“When people are happy to work, their work will be better. When people have their access needs met, they will be more likely to return to the workplace. Enough is enough, we are entering a new era for theatre where we define what we need, not the other way around.”

“To those who feel assured in their ability to land parts, don’t get too comfortable and never forget your position as an artist constantly striving for a deeper truth. To those who feel overlooked and forgotten, take care of yourself and do not allow criticism and self-doubt to erode your passion.”

“It seems to me that too much of America's current approach to the theatre experience seems bent on exploiting our differences rather than our shared values; it seeks to focus on our grievances toward "the other side" for dramatic controversy and effect, rather than attempting to explore the means of discovering common ground.”

“That is what I will tell you. Don’t write about it. Don’t do it. It’s not your story to tell. What you SHOULD write about is white complacency, white ignorance, and the white guilt around being a bystander and not lifting a finger to change the tide of racialized violence.”

“Being an actor is a unique experience. It’s one that can be terrifying, exhausting, discouraging, and uplifting. It’s an experience I miss more than anything, and I can’t wait to come back.”

I’m no stranger to imposter syndrome. I routinely question my abilities, my talents, my prospects, and my creative potential relative to the industry. I frequently wonder if I’m practicing enough, learning enough, applying myself to the right opportunities. I also often wonder if I deserve it. That’s the big one, and I had an experience with that quite recently.

“I’ve seen white performers show up late for call or call out at the last minute for reasons they’re not being honest about. I’ve seen white performers throw fits in rehearsal studios, dressing rooms, and recording booths. Yet their employment is never threatened. Producing teams don’t shun them, they try to appease them.

But for the black performer? We’re the ones who have to behave, stay in line, don’t act out. We’re the toxic element that needs to be removed for the production to go on as a cohesive unit.”

“No system will be perfect, and art will never be objective, but I absolutely find value in participating in the recognition and celebration of theatrical productions in my community.”

“That theatre people don’t seem to know that Meat Loaf and Jim Steinman were fellow theatre people first seems to me like a failing of theatre. But it also confirms the ways that theatre’s exclusivity and protectiveness of Broadway as a “brand” limited the types of stories that could be told onstage.”

“Beneath the obvious concern of getting sick and infecting loved ones, shows with deep pockets have still only allotted to pay for a fraction of the necessary time to quarantine, shouldering the cost of getting infected on the worker.’

“Producing theatre in a pandemic has completely changed the narrative around performing while sick. The caution around illness has forced us to take a step back before deciding to perform or rehearse with symptoms.”

“While we are living in a time of growing positive portrayals of people with disabilities in the media, it’s more important than ever to acknowledge the way disability has been depicted in the past and how it still affects our views on disability and people with disabilities today.