Dolly Parton is working “9 to 5” on her forthcoming Broadway musical. While speaking with PEOPLE about her new line of baking mixes with Duncan Hines, the country music legend, 78, shared an update about the highly anticipated Broadway musical about her life and career.

The superstar says that not only has it long been a dream of hers to tell her story with a stage production, she teased that aspiring actors may get their shot to play her by entering a talent search.

“Right now, I'm working on my life story as a musical, and so going on Broadway and opening my show on Broadway, that's been a biggie [goal] in my mind for many, many years,” the Grammy winner says. “That'd be the one that I want to make certain I get done while I'm still kicking, while I'm around to stay involved in it.”

Parton shares that she’s hoping to see that dream come true by "late '25." In order to get the project — which she wrote the music and half of the script for — to New York City, the music icon reveals that she may even host a “Finding Dolly” contest.

It won’t just be one Dolly under the bright lights of Broadway: The “Jolene” singer says she expects there to be three performers playing her at different phases of her life, including a “little Dolly,” an “earlier years Dolly” and “an older Dolly.”

“We're going to be auditioning and trying to find them through different means,” Parton shares. “I think that'll be fun for people, too. You never know where you're going to find them. They may never have been on stage before, or maybe in some local theater somewhere, but we're going to look for them and that's going to be part of the fun, I think.”

The “I Will Always Love You” artist has been teasing the stage show, which chronicles her humble beginnings growing up in Tennessee to the superstardom she’s found across entertainment, for several years.

Back in 2016, the singer-songwriter mentioned that she was working on a Broadway musical in an interview with Variety when discussing the genesis for her NBC TV movie Coat of Many Colors. She revealed at the time that the project, inspired by the song of the same name and her childhood, was developed as she began revisiting her youth while chipping away on the material for a theater script.

Parton said of the musical she had been working on, “The whole first act is my early days before I went to Nashville. The second act is about my days in Nashville and beyond. So the first part of the musical will be a lot like Coat of Many Colors with music and songs and will involve more details.”

More recently, the hitmaker told USA Today in an October 2023 interview that the pandemic led to the musical’s delay. “I was just about to have it ready when COVID hit and Broadway shut down. Then I thought, “Well, maybe I’ll do it as a biopic,” and wrote up a script for that. But then I was like, “Nah, everybody’s doing a biopic! I’m going back to Broadway now that it’s open,” she told the outlet.

The musician added, “So I’m hoping to have my show [there] in spring of 2025. That’s my aim!"

The currently-untitled musical won’t be Parton’s first time headed to Broadway. She previously wrote the score to a stage musical adaptation of the feature film inspired by her hit, 9 to 5. After debuting in 2008, the production made its debut in the Big Apple in 2009 and garnered her a Tony Award nomination for best original score.

Hats off to “Gutenberg! The Musical!” The Broadway show, starring Josh Gad and Andrew Rannells (whose characters wear dozens of caps) as they reunited 12 years after “The Book of Mormon,” has recouped its initial investment of $6.75 million. During the show’s 20-week run, “Gutenberg” generated plenty of buzz and became one of the rare new productions to break through to audiences during post-pandemic times.

First conceived at the Upright Citizens Brigade and later produced Off Broadway, “Gutenberg” follows two theater composers who attempt to attract potential investors for a musical about Johannes Gutenberg, creator of the printing press. The only caveat: they know almost nothing about Gutenberg beyond a quick Google search. Clips from the show-within-a-show often went viral on TikTok thanks to surprise appearances from “guest producers” including Hillary Clinton, Steve Martin and Martin Short, Lin-Manuel Miranda, Anne Hathaway and Anna Wintour, Will Ferrell and Audra McDonald, who (spoiler alert!) present the main characters with official Broadway contracts to back their wacky endeavor.

“Gutenberg” concluded its limited run on Jan. 28. In its final week, the show set a box office benchmark at the James Earl Jones Theatre with $1.463 million. It broke its own record from the week of Dec. 31, 2023 when “Gutenberg” grossed $1.28 million. Rannells and Gad have recorded a cast album, which will be available in the spring.

Alex Timbers, who helmed the original Off Broadway show, directed “Gutenberg,” as well as “Beetlejuice” and “Here Lies Love.” The design team includes Scott Pask (scenic design), Emily Rebholz (costume design), Jeff Croiter (lighting design), M.L. Dogg & Cody Spencer (sound design), T.O. Sterrett (music supervision, arrangements and orchestrations), Marco Paguia (music director), Liz Caplan (vocal supervision), C12 Casting (casting director) and Rachel Sterner (production stage manager).

Opera Australia and GWB Entertainment announced the performers who will join Sarah Brightman in the Australian production of Sunset Boulevard.

