your child/brother/friend/parent on stage aside, these copycat productions do little but offer the same nostalgia as watching The Wizard of Oz on late-night television for the hundredth time.

I'll be honest, I've never written an article like this before. While we release annual rankings of who we feel offers the best theatre programs in the country, doing a list of the opposite just seems like an opening for all kinds of trouble. 

However, when reading an article in the news the other day, I realized the perfect way to determine what schools to avoid if you want to major in theatre: The ones that won't value you. 

The second time my husband, Stephen, wears the Santa costume and acts as the main man, it's better. The costume is a little more legit; he's doing it for a new group; he has a better Santa chair, a better introduction (more suspense, more lead up, more fanfare....and he gets to ride in on a trackless train); and it's a monumentally hot year so Stephen rocks the sunglasses as he makes a big entrance- this goes over really well. 

On the 6th December, inside the newly refurbished Victoria Palace Theatre, the lights came up on Hamilton for the first time in London. It's finally happened. Hamilton is here, and it's already a hit. In fact, the show is almost completely sold out for the whole of its run – but fear not. The Hamilton £10 Lottery has also been announced, which means that you can enter to win the chance to buy tickets for only £10 … every day!

I’ve been seeing this debate going on in a lot of Broadway groups I’m in. Some people support them completely, others, like many Broadway actors and producers, tell people that if they were “real” fans, they wouldn’t watch them. I’m going to say straight up that I am a fan, but to a certain point, which I will explain why while looking at both sides of this debate and why you should support or degrade bootlegs.

Having been both a performer and a director, you don't ever have to prove to me the intestinal fortitude of actors. I've seen performers go on stage with injuries, sickness, and other issues. But then there are some moments where I've seen performers go through tremendous tragedy or distress and I wonder how they were able to breathe let alone get on stage and perform a two-hour show.

I spoke to two actresses who I know went through situations like this. While they might have performed in two very different venues, both were given devastating news just hours before a performance. While their perspective worlds were falling apart around them, they were able to get on stage and perform as if nothing was wrong. Here are their stories

Given that he played a major role in inspiring a whole generation of performers, I do find it surprising that not more people use Alan Menken's material for auditions. Maybe because it's looked down upon to audition with a Disney song? Perhaps. I'll be honest when I say I've heard more than a few groans from behind the table when someone says they'll be singing a song from Beauty & the Beast. 

But in my opinion, Menken's material isn't off limits. His songs, along with Howard Ashman and Glenn Slater, highlight the voice nicely, allow for a fully acted performance and aren't terribly complex that an intermediate accompanist can't handle it. 

When I asked comedic actress Nonie Newton-Riley what it’s like to play the same role on tour across the United States for seventeen years, she responded that the steady gig is “a gift and a mitzvah.” Interesting choice of words for someone who has spent the better part of two decades portraying a nun. But as Newton-Riley is quick to point out “you don't have be to Catholic to have fun” at one of the eight “Catechism” shows she regularly performs in. “It doesn't matter if you grew up Jewish or Lutheran or whatever,” she says, “you get in that show and it taps into something familiar for everyone who grew up in the '50s and '60s. Everybody remembers getting in trouble at school or enjoyed watching someone else get in trouble.”

This was a question that was recently posed to me during a coffee chat with a theatre friend. To be quite honest, I didn't have an answer. Reason being, it makes no logical sense to me. At this point, I have to believe that there is some sort of dark conspiracy to prevent this man from ever winning a Tony Award. 

Becuase if you look at his resume, it bewilders me how he doesn't have multiple spinning medals already. 

It’s no secret in the theatre world that stage managing is difficult. Between creating schedules, tracking each and every change and development in rehearsal, making sure the show runs smoothly each night, and of course, managing actors and tech staff, it gets hectic. You are ultimately charged with creating order out of varying amounts of chaos. And one thing that must be kept in order is your own attitude.