As Romeo and Juliet opens, Orlando Shakes is also responding to online hate directed at the production. Their message underscores an important truth: theatres have a responsibility not just to program boldly, but to actively protect the artists who bring that work to life.

Turns out the role I’d play again isn’t just a role. It’s Little Shop of Horrors. Mr. Mushnik. Junior year. Same cast, please. This one’s about missing the people more than the part.

The hateful response to Dylan Mulvaney’s casting in Six isn’t criticism. It’s cowardice. And it exposes who never cared about the musical in the first place.

I’m genuinely hopeful about Ariana Grande and Jonathan Bailey leading a London revival of Sunday in the Park with George.

Utah has removed Wicked from public school libraries, and while I don’t love the word “banned,” I also don’t think the novel is appropriate for young readers. There’s a difference between age-appropriate curation and erasing important stories.

The allegations involving Timothy Busfield are deeply unsettling. But beyond the headlines, this is a reminder of something the industry still struggles with: protecting children on set cannot be optional.

A New York performer is considering legal options after learning a director has described her as “difficult to work with” to others in the industry. Let’s examine whether defamation applies and the broader impact such labels can have on theatre careers.

The man at the center of the viral Mamma Mia! audience outburst has come forward to explain his actions. I don’t agree with how he handled it — but his explanation raises bigger questions about audience behavior, theater etiquette, and why Broadway security keeps letting situations escalate.

Austin Peay State University has reinstated a tenured professor fired over a Charlie Kirk social media post, agreeing to a $500,000 settlement after admitting it failed to follow required procedures.

Would you ever walk out of a Broadway show at intermission if the second act didn’t feel worth your time?

Timothée Chalamet wants to pursue greatness. Not success. Not vibes. Greatness. And maybe that kind of ambition is exactly what art needs right now.

Theatre doesn’t grow on safe bets. Neither do audiences. Why I’m resolving to choose the uncomfortable seat this year.