Everyone has an opinion about Dear Evan Hansen. Some love it. Some can’t stand it. I think it’s time we finally had that conversation

It’s time to bring overtures back to musical theatre. Not just for nostalgia’s sake, but for the magic of anticipation itself.

I revisited the Newsies pro-shot recently and found myself questioning a creative choice that’s always bugged me. As much as I love Kara Lindsay’s performance, did Newsies really need Katherine Plumber?

It’s not always a choice between Equity and non-union. Sometimes it’s a choice between working and walking away.

“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.