“This is what a perfect Act One closer does: it changes the lens. Everything before “Who I’d Be” is about a mission—rescue the princess, claim the swamp. Everything after is about identity and love.”

Theatre is flexible when it wants to be. The question is: will we use that flexibility to make space for trans and nonbinary performers?

We talk endlessly about toxic masculinity, but toxic femininity usually gets stuck in high school storylines. What about when those same behaviors show up in the office, in friendships, in adult relationships?

Not every cast becomes a family — and that’s okay. Whether it’s Broadway or high school, cast mates are coworkers first. You don’t have to be best friends, but you do have to show respect and professionalism.

Are we overproducing queer tragedy on stage? In 2025, with politics charged and audiences hungry for more, the question lingers: where’s the balance between grief and joy, between history and celebration?

Middle-aged women are the lifeblood of theater. They buy the tickets, fill the seats, and keep the lights on. Yet their stories are sidelined. It’s time to stop handing them only the grandmother roles and finally give them center stage.

I’ll always respect author intent, but if your show runs longer than 90 minutes, give us an intermission.

Fat actors deserve more than the handful of roles written around fatphobia. Too many shows restrict who can play what, leaving fat performers boxed in.

Sometimes the most devastating songs don’t scream, they whisper. ‘Some Things Are Meant to Be’ from Little Women is one of those songs.

“Buried in Shrek’s swamp is one of Broadway’s most underrated songs. “I Know It’s Today” isn’t just funny, it’s heartbreaking. And it might be the number that secretly saved the show.”