“The next time you hear someone complain about how stressful tech week is, ask the real question: Is tech week stressful, or is someone just unprepared?”
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“Let’s face it: in real life, not everyone can do a triple pirouette into a death drop. Movers remind us that you don’t have to be perfect to be powerful. You just have to show up, plant your feet, and act the hell out of that scene.”
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“What does it mean when this story, with this cast, becomes financially out of reach for so many? What happens when the people who would connect most deeply to the themes of the play — the ones who see themselves in Othello — can’t afford to be in the room?”
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“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.”
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“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.”
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“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?”
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“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.”
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“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.”
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“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.”
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“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.”
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“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.”
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“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.”
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