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Thank you, Disney, for reducing Broadway to this.

Tonight I saw Moulin Rouge the musical in Toronto where I live. There were no famous anybodies in the show and the vocals were amazing. When I saw it on Broadway last summer you had Jojo and Derek Klena. Derek is Broadway famous and Jojo was a hit pop start who sadly had her career stalled because of her recorder company. However, I didn't know it was her till later but the vocals were poppy and weak over all. Derek is a great singer but not as strong as other well know musical theatre guys. I knew this show would end up in Toronto and it would have stronger singers as the show was riding on it's name and that the performances would have to be strong which they were. The Broadway shows was not bad and it's production quality is way better then the touring show but I enjoyed the vocals way better in the touring show. Is Moulin Rouge the musical the new Chicago? Where it will be able to run for a long time because they keep putting "stars" in the show but the show will suffer performance and vocal quality? Sometimes a touring show will have the stronger talent as there is no Broadway pressure with the higher costs.

What an ATROCIOUS PRODUCTION! I walked out tonight. Performers were awesome - production team should be ashamed! They ruined a masterpiece.

Today, I heard that someone said it would be amazing to bring back Aida with Cynthia And Ariana! Your take.

By now, is Daniel Radcliffe REALLY "stunt casting?" He's worked EXTREMELY HARD, Thank God he got out of the "Harry Potter" trap, he's proven himself to be a "team player" who. (is not egocentric and).. CAN ACT!! And he now has a Tony Award. I would say Radcliffe is"legitimate actor" casting.

Hell's Kitche,n, Moulin Rouge & The Outsiders don't need stunt casting. All three selling perfectly. Wicked is a blockbuster no mat.ter what . Loved Idina Menzel since she oringated the role as Maureen Johnson in Rent.

i <3 Michelle Williams. Some may say Jeremy Jordan is def stunt casting

joey fatone will be fun in & Juliet

Charli is a horrific dancer. The rest of the replacment cast is magical

I ADORE seeing marketing with the ensemble, I love feeling like I know the whole cast and the community behind the show

This is a slippery slope, and I have a lot of thoughts. First off, at what point does an actor become a stunt cast? Jason Alexander and JK Simmons started on Broadway. They are now famous in TV and movies, if they return to Broadway is it stunt casting? People will often accuse famous actors of taking Broadway jobs, but they are actors, at some point that argument becomes gatekeeping. Many actors trained on the stage before they got a break in TV and movies, and once they have a chance they want to return to the stage, but its hard to step back into that world, people refuse to let them show their skills. It's not their fault they got a big break on a sit com, they are still actors and theater kids at heart. There are some actors who bounce back and forth Cate Blanchete, Tom Hiddleston, Judy Dench to name a few. If they do a show, attendance goes up, but is it stunt casting? Really it boils down to the right people for the job. If RDJ has the chops to pull of that world weary character 8 shows a week, then he deserves it. Yes hes famous, but he is also a damn fine actor. I know Chicago has gotten a lot of mileage out of casting people who may or may not have been right for the part, but by all accounts, they improve as the show goes on, and producers and directors really try to keep the quality up, which is hard at the best of times with a long running show like that. Ill end with this observation, Moulin Rouge has gone through a lot of Satines. Recently they cast Jojo, who is known as a pop star. And by all accounts she is killing it in the role. Stunt casting? Maybe, Is she right for the part? Yes. Is she getting better and contributing to the show? Yes. So its a non issue for me, as long as they are the right person for the job.

So intrigued to hear what else you found out by talking to people on the tkts steps! Would love a video on this if it’s not already in the pipeline! :)

bby gal you would have a field day with the West End. trust me - Broadway is a saint in comparison

CHICAGO uses stunt casting all the time now..

Also... Are these videos a bit out of focus/blurry. Just noticing this recently. (Might be shot in 1080 and I'm on a 4k monitor.)

Reminds me of that Forbidden Broadway sketch. (Thick NY accent) "Are you a has-bin star of yesteryear? Then come on down the Chicago the Musical, a Weissler production! We're slashing the score! We're slashing the script!" You too can be a Broadway Star!" :)

Broadway used to be able to create its own stars who would be known nationwide even beyond the theatre crowd. I would be interested to see your take on why that doesn’t seem to be the case anymore. You would think with social media it would be easier to do this, not harder.

As a musician who played in a few local productions in my 20's I was not in love with Broadway and went in a Pop, Jazz and Rock direction for most of my life. Then I became a fan of Sutton Foster by seeing her in the re-boot of Gilmore Girls and then Bunheads, did a little digging and found out she was a Broadway icon, and now I listen to On Broadway on XM, travel to NYC to see shows and, well, annoy all my friends telling them to see something on Broadway when they travel to NYC. Sutton was my way into this and I've found so much more, I wish there where more live stage performances available for everyone to see, it is not as powerful as seeing it live but maybe it would send a few more folks into the theaters.