Joining Brightman are Tim Draxl as Joe Gillis, Robert Grubb as Max Von Mayerling, Ashleigh Rubenach as Betty Schaefer, Jarrod Draper as Artie Green and Paul Hanlon as Cecil B. DeMille.

Silvie Paladino will play Norma Desmond on Tuesday evenings and Wednesday matinees.

The full cast is here.

The Australian production will be directed by Paul Warwick Griffin with set and costume design by Morgan Large, choreography by Ashley Wallen, and musical supervision by Kristen Blodgette.

The show opens in Melbourne in May 2024 before transferring to Sydney in August 2024.

Words cannot express how much I endorse this article, especially the bit about... well, you'll know when you run across it.

Attending a Broadway show is a unique experience, but it's important to remember that it's not just about the actors and the production—it's also about being a courteous audience member. Your behavior can significantly impact the enjoyment of the show for both yourself and those around you.

Below, check out some tips to ensure you are the best possible audience member when attending a Broadway show.

Arrive early

One of the most basic yet crucial tips for being a courteous audience member is arriving at the theater on time. Most Broadway shows will begin about five minutes after their scheduled time, but you don't want to risk getting there at the last moment and missing the start of the show. Some productions do not even allow late seating, meaning if you arrive after the show begins, you won't be allowed in.

Instead, aim to arrive about 20 minutes before the start of the show, giving you time to get into the theatre, hit the restroom and/or bar if you need it, and situate yourself in your seat. If you require extra time, note that most shows will open their doors to the audience around 45 minutes before showtime.

Allow other guest to their seats

If your seat is on the aisle and you arrive to the theatre early, expect that other guests will need to enter your row before the start of the show. When this happens, simply rise and step back into your folded seat to allow them to pass in front of you, or step into the aisle if room is available and that is more convenient to you. This is bound to happen more than once during your trip to the theatre, so try your best to be respectful of your neighbors as they arrive.

That said- if you are sitting in the middle of a row, do your best to be courteous of the people who accomodated you to get to your seat, ie: limit your activity in and out of your row to what is absolutely necessary.

Handle latecomers gracefully

If you find yourself seated next to latecomers, be courteous and make room for them to pass. Avoid making disapproving comments or giving them dirty looks. Remember that everyone makes mistakes, and it's best to handle such situations with grace and understanding.

Be mindful of personal space

A sold-out show can be quite crowded and some theatre seats can be quite small. It's essential to be aware of your personal space and respect the personal space of others. Avoid spreading out your arms and legs beyond your assigned area and do not kick the seat of the person in front of you.

You should generally avoid bringing large bags to the theatre. Be sure that your personal belongings are few/small enough to be tucked under your legs or chair. Do not hang your coat off of the chair infront of you nor behind your own chair as both interfere with the limited space of those around you. If you are uncomfortable leaving your coat on or resting it on your lap, consider taking advantage of coat check when available.

Additionally do not place any parts of your body or personal items in the aisle, on a ledge (if you are near one), or on the front of the stage, as all can be dangerous for the actors and theatre personnel.

Silence Your Devices

...or better yet, just turn them off altogther. If you can't do that, absolutely set your device to Silent or Do Not Disturb. You don't want to be the person who ruins an important moment for everyone else. Furthermore...

Do not take calls during a Broadway show. ==========

Do not text during a Broadway show. ==========

Do not check your email during a Broadway show. ==========

Do not scroll through Instagram during a Broadway show. ==========

Do not photograph or record a Broadway show. ==========

Anytime your phone screen lights up in a dark theatre, it disturbs the viewing experience of the people around you and affects the concentration of the actors onstage.

After a show has begun, DO NOT USE YOUR PHONE. After intermission concludes, DO NOT USE YOUR PHONE.

Stay quiet

Whispering, talking, or commenting during the performance is not okay. ==========

Any noise outside of the action of the show is incredibly distracting to those around you and disrespectful to the actors on stage. Save your discussions and comments for intermission or after the show.

Broadway shows are not sing-alongs. Unlike concert experiences, audiences are not welcome to sing with the actors, however temping it may be. Instead, sing along to cast recording on your way home.

If you purchased snacks or candies at the consession stand before the show or during intermission, do your best to unwrap them before the show begins to avoid disrupting the experience of those around you.

Remain in your seat

Barring emergencies, do you best to remain in your seat until intermission or the end of the show. Make sure to visit the restroom before the show starts. Planning ahead ensures you won't miss any crucial moments and neither will the people around you.

