Regional and Community Theatres Are the Future of Bold, Exciting Work - Not Broadway

Cape Fear Regional Theatre

by Chris Peterson, OnStage Blog Founder

I recently saw a social media post from a theatre friend of mine expressing frustration that Mamma Mia was being revived on Broadway later this year. They were complaining that rather than getting new and exciting work, all Broadway is getting are tired revivals that no one asked for.

While I agree with some of that, I am also very aware of what business models work on 42nd Street, and popular revivals are one of them.

Broadway is often seen as the pinnacle of theatre—the place where the biggest, boldest, and most innovative productions should land. But in the chase for commercial viability, Broadway has become a space of calculated risks rather than daring experiments.

More and more, the most exciting, unexpected, and vital new works aren’t making their way to Broadway at all. Instead, they are thriving in regional and community theatres across the country. If we want to see theatre continue to evolve, we need to turn our attention to these spaces, where creativity is thriving outside the pressures of Broadway economics.

Broadway is an expensive enterprise. Mounting a show requires millions of dollars, and producers are expected to back projects that will appeal to the broadest possible audience. The result? Many productions rely on familiar intellectual property (movie adaptations, jukebox musicals) or revivals of proven hits. Risky, original works—especially those without star power—struggle to find a home.

In recent years, we’ve seen critically acclaimed new shows, like A Strange Loop and Kimberly Akimbo, make it to Broadway, but only after proving themselves in regional or Off-Broadway productions. Even then, their Broadway runs were relatively short-lived, despite winning Tony Awards. The truth is, Broadway is not always the best indicator of a show’s artistic success. Some of the most compelling stories are happening in places where financial stakes are lower, giving artists the room to take creative risks without the fear of immediate closure.

Across the country, regional theatres are developing some of the most exciting new plays and musicals. These theatres have a unique advantage: they are funded in part by grants(hopefully that will continue in these political times), donors, and subscriptions, which allows them to take risks that Broadway producers simply cannot afford.

These spaces allow artists to push the boundaries of storytelling, experimenting with unconventional structures, daring themes, and immersive experiences. Many of the most successful modern musicals (Come From Away, Hadestown, Next to Normal) had their first productions in regional theatres, where they could be workshopped and refined outside the commercial pressures of Broadway.

However, just because a show originates in a regional theatre does not mean its ultimate success should be measured by a Broadway transfer. Too often, we treat these spaces as stepping stones rather than destinations. Instead, we should celebrate them as essential hubs of theatrical innovation in their own right.

Beyond the regional theatre circuit, community theatres are also producing fresh, original work. These smaller, often volunteer-driven theatres are spaces where local playwrights, composers, and directors can develop their voices. While Broadway and major regionals often look to established writers, community theatres give a platform to emerging artists who may not yet have national recognition.

Additionally, these theatres are deeply connected to their communities, telling stories that resonate with local audiences in ways that Broadway simply cannot. A show developed in a community theatre in the Midwest or the South may reflect regional concerns or local history that wouldn’t necessarily appeal to Broadway producers—but that doesn’t make it any less important or impactful.

If we only look to Broadway to define the future of theatre, we are missing out on some of the most vital, diverse, and experimental work being created today. Instead of waiting for a new work to “make it to Broadway” before paying attention, we should be supporting the theatres that are taking risks, developing new talent, and fostering innovative storytelling.

The next great musical or play might never see a Broadway stage—and that’s okay. What matters is that bold, exciting theatre is happening all across the country. It’s up to us, as audiences and advocates, to support it where it lives, not just where we expect it to go.