“If We Don’t Wake Up and Shake Up the Nation”

“The theatre community, at every turn, refuses to let hate win. Through the AIDS crisis, through 9/11, through many unthinkable tragedies, the theatre community has said: We will not spread hate. All people are welcome here. When other communities say ‘your religion makes you a terrorist’ or ‘your sexuality makes you an outsider’, we say: We love you. We want to hear your stories. We want to raise our voices together to affect change. Anyone who has ever actually read a history book knows: this action matters. Hate rhetoric creates more hate. Acceptance creates more acceptance.”

— Jennifer Ashley Tepper

On September 11, 2001, at least one person’s life was saved by leaving the World Trade Center to go pick up the newly released cast album of Jonathan Larson’s tick, tick… BOOM!

On September 13, 2001, then-Mayor Rudy Giuliani stated, “the best thing you can do for our city is take in a Broadway show.”

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Living, Theatre


Proud to have been a part of seven (SEVEN!!) of the productions listed in this lovely, flattering, and well-summed article.

Especially humbled by the kind words for Elegies: A Song Cycle and Dog Sees God: Confessions of a Teenage Blockhead.

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Top 10 Musical Theatre Cover Albums

Alright, no surprise that my iTunes library and regular music listening schedule is mostly showtunes. There’s a lot of really incredible music in these musicals, I’m telling you. But I love, love, LOVE(!!) Musical Theatre Cover Albums. So, even though no one asked for it, here’s my list of TOP 10 MUSICAL THEATRE COVER ALBUMS.

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On the Other Hand: Sex, Death, and Fiddler on the Roof

“I’m not trying to make a statement about it, but art can help us imagine it, and I would love it if families left the theater debating it.” — Bartlett Sher, ‘Fiddler on the Roof’ Gets a Debated Update (The New York Times, Michael Paulson)

What an invitation.

It’s been said before that all plays are about sex and/or death. A theory difficult to disprove. Arguably, Fiddler on the Roof, a masterfully written musical exploring the stories of Tevye the Dairyman, is focused on the latter of the two. Death, however, in this new Broadway production directed by Bartlett Sher, seems more cozy than unsettling.

In the darkness of a train station clearly marked “ANATEVKA,” a man in a red jacket stands, reading from a book. As he paces, a familiar violin cry is heard in the distance. Hearing this, the man removes his coat, unravels his tzitzit, and places a kippah on his head. This man, we soon learn, is Tevye.

So who is this man in the red jacket? A descendant of Tevye’s learning his family’s history? The modern-day Jew facing oppression and retracing his origins? How, in fact, does this man connect to this story?

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Out With the New, In With the Old?

Yes, the time has come. The Broadway production of Hedwig and the Angry Inch will close in September. While the show did not flop by any means (it holds the record for the longest-running musical at the Belasco!) it is still a loss of a great story finally being told in the mainstream. Hopefully, the tour they have announced will be as successful as its Broadway counterpart. Thank you, Hedwig, for showing this Wicked Little Town something beautiful and new.

More casting was announced for the Broadway revival of Fiddler on the Roof, which will start previews in November and open in December. This is one of Broadway’s most beloved classics, and Bartlett Sher will do great things with it, I’m sure. The cast is shaping up quite nicely, some of my favorite choices being Alexandra Silber as Tzietel and Adam Kantor as Motel. Oh, did I mention that the incredible force that is Danny Burstein will be playing Tevye? The Lord is protecting and defending us, that’s for sure. A blessing on our head indeed.

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On Nights Like This: Hedwig and the Angry Inch

Strangely enough, my introduction to Hedwig and the Angry Inch was through the film. An oddity for me, perhaps, but not for many others. I knew a bit about the show, but it was still on my ever-expanding mental list of musicals to see.

I re-watched the film yesterday, before and after my final performance in Hairspray (another wig-heavy show, so it seemed appropriate) and I walked away from it with the question that has been on my mind with a lot of musicals lately: why? Why is this story so captivating? What is it about Hedwig that allows it to reach so deeply into our souls? Well, mine at least.

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How Lucky We Are To Be Alive Right Now: Hamilton and the Future of Original Musicals

If you have not heard about Hamilton yet, I do not believe you. The show is a work of true passion from the mind of Lin-Manuel Miranda, who wrote and starred in In The Heights, as he does in Hamilton. After seeing the show Monday, I believe Hamilton has the potential to change the future of the type of musicals we see on Broadway. Why? It could very easily inspire a new wave of successful, original musicals.

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