“Theatre education should be about ensemble. When we pick shows based on a single student’s strength, we’re not just limiting opportunities for others. We’re also limiting that student’s growth.”

“Every season, Broadway unveils a fresh lineup of shows, hoping to dazzle audiences with something new, unexpected, or just plain spectacular. And usually, I’m ready to dive in headfirst. But as I look at what’s coming this spring, I have to admit… I’m not exactly counting down the days.”

“Musical theatre has always been about progress. It’s about seeing the world through someone else’s eyes. It’s about imagining something better. That’s why the idea of a “non-woke” musical is absurd. It doesn’t exist. It never has.”

“When initiatives are designed to uplift historically marginalized voices, it’s not about taking something away from white men—it’s about bringing more voices to the table.”

“When you’re auditioning for a BFA program, you’re performing for faculty who have seen everything. They don’t need to be shocked. They need to see your skills. They want to know that you understand text, can make strong choices, and—most importantly—have good instincts about what is and isn’t appropriate for this setting.”

“As theatre organizers and professionals, we need to do regular checks. Are you constantly hiring the same talent? Do your newcomers feel welcome? Are new artists applying to your show? These are simple ways to do checks and balances.”

“If we want these spaces to be safe, if we want the people leading them to reflect the values they claim to uphold, then we have to stop excusing, overlooking, and tolerating behavior that hurts people.”

“When an audience reacts to the presence of someone who has actively worked against the values of inclusivity, creative freedom, and artistic expression, that’s not "rude"—that’s tradition.”

“For some reason, confidence is often mistaken for arrogance when it comes from a woman—especially one who isn’t afraid to express her opinions. If a male actor spoke about a role with the same level of conviction, it would be framed as passion. When Zegler does it, she’s labeled as entitled.”

“If you’re looking for a private, industry-connected theatre school with top-tier facilities and networking, Emerson College is a fantastic choice. If affordability is a key factor and you want a program with excellent faculty, strong diversity initiatives, and cross-college collaboration, UMass Amherst delivers incredible value.”

“Why is it that auditions so often feel like an endurance test rather than a collaborative process? Shouldn’t directors be rooting for every actor who walks in? Shouldn’t the room feel like a space where people can do their best work instead of some kind of theatrical Hunger Games?”

“I believe that balance is key to a truly great theatre education. We want to be pushed artistically, but we also want to be in a program where we feel safe to take risks, to experiment, and, most importantly, to still love what we do.”