“I believe in the power of preparation. I love a sharp cue pickup. I appreciate an actor who comes in knowing their material inside and out. But I also know that theatre is an act of discovery. And sometimes, putting pressure on a fixed off-book date stifles the very process we’re trying to nurture.”

“If you’re feeling “bad” at acting, it probably just means you’re in a stretch zone. That’s not failure—it’s progress in disguise. So don’t give up. Get specific. Get curious. And get to work. You’re not bad. You’re building.”

“Fifty years is a big deal. It is long enough to be a classic and long enough to become a machine. It is also long enough to pause and ask: Is the message still coming through the glitter?”

“Until we expand the Broadway model beyond the box office, ticket prices aren’t going to drop. They can’t. The current system just doesn’t allow for it. Streaming is not about diluting the magic—it’s about sharing it. With the kid in Kansas. With the teacher in Detroit. With the parent who wants to introduce their child to Shakespeare but can’t swing $900 for Othello.”

“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.”