Respond appropriately

Applause is a way to show appreciation for the performers, but it's essential to do so at the right moments. In most cases, applause is appropriate at the end of a song, scene, or act, and at the conclusion of the entire show. Avoid clapping or cheering during quiet or dramatic moments that require the audience and actors' full attention.

Also, encourage your children to do the same and help to educate the next generation of courteous theatre-goers.

At the end of the performance, go wild and cheer as loudly as you please. If you truly enjoyed the show, consider standing ovations to express your admiration for the cast and crew's hard work.

No you're a pro! Go off and be the best Broadway audience member you can be!

BrodwayWorld sat down with Andy Karl to find out all about him living his own personal 'Groundhog Day' down under in Melbourne, the musical's Broadway run, and more. Karl returns to the role after originating the role in London (and returning to it once more last year) and on Broadway.

What about this role and show keeps drawing you back?

That question has a multitude of answers. Firstly, it is the greatest script, score and philosophical idea I have ever worked on. Secondly, I’m highly aware of the irony of repeating a role of a character that is repeating the same day over and over in a production that is repeating itself and to me that is the greatest bit of meta-comedy I am sustaining. Third, I feel like Groundhog Day really has something to say about the big questions in life. This is a piece of theatre that has a strong statement about living life, the acceptance of death, love, respect and the profound strength derived from the people around you. All of which bubbles with comedy and theatre magic.

Do you ever feel like you’re living your own Groundhog Day moment doing this show?

Absolutely. It’s by choice, which is very different from being trapped in a time loop like Phil Conners. I’m definitely experiencing wild parallels to the show, and have for years. It does hit me quite hard when I say certain lines that comment on the endless repetition. But what’s such a thrill to me is the intensity of living a full character and story within the 2 1⁄2 hours on stage. I always feel truly satisfied at the end of each performance

Those who saw the show on Broadway were quickly charmed by this incredibly unique show. Tim Minchin in a recent interview gave his thoughts on why the show might not have found an audience on Broadway after being a huge hit abroad. Have you found audiences receive the show differently outside the US?

I think those who have seen the show anywhere have responded so well to it. The Broadway run was an unfortunate set of circumstances that led to it having the MOST incredible reviews and accolades I’ve ever seen but not striking gold at the box office. I’ve seen lesser shows with absurd plot lines have extensive runs on Broadway so nothing is certain and art is subjective. What I know to be true is that Groundhog Day is a work of art. An elevation of original source material and a rich tapestry of comedy, philosophy, staging and theatre at a high concept with absolute accessibility. It is meant for everyone and every town that has a theatre.

The production is incredibly physical... How do you prepare for getting back into an arduous show schedule?

Gym, yoga, caffeine, water, food, vocal warm up and unwavering determination to give audiences a really good time.

What’s it like mounting the show with an entirely new company?

I enjoy it so much. There is nothing like seeing a new cast work so hard on something that they don’t entirely understand it’s power until it all comes together. The repetition is monotonous and tricky. I watch their eyes light up when they finally see the sum of all its parts make Groundhog Day the special show it is. My brain also has fun seeing new faces in the same costumes and feeling like I’m living some Marvel multi-verse movie

What’s one moment you look forward to each night on stage?

There are many. One that is significant to me is singing Tim Minchin’s song “Seeing You” near the end of the show. It begins as a soliloquy as Phil is describing his incredible appreciation of being in this present moment that he never expected but highly aware of his calm gratitude for living here and now. It’s become a moment for me personally to expose my absolute open gratitude for every person in the theatre. I’ve never had such a moment before and I cherish it deeply every show.

Is there anything you’re particularly excited to do off-stage in Melbourne?

I already did a bucket list item and saw Djokavic play at the Australian Open. What an absolutely legendary tennis player in an absolutely legendary arena. Next, I may see some Koalas and Kangaroos. I’m a simple tourist.

Why must audiences come and catch Groundhog Day down under?

Tim Minchin’s incredible score, Danny Rubin's hilarious profound story, Mathew Warchus’s sublime direction, Rob Howells marvellous set, Lizzie Gee’s exuberant choreography, a cast of the most talented people Australia has to offer and GWB’s dedication to this amazing work of art. Also come see me have an existential performance that at some point in the show will hit me like a ton of bricks and internally freak me out while maintaining a meta-physical repetitive 4th dimensional tour de force. Basically, I’m just saying I know my lines and I love what I get to do.

Of all the films on IMDB's list of the 1000 highest-grossing movies of all time, 31 have been adapted into Broadway musicals.

Check out a guide to each those musicals, along with musicals that are in development or ones that have not yet made their way to Broadway.

This daffy musical about racing trains inspired countless stage careers, including my own. A child’s imagination made real, it is a perfect introduction to theatre.

