The casting breakdown for the non-equity tour is up on Actors Access. NETworks is producing.
The current tour shutters in Salt Lake City, UT on October 11th, 2026 and the non-equity tour will open in Buffalo, NY on March 31st, 2027.
a new crunch is opening up near me soon and I was curious how long the typical crunch takes to become a cesspool. I’m already a member of the planet fitness in my area that just opened up in January and so far it’s still nice.
She had been on medical leave since last August and was originally expected to return to the show in January. One of her Cursed Child colleagues, Abbi Hawk, was kind enough to start a gofundme and detailed Ebony’s journey: https://www.gofundme.com/f/support-ebonys-fight-against-cancer-wcjnd
On Tuesday I noticed the August 16th performance of Ragtime was greyed out on Telecharge and I assumed it meant it was sold out. Today I went back to the page and the performance is no longer listed. Anyone know what’s up?
Hello,
I had a brief encounter with this really cute gentleman on my way into the dress circle level restroom at the Apollo Victoria Theatre. An American and was wearing a white collared shirt. I wish I had the courage to talk more with them, but they were waiting for the stall and I had to pee really bad.
I was just going through my old emails and remembered I was invited to the taping of The Play That Goes Wrong in Chicago featuring the original UK cast, but I couldn’t go because of work. This was back in 2022. Anyone know what the status of this is and if it’s being released any time soon?
I find the Korean production of Hell’s Kitchen deeply concerning from a casting and storytelling standpoint. This is not just any jukebox musical. Hell’s Kitchen is very specifically rooted in Alicia Keys’ life, music, identity, and upbringing, and the story is heavily connected to Black and brown m artistry, culture, and lived experience.
Casting the show with an entirely Korean cast removes a central part of what makes the piece meaningful. The issue is not whether Korean performers are talented. I am sure many of them are. The issue is that this particular story is not racially neutral. Race is implicitly important to the storytelling, especially when the musical is built around Alicia Keys’ coming-of-age experience and the musical language of Black and brown artists.
If you can’t cast authentically, then maybe pick a different show. There are plenty of musicals available where race is not central to the story or where the material can be adapted more flexibly without erasing part of its cultural meaning. But a jukebox musical about Alicia Keys growing up should be performed by Black and brown performers, or at least by a cast that reflects the communities the story is about.
If there are not enough Black-presenting Korean-speaking performers available, but producers still want to perform Alicia Keys’ music, then produce a revue or concert-style tribute instead. That would allow audiences to celebrate her music without presenting a culturally specific story through a homogeneous cast that does not reflect the world of the show.
Presenting Hell’s Kitchen this way should not be acceptable by any professional standard. Authentic representation matters, especially when the entire emotional foundation of the musical is tied to identity, culture, and lived experience. Some shows can be cast more openly. This is not one of them.