The Jeff Awards want us to treat Charles Askenaizer’s nomination like business as usual. It isn’t.

Broadway knows how to cast expansively (other shows this season prove it). So why does Beaches feel like a step backward?

Community theatre auditions aren’t just about who can sing the best 32 bars. They’re about who’s about to make your rehearsal room a joy… or a slow-motion headache.

I love parody. I love satire. I love theatre. Which is why Randy Rainbow’s videos are exhausting. It’s the same one-note routine over and over, dressed up like resistance.

I’m begging theatre groups: don’t use flexibility as an escape hatch. If you’re telling a story about belonging, start by building a process where Autistic and neurodivergent performers can actually belong in your room.

In an era when school theatre is under constant scrutiny, The Sound of Music feels less like the “safe” choice and more like a quietly powerful one.

We love to talk about theatre as a “community” and a place where everyone belongs. But the truth is, not every theatre space feels welcoming, and pretending otherwise doesn’t help anyone.

Amy Poehler asked Jonathan Groff one question on Good Hang and it completely cracked open something most people don’t think about when it comes to Broadway performers. We talk a lot about talent. We don’t talk enough about stamina.

“If the people running auditions seem distracted, disorganized, or just plain bored, take note.”

What is happening at the Michigan Theatre is no longer just a leadership transition story. It is a trust story. And if you have spent any time in community or nonprofit theatre, you know exactly how fast that can spiral.

We all loved calling Dorian Gray a breakthrough. Now Dracula is forcing the harder question. Is “cine-theater” a lasting theatrical language or a trend that only works when everything clicks?

Theatre is not a clock-in, clock-out job, and the spaces that try to treat artists like obedient employees are actively damaging the work.