“Leslie Odom Jr. returning to Hamilton as Aaron Burr this fall? That’s not just a wink. That’s a standing ovation before the curtain even rises.”

“With Smash arriving on Broadway, and Schmigadoon! coming soon, it has me wondering: could this open the door for more musical TV shows to make the leap from screen to stage? Because I’d like to throw Glee and Crazy Ex-Girlfriend into the mix.”

“We talk a lot about what Broadway “needs”—more innovation, more diversity, more risks, more fun. Boop! seems to check every one of those boxes.”

“His musicals weren’t about my identity exactly, but they made room for it. They said, “You’re not too much.” They said, “Your feelings are valid.” And that meant the world to me.”

“I believe Nick Jonas loves theatre. His Broadway debut in Les Mis, his run in How to Succeed, his commitment to live performance—it’s all real. But this role? It’s unforgiving. So yes, maybe it was a mistake.”

“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.”

“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.”

“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?”

“Fifty years is a big deal. It is long enough to be a classic and long enough to become a machine. It is also long enough to pause and ask: Is the message still coming through the glitter?”

“Until we expand the Broadway model beyond the box office, ticket prices aren’t going to drop. They can’t. The current system just doesn’t allow for it. Streaming is not about diluting the magic—it’s about sharing it. With the kid in Kansas. With the teacher in Detroit. With the parent who wants to introduce their child to Shakespeare but can’t swing $900 for Othello.”