“Performances of Big River are at risk after a community theater failed to cast Black actors, then removed the remaining Black characters entirely—rewriting scenes, lines, and songs without permission from the licensing company.”
“Waking Ned Devine, the 1998 cinematic treasure that I’ve adored for years, is being adapted into a musical. It’s cozy. It’s clever. It’s got heart for days. And now, it’s going to sing.”
“The Tonys are supposed to be for all of us. But when the entry fee is $595, it stops feeling like a shared celebration and starts feeling like an exclusive club.”
“If you’ve streamed the album, read the synopsis, followed the discourse, seen clips of that one number that everyone’s talking about—you’ve engaged with the show. You’ve formed a take. And you’re allowed to.”
“The name at the center of a Grammy-winning album, a globe-trotting ensemble, and now a Broadway musical, is under legal fire — and the results could have major implications for the future of live performance, artistic ownership, and cultural storytelling.”
“Scranton’s Ritz Theater is no stranger to drama—but the latest plot twist isn’t happening on stage.”
“Majoring in theatre doesn’t guarantee a specific future—but it opens the door to a thousand possibilities. And often, the path you least expected becomes the one you love most.”
“There’s just something about William Finn’s music that hits me in a way most other stuff doesn’t. Maybe it’s how a single song can swing from hilarious to heartbreaking without missing a beat.”
“I love this industry too much to pretend people like Scott Rudin are necessary. They’re not. The myth that brilliant, abusive producers are the only way to get great theater is just that—a myth.”