I saw Merrily We Roll Along and Daniel Radcliffe absolutely earned that Tony. Franklin Shepherd Inc. Was honestly the highlight of the show. It was clear how hard he worked on that role and just how much energy he put into that song particularly every performance.

I think Charli is great casting. You hit upon something. She will reach new audiences. I see current Broadway PR agencies as well as digital agencies stuck in the Broadway bubble. They seem only interested in creators that only talk about Broadway.

It is indeed VERY nuanced. But for me it comes down to; acting on stage in either a Play or a Musical requires a VERY specific skill set. One that absolutely not all television & film actors possess. More often than not you can readily tell those that do and have a theatre background. Of the notable celebrities that you mentioned, Rachel Zegler, Kit Connor, and Daniel Radcliffe (Who particularly wanted and has worked exceptionally hard for years to have a respected Stage Career) have all had early Stage experience, if not training. And it definitely shows. So combined with their natural talents… I have absolutely no problem with it. They can all do the job. So with them it’s like any other audition where the person who is the right fit for a Production hopefully wins out… and all is good! And you get the added bonus of their celebrity to get butts into seats! When you get into primarily television or movie “Stars” is where you run into problems. I don’t think Brad Pitt, George Clooney, or Robert Downey Jr. have ever uttered a word on a stage other than at an awards ceremony. That is not to say they can’t or shouldn’t be given “a chance.” People think of Denzel Washington as the absolute Movie Star that he is. But he is also BRILLIANT on Stage! So I guess it depends on the property and production. And if the “Star” clearly cannot cut it; and a Producer presses for them to continue. Then the show opens and bombs because “Emmy/Oscar Winner X” can’t act/sing/dance. And you lose your investment of $20mil… you only have yourself to blame! 🤷🏽‍♂️🤷🏽‍♂️🤷🏽‍♂️

I'm okay with stunt casting if the actor ACTUALLY has the talent and does the work. I do think its gotten out of hand, though. Boy George is freaking HORRIBLE and is about to come back 🫤. There are dedicated theatre actors who deserve these parts more, IMO.

This “Broadway reviewer” really started with a comment about it not being her favorite musical 😂 girl this is a masterpiece. You’re jealous. Lol

This is not just happening on Broadway, but it's also happening in regional theater markets as well. Especially in Washington, DC. While I know it's helping bringing people to theaters, especially if it's the very first time, it's also harmful for leaving many local talent out of work, even if they've been a part of the development process in readings and workshops. Many theaters in the DC area are hiring big names, even well-known talent from NYC, to help make their shows successful. As a local actor who is trying to get into the major DC area theatre companies but is getting overlooked by the bigger names/stunt casting, it can be frustrating. Local actors need to work just as much as the bigger names and stars, and some haven't worked in years! It's honestly a love-hate relationship with stunt casting, especially if the understudies for the big name stars are being viewed as not as good as the big name stars, which can be harmful at times. Thanks for sharing this with all of us!

Thank you. As always, you gave us something to think about. Appreciate you laying out the pros and cons of stunt casting. Some I had not considered. No mention of Chicago? They seem to be doing it more and more. Do you think it will be closing soon? I definitely went to see McNeal because of RDJ since I wasn’t sure about the plot. Have tix to Othello and Good Night, and Good Luck. I would consider seeing The Importance of Being Ernest for the production, not the actor, but not likely to make it due to scheduling. More interested in seeing Just in Time which is not stink casting. That said, I definitely try to see some of the Broadway stars such as Joshua Henry and James Monroe Iglehart. I love the cast of Suffs which has incredible talent. I tried to see it at the Public, but failed. I had tix to Sh*t. Meet. Fan. before cast was announced because I subscribed to MCC so I could see Kara Young in Table 17.

Thank you for continuing to tackle these tough conversations. I agree it's complex and I don't have much to add. I similarly feel that if the stunt casting makes sense and is paired with great material, using the name recognition as a tool to help the show succeed is just smart. But I absolutely feel for Broadway actors who will be passed over for celebrities, maybe after years of playing the role in development, bc I can't think of a show where a TV and film star was attached that early. And some may say that the Broadway actors can always replace if the show is good enough to outlast its celebrity star, but that also removes those Broadway stars from award contention and unfortunately that's a big way Broadway stars get to dstinguish themselves and gain name recogntion beyond the community. And it's not like TV and film are reciprocating by trying to offer Broadway stars a platform. I guess my main worry outside of the harm to Broadway performers is that it becomes another way for creatives to cut creative corners and think small (flash over substance, casting anyone who's having a moment even if they don't have the skills for the role, or rushing to put out something half-baked to meet a celebrity's schedule or a pop culture moment). So far Hollywood is much more guilty of that than Broadway, but still. Ultimately I agree that it can be a win-win when done appropriately and sparingly but I absolutely do not want this to become the go-to strategy.

