A world premiere musical at an Arizona community theatre reportedly uses AI-generated accompaniment, raising a larger question: what does “original” mean when AI is helping create the work?

There are regional theatres are genuinely struggling right now, but here’s the thing: If you want people to fight for your theatre when things get hard, they need to know what they’re fighting for long before the fundraising email hits their inbox.

The Jeff Awards announced they are pausing Non-Equity awards consideration following weeks of backlash. I’m glad they’re hitting pause. I also don’t believe for one second this happened in a vacuum.

Community theatre is expensive. I get that. But charging actors $100 or more just to be in a show feels like something worth questioning.

A fire at the Eugene O’Neill Theatre has closed The Book of Mormon until at least May 17. Thankfully, staff were safely evacuated, but if early reports are accurate, the Broadway community should be asking larger questions about electrical safety, inspections, and how we protect the people working inside these theatres.

The 2026 Tony nominations gave us plenty to celebrate, plenty to question, and at least one comeback that should make Broadway deeply uncomfortable.

A second chance should come with more than famous people saying someone has changed. What was repaired? What safeguards are in place? And why do Broadway powers keep confusing time away with accountability?

An actor from California Theatre’s recent production of The Prince of Egypt claims he was fired after speaking up about what he described as the alleged whitewashing of the cast.

The Korean production of Hell’s Kitchen is facing online criticism over one character’s styling, with some calling it blackface.

A UK theatre group somehow cast Dreamgirls with a practically all-white cast, and yes, it is exactly as baffling as it sounds. So naturally, here are 5 totally reasonable, completely serious, not-at-all sarcastic reasons a theatre might choose to stage one of the most iconic Black musicals of all time with mostly white performers.

A theatre group in the U.K. is facing criticism after announcing a Dreamgirls production with a practically all-white principal cast.

Laurie Metcalf’s full-throated defense of Scott Rudin is disappointing, revealing, and exactly why Broadway’s accountability problem never seems to go away.