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.

If you want to walk out of a Broadway show, that’s your call. But announcing it on social media mid-intermission like it’s breaking news? Tacky.

West End audiences have raised concerns about a visible teleprompter during Cynthia Erivo’s one-person Dracula, but the bigger picture is less dramatic: this looks more like a fixable staging issue than a performer controversy.

K-pop isn’t a niche trend, it’s a global force. If the NFL is serious about culture, reach, and relevance, BTS should be next for halftime.

A KS theatre has reinstated its former artistic leader just weeks after his resignation. Critics point to a now-deleted statement acknowledging that an actor was given a “second chance” after predatory-behavior concerns had been raised.