I’m surprised you didn’t mention CHICAGO the musical which has been known to stunt cast every few months the past 2 decades! I always thought of stunt casting as when producers hire a celeb to star in their struggling show to help boost its life longer. I thought of Kit Conor/Robert Downey Jr/George Clooney/Hugh Jackman more as star casting (not stunt casting) since they’re starring in a new production. I’m personally ok with it but have noticed they tend to star cast in revivals or new shows with well known IP but rarely ever in completely new shows (with unknown IP.) I applaud RDJ for starring in a new play and hope other stars would do the same.

Also forgot to ask- how do you think the show will do when Jeremy leaves? I love Jeremy to death but I also love the show and hope the grosses don’t drop without him.

Just curious - when Aaron Tveit keeps going back to Moulin Rouge, does that count as stunt casting ? He’s a bonafide Broadway star so I don’t want to count that as stunt casting but I saw some people count Aaron’s multiple returns to that show as stunt casting. Just curious about your opinion ?

If it sells tickets and they can back it up with their talent, why not? I do worry a bit that it puts more pressure on them if the show doesnt sell. Also, that when their contract is up, whoever is stepping into that roll then has extra pressure to deliver and the constant comparisons that always happens. People that acknowledge their situation and dont take it for granted goes a long way in every situation.

Stop. Like imagine Jermey Jordan the ears tour. But him singing his lead solo songs.

She definitely operates the way she operates, but theater owners should be brainstorming of how to protect their space because they are currently only set up for live entertainment purposes. If shows in general collapsed, then they have no one to rent the space to. A long-term empty space doesn't earn money. If I owned a theater, I would consider future sustainability and what could I do to protect it. It's not an easy fix, obviously, because if it were, then the Shuberts, Nederlanders, etc. would've done it already. I hope they are open-minded and are thinking about how the times are a changing.

I hope they do a recording for this! A smell another Tony for Audra

I just did a production of it and it was one of the best shows I have ever done. I too thought it was stupid then when I did it and saw it I changed my mind immediately.

Yessss it is!

Having just dipped my toe into (local) theatre producing, I found this interesting. What drives me crazy in the market I'm working in, is theatre owners charge the show to pay for the bartender, but don't share any of the bar revenue with the show. I can't wait til I have a show big enough to fight that one.

I don't think a show like Shucked running for a year is necessarily a bad thing. I'd like to see production costs managed so that a show only has to run about a year to recoup. Then the shows that really hit (like Hadestown) can run longer and make a pile, while other shows make their nut, move out, and let a new show move in. For me the problem of Broadway is not enough new original shows.

I brought Megan Hilty to Edmonton to perform her one woman show with her husband’s band… in 2014. She was very pregnant at the time but excited to perform in Canada for the first time. She was a lovely lady and her cabaret act really showcased her wide range. Am so glad to see her headlining this new Broadway production this season… I hope it is a smashing box office success! I loved the movie source material and hope they wrote a worthy batch of songs befitting the dark comedy gold that Meryl Streep and Goldie Hawn got to showcase in the original film. Hopefully some Tony nominations will flow too… though, from what I hear, nobody’s gonna stand a chance in the Best Actress category up against that Pussy Cat Doll currently inhabiting the ghost of Norma Desmond over on Sunset Boulevard…

You are sooo evil..in the best way!! I love when people recommend new music/art! I have totally become obsessed with MHE! Sigh..I hope it lasts till summer when I can get to NYC! Keep up the amazing work and thank you for sharing your life with us all. I really enjoy following you and living in NYC through you. Happy Thanksgiving!

Wicked was my first show in Chicago as well as on broadway. I was about 11 or 12 when I saw and it was the launching point of my love of theater. My 4.5 year old saw Lion King earlier this year and loved it! She can’t wait to see Aladdin next time we go see her aunt who works on Broadway!

I just saw the show last Sunday for the first time and I got the last ticket ! It was all sold out! I loved it and I already bought my ticket to go back. The set is amazing and I love the story sooooo much !

This taught me a lot. Thank you

Why don't you mention the best Mama Rose, played by Angela Lansbury in 1974, the very 1st GYPSY revival. Ok, but you mention her as an afterthought. Shame on you

@5:05 the Outsiders at least is a well known IP given it’s required reading at most public schools in USA. @10:52 I don’t know solution either but long running shows like Wicked is practically a cash cow for its original investors and the hope or ideal is for those investors to reinvest that money to other .new shows. To me, Broadway climate is fine as long as there are people willing to invest $$$ to mount a new show on Broadway.

This was so interesting and such an important topic to lampshade. Assuming that theatre owners are effectively Ebenezer Scrooge and only motivated by their wallets, they may not have any short term incentives to keep new shows running, but they really should be thinking more long term. If most shows fail to recoup year after year, how long do they think they'll continue to find new investors and other sources of capital for future shows?? The dismal recoup rate not only drains the resources from the people who have already shown willingness to invest in a show, but makes it look like a terrible idea to other potential investors who haven't. I doubt it would solve everything but if theatre owners got a higher % once a show has recouped (or took a lower % before then) it might ease that early growth period. All my other ideas involve scrapping the for-profit model altogether which isn't happening.