“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.”
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“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.”
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“Is calling someone a techie disrespectful? It depends. On context. On tone. On the person. On whether you see technical theatre as essential to the art form or just something happening behind the curtain.”
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“Without further ado, here are our favorite embarrassing theatre stories:”
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“This win sends a clear message to universities and lawmakers everywhere: performance is speech. Creative expression is a right. And drag, as a form of storytelling and identity, absolutely belongs in the canon of protected theatrical work.”
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“Casting teams should still lead with talent, training, and storytelling ability. But I understand the temptation—and sometimes the necessity—of factoring in an actor’s digital reach.”
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“Theatre is wild and weird, and everyone's path looks different. Comparison is a trap that steals your energy and creativity. Reconnect with what you love about performing, directing, designing—whatever your thing is. Your journey might be messier or slower, but it’s yours, and it matters.”
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“If we agree that theatre is best learned by doing, then we have to protect the opportunity to do—to rehearse, to perform, to take risks on stage—for the students who have made theatre their primary academic pursuit.”
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“Theatre friendships tend to form quickly and deeply. Maybe it's the intensity of the rehearsal process, the shared stress of opening night, or the vulnerability required to perform. Whatever it is, these bonds can feel unbreakable—until suddenly, they're not.”
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“The next time you hear someone complain about how stressful tech week is, ask the real question: Is tech week stressful, or is someone just unprepared?”
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“Let’s face it: in real life, not everyone can do a triple pirouette into a death drop. Movers remind us that you don’t have to be perfect to be powerful. You just have to show up, plant your feet, and act the hell out of that scene.”
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“What does it mean when this story, with this cast, becomes financially out of reach for so many? What happens when the people who would connect most deeply to the themes of the play — the ones who see themselves in Othello — can’t afford to be in the room?”
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