For those who don't know, understudies and standbys are the individuals who know the roles of other actors in the event that that actor cannot make the performance. While there are some notable differences between the two titles, their mission is to seamlessly step in to the character’s shoes so that the show may go on at the caliber it would have should the originally cast individual be the one on stage. They must quickly establish chemistry with their scene partners, and this task alone is no easy feat.

These individuals are rock stars and deserve more credit than the disgust they are often met with upon their tiny flyer at the front of the playbill. Whether it's Ohio State University alumnus Sifiso Mazibuko (a standby at Hamilton: An American Musical in London), or a high school understudy for Rizzo in Grease, these people have to know their scripts, learn countless vocal parts, and master quick changes, so it’s a privilege to have their energy on stage for your performance.

Okay, let me start this by saying that you, whoever may be reading this, may very well be offended by the words I'm about to say. I do, however, think it is fair to say that anyone who preaches open-mindedness in art will agree with me. Warnings and cautions aside, let me get right into this. 

True open-mindedness means hearing or seeing something you may completely disagree with but rather than immediately rejecting or objecting the ideas, you are perceptive to them. You may consider them, engage in fair conversation about them, maybe even compare them to your current set of beliefs. It's a great concept when utilized accurately, especially in the setting of a piece of art.

on July 5th. You can click here to read it. 

All caught up? Good. Hopefully, as you were reading it, a couple of questions began to form. But one that should definitely be raised is, "Was this article necessary at all?"

I understand Reidel's methodology here. It's not every day one gets permission to publish extremely-candid quotes from one high-profile star bashing another. So clearly, from Reidel and the Post's point of view, there is a story to tell and clicks to get. 

But from my point of view, the whole article feels like a well-orchestrated hit on a show's leading lady by portraying her as either a selfish diva or a fragile performer, incapable of meeting the demands of a lead role on Broadway. Even if either were true, the fact that this has gone public is wrong and is certainly a violation of the unwritten rules of being in a Broadway cast: You don't air your dirty laundry in public, especially not to the press, especially not to Michael Riedel.  

#TenthPlanet

Normally, if someone were to use this hashtag, one might think that it’s some sort of Doctor Who reference. (At least, that’s what I noticed later on, after I started using it, myself.) This year, however, this hashtag has taken on a whole new meaning, in reference to the 10th anniversary season of the Planet Connections Theatre Festivity, New York’s premiere socially conscious and eco-friendly theatre festival, founded a decade ago by arts professional Glory Kadigan, and led this year by Producing Artistic Director Shaun Peknic, who is at the helm of one of the most passionate and enthusiastic festival staff teams you’ll find in New York, which his overseeing dozens of bold new shows from various genres.

I love playwriting, and the creative rush I get from writing so many plays – and often, seeing them produced – is practically what I live for. I’m also a theatre critic, and thus have the chance to see a diverse range of shows and offer my analysis and opinions of them. Depending on which person you talk to, if they’re familiar with my writing, they might know that I’m a playwright and a critic, but they may know me better for being one over another. There also may be some who know me only as a playwright, but have never read any of my reviews; or perhaps they’ve seen my past reviews of shows, but are totally unfamiliar with my work as a playwright.

Why do people go to the theater? It’s a question to ponder on and there really is no single answer to it in my mind. I think there is something special about going to a theater and seeing a show versus going to see a movie. There is something about having that action right in front of you. After all, there is nothing like live theatre. I imagine it’s probably an escape for some people other than it being a pleasure. I know it is an escape for me and it brings me so much joy, excitement, and contentedness that I’ve kind of become addicted. Not only is it my passion, but it is a huge part of my life. Without it, I would feel as if I lost my imagination.

The historic and prolific St. Louis Municipal Opera Theatre (commonly known as The Muny), is marking a rare feat for regional theatres, its 100th season. It's a milestone that should rightfully be celebrated in not only the St. Louis theatrical community but here in New York City as well, as many a performer has graced that stage at one time or another. 

However, their season is off to a bumpy start, according to some who have seen how they've decided to stage various numbers in their production of Jerome Robbins' Broadway. The show, which serves as a tribute anthology to shows that Robbins worked on, features fully produced recreations of his choreography. That means these numbers are done in the context of the shows their from and with full costuming. And that is where the problem lies. 

What will be today’s Musical Theatre legacy?  What work will be left behind for the next generation to look back on with admiration, commenting on how ahead of its time it was?  Should producers be dusting off old chestnuts like South Pacific, Hair and La Cage in this time of turmoil?  Or should Musical Theatre simply be an escape for its audience to forget about the turmoil this nation is facing? 

First up: Here’s a fun collection of some of our favourite artists covering the musical theatre greats. It’s not meant to be a comprehensive list; not everyone’s faves are going to be on it.  Not everyone is going to make every list every time. This isn’t a list of the “best,” it’s just that: a mixed tape. Also excluded were more recent folks from the theatre community covering theatre songs. 

There were many amazing, memorable moments from the 2018 Tony Awards: The students from Marjory Stoneman Douglas High School's incredible and touching rendition of "Seasons of Love", the Carousel cast's show-stopping choreographed performance, Josh Groban and Sara Bareilles' quirky yet charming hosting, the Dear Evan Hansen cast's beautiful medley of "You Will Be Found" and "For Forever", Lindsay Mendez's acceptance speech, the #TonyDreaming montages, the list could go on and on. 

Anyone who watched the Tony award show in its entirety caught Robert De Niro’s bleeped-out remark about President Trump, and, of course, it spread through social media like wildfire.  His f**k Trump statement was a quick, yet succinct, personal, and some would say political, comment that drew the ire of some and admiration from others.  So, does this type of remark belong at an awards ceremony?

As adults, is it 'cool' to hate competitive theatre festivals and events? Is it in our moral DNA to say it's not right to judge art?' Does our stance change if we are also thrilled by it, and would we have a different point of view if we were the ones winning?