It’s a season of merriment and tourism, when Broadway producers hope to make enough extra money to compensate for the dark days of winter ahead. But just how much extra are Broadway stars working?

When the wild project launched its do-or-die capital campaign a couple of weeks back, an industry reeling from several hits to the off-off-Broadway community braced for another one. However, even though the downtown arts community had suffered several losses, the news that the non-profit needed to raise $1 million in only three months caught many by surprise.

Rumors of the death of off-off-Broadway have been greatly exaggerated. In fact, the Alliance of Resident Theatres/New York (the organizing entity, such that there is one, of off-off-Broadway companies) will tell you it has more members than it did twenty years ago. However, there is no doubt that things feel dire.

Over the years, I’ve heard several black actors complain about how their preferred hair plan was dismissed by producers. Now one is suing producer NETworks Presentations, 1776 Touring, and several of their employees, claiming that increasing tensions led to her being terminated after she expressed a desire to submit a written racism complaint.

Liz Kingsman’s One Woman Show arrived at off-Broadway’s Greenwich House Theater with what The New York Times’ Jason Zinoman called “enough buzz for an apiary.” The Olivier Award-nominated comedy had over twenty five-star reviews from overseas and the type of coverage that one only associates with the next big thing. But what is equally as remarkable is all of the lead producers have teams led by women, which is still a rarity even in 2023.

Kim Moore, who appeared in Hadestown under the name Kim Steele, has sued the Hadestown producing entity alleging several counts of race discrimination and retaliation under New York State, New York City and federal law. Essentially, the suit alleges that Moore was a respected employee, but was fired soon after complaining about racial discrimination.

In January 2001, Carrington Vilmont made his Broadway debut in The Phantom of the Opera. He has spent the majority of the years since in the company, appearing in the final company as the Auctioneer. As of last night, he had played 6066 performances in the musical. Today he woke up without it.

Remember Garth Drabinsky’s case against Actors’ Equity Association? It is now no more. Equity has won its motion to dismiss the complaint filed by Drabinsky.

This week, the New York City Council passed a new ticket transparency bill. The law was not opposed by any of the major ticket services--Ticketmaster, SeatGeek, etc.--but it was opposed by one major player in the city: The Broadway League. Just why the League was so opposed to the bill gets a little confusing.

Jujamcyn Theaters’ fight for Covid-related insurance coverage has suffered a mighty blow. A Court in the Southern District of New York, which is a federal court, decided against Jujamcyn in its lawsuit against Federal Insurance Company and trimmed Jujamcyn’s case against another insurer, Pacific Indemnity Company.

Broadway’s one-man A CHRISTMAS CAROL starring Jefferson Mays definitely managed magic. It is a rare show that leads even Broadway regulars to leave the theater going: “How did they do that?” BEAUTY AND THE BEAST, HARRY POTTER AND THE CURSED CHILD and some others have managed, but not many. This show did.

Other than a handful of playwrights 30 and under, all the playwrights spoken to for this piece believe their sex has impacted their careers in the theater. Women feel that they have trouble getting in the room and being taken seriously once there. But there is something more, a sense that when things get really bad -- beyond mansplaining bad -- there aren't many people to turn to in the theater.

In this, the second installment in our series on women playwrights, the playwrights speak about critical interpretation of their work and the lack of powerful female critics. Please read Part I here, which discusses the more general issues female playwrights face.

Stage dooring. Fans love it. Actors are split, and were even before the pandemic. And then the pandemic hit. When Broadway returned, stage dooring did not. It was seen as too big a risk. But when New York County had a low community level of COVID-19 transmission, it was back. Read more about stage dooring in the Industry Insight here!

In this three-part series, BroadwayWorld spoke to over 20 female playwrights who have been produced in major NY theaters about what life in the theater is really like for them -- and what can be done to make it better.

Dancer/choreographer/teacher Chet Walker - a Fosse dancer who later co-conceived FOSSE and choreographed the 2013 PIPPIN revival - died on October 21 from a glioblastoma tumor. Here, his legacy is honored by some of Broadway's most influential dancers and choreographers, including Sergio Trujillo, Andy Blankenbuehler and more.

Last week A SIGN OF THE TIMES -- was announced for a new developmental reading. The release stated the musical had “several script revisions” and the librettist was now Lindsey Hope Pearlman. Absent was any mention of well-known comedy writer Bruce Vilanch, the original librettist, who had been developing the show for almost a decade.

In August, when Actors’ Equity first announced it was seeking to represent adult dancers (aka strippers) at a California night club, many members expressed displeasure on social media.

It surprised the industry this week when playwright David Adjmi went public about his own tale of developing an Oscar Levant play with Sean Hayes – and not the one that will be seen on Broadway this spring. It has become a he said/they said battle, but BroadwayWorld has the most info in the war of words thus far, including emails between Adjmi and Hayes.

In all of Broadway’s efforts to promote accessible tickets, there is little talk of “papering.” There is good reason for this – if people capable of buying full-price tickets know that others are going to see a show for free, they won’t want to pay full price for that same show. What is papering and how does it work? We've got the scoop!

We hear a lot about making Broadway accessible. Broadway ticket prices have outpaced inflation over the decades (by a lot) and cheap preview tickets were abandoned years ago, all leading to the impression that Broadway was not accessible for those with average, or below average, incomes. There have at least been attempts to combat that impression in recent years. But something that is still largely seen as an older rich people game is investing in Broadway. However, a bunch of people have been trying to change that in the last decade, with attempts heating up more recently.

Much publicity was given to the Broadway League’s decision to cease requiring vaccinations to enter a Broadway theater, but less attention was given to the behind-the-scenes changes that were implemented around that same time. They do not include changes to the vaccination requirement – Broadway union members still must show proof of vaccination. But there are some other changes that impact the lives of your favorites.

Everyone knows it is tough times for the theater industry. Broadway’s indeed thankfully back, but amid rising Covid cases wreaking havoc on casts and keeping audiences away, the return has not been smooth. And now the theater industry has entered the cold winter months, traditionally tough times at the box office. So when the producers of MRS. DOUBTFIRE announced the show was taking a “hiatus” – as the press release read – from January 10 through March 14, theater insiders could understand why. But nothing is as simple as it seems. The decision shines a spotlight on the tense relationship between Broadway producers and Broadway’s 14 unions in these difficult times.

It is 2021, but some in the Spanish speaking community still feel like they are not properly represented by Actors’ Equity Association (AEA). And they’ve been fighting for years. Strides were made at the delegate convention in late April, but there is still a distance to travel.

We investigate what the plan is for the return of Broadway, with insight from the Broadway League, Broadway producers, industry insiders, and more!