“Rent Remixed wasn’t a revival. It wasn’t a reinterpretation. It was more like a chaotic rebranding — a glossy, Auto-Tuned, glow stick-fueled clubland version of the East Village. “

“The dynamic duo best known for playing Bill and Ted, everyone’s favorite time-traveling slackers, are trading in their phone booth for a barren tree and the bleak existential ramblings of Samuel Beckett. And I, for one, could not be more excited.”

“The best community theatre reviews I’ve read meet the work where it is. They acknowledge the context. They don’t compare a local production of Chicago to the Broadway revival, but they also don’t pretend like it’s immune from critique.”

“If you find yourself unable—or unwilling—to meet this moment in theatre, maybe you’re not the one who should be writing about it.”

“I hope Masquerade doesn’t just replicate the Broadway version of Phantom in a new setting. I hope it reimagines it. Deepens it. I want this version to haunt me, not just entertain me.”

“I was recently made aware of a situation where a student has threatened legal action against their university’s theatre department. Their claim? That they were denied an equal education because they were never cast in a single production during their years in the program.”

“Leslie Odom Jr. returning to Hamilton as Aaron Burr this fall? That’s not just a wink. That’s a standing ovation before the curtain even rises.”

“When you react like that, the conversation stops being about the unfair criticism and becomes entirely about your overreaction.”

“Let your kid be in the show. Let them shine. But don’t hand them the spotlight. Make them earn it like everyone else.”

“The show doesn’t work without them. The magic? The world-building? The audience believing that what’s happening onstage is real? That’s the props team, working behind the curtain, making it all feel effortless.”

“Now. Here. This. is like an hour and a half therapy session that sings to you about sea turtles, high school trauma, and the fleeting nature of time—all while somehow managing to be both hilarious and devastating in equal measure.”

“If we’re going to keep evolving how we teach the next generation of artists, we’ve got to think beyond just performance. We’ve got to prepare students for a world where storytelling, presence, and collaboration are needed everywhere — not just on stage.