The light at the end of the tunnel shines again this summer as Andrew Lloyd Webber’s Starlight Express returns to London. The original production closed in 2002 after almost 18 years, making it the West End’s ninth longest-running show. For me it was the gateway to a love of theatre and performing which has never left – and also means I can’t visit Pizza Express without humming the title track. Here’s why we should hail the musical’s return …

It’s the original piece of immersive theatre

In 1984 this was as immersive as it got: a theatre turned into a racetrack. When the show takes over the huge Troubadour in Wembley Park it’s bound to be even more spectacular. Seating charts with “first-class carriage” and “trackside” options have given an idea of how close audiences will get to the racetrack as the cast of 40 quadruple threats (acting, singing, dancing – and skating) whiz past, leaving you with the wind in your hair and a whiff of deodorant in your nose.

Glorious joyous nonsense

The concept of Starlight sounds like screwball ramblings: “A child’s train set comes to life and they race to be the fastest. Chuck in love story between steam train Rusty and first-class carriage Pearl. His rival, Greaseball, will be a sendup of Elvis. Everything about Electra will strongly suggest he’s bisexual – let’s call his first song AC/DC.” But oh boy, is it fun. New director Luke Sheppard showed us with & Juliet that he knows how to do fun on stage and hopefully will do so on tracks, too.

It will get kids into the theatre

Lloyd Webber said he conceived the show as an entertainment event for children who love trains. The whole show is a child’s imagination made real and Starlight has always been the perfect family-friendly entry point to the magic of live theatre for tiny humans. You would not believe how many people on stage and behind the scenes are there because they saw singing steam trains when they were young. The show transports families into a world of high-energy escapism, and never has that been more needed. The new crew are champs

Original choreographer Arlene Philips has turned creative dramaturg alongside a new team. Tim Hatley’s design for Back to the Future made a musical feel like a film, Andrzej Goulding’s Life of Pi video turned a theatre into an ocean and Gabriella Slade’s costumes crowned the Six queens. I’m excited to see the man who taught me to shuffle ball change when I did panto, choreographer Ashley Nottingham, have better success with actual professionals.

It’s still a mystery

Who knows what this version will be like? A key plot point (spoiler alert!) is diesel being better than electric. Cue Tesla owners revolting. Perhaps there will be a Hogwarts Express crossover? At least the jokes about British trains being late will still be relevant. The new production will be updated and refreshed for a new generation. It’s already a rework of a rework after it was revised in the 90s and again in Germany, where it has run since 1988 and where the British train is now named Brexit. But the music is pure nostalgia and the synth beats will be banging for Starlight Express and Make Up My Heart, both with lyrics by Richard Stilgoe. The catchy I Do was added to the German version, composed by Lloyd Webber’s son Alistair and with lyrics by Nick Coler – expect that to be your latest earworm.

It’s punderful

Critics will get to choo-choose as many skating and train-related puns as possible. Expect them to use their platform to get their skates on before being derailed, going off the tracks and becoming a trainwreck.

A reimagined production of Beauty and the Beast will embark on a North American tour in June 2025.

The tour will hold technical rehearsals and begin performances at Schenectady's Proctors Theatre in June 2025, before an official opening at Chicago's Cadillac Palace Theatre in July. In August, the tour will stop at Minneapolis' Orpheum Theatre. Casting and a full itinerary for the two-year tour route will be announced at a later date. A spokesperson for Disney says there's currently no Broadway plans for this new production.

Back to the Future the Musical is headed to Japan! The musical will be performed at JR East Shiki Theater in Takeshiba, Tokyo beginning in April 2025. The production was announced during a press conference held on January 24 with director John Rand, lead producer Colin Ingram, and Chiyoki Yoshida, President and CEO of Shiki Theatre Company.

Tickets will go on sale in December 2024 and casting will be announced at a later date.

For the 2024 Academy Awards, Danielle Brooks was nominated in the category of Actress in Supporting Role for her turn as Sofia in the film adaptation of the musical “The Color Purple.” Brooks earned a Tony Award nomination for her performance in the same role in the 2015 revival.

Nominated in the same category is Da’Vine Joy Randolph, who was nominated for her work in “The Holdovers.” Broadway audiences will recognize Randolph from her Tony-nominated performance as Oda Mae Brown in the 2012 musical adaptation of “Ghost.”

In the category of Actor in a Supporting Role, Robert De Niro was nominated for “Killers of the Flower Moon.” De Niro co-directed and produced the 2016 musical “A Bronx Tale.”

Tony-nominated actor and producer Colman Domingo earned his first Oscar nomination for Actor in a Leading Role for his turn in “Rustin.” As a performer, Domingo has been seen in the currently running “Chicago,” 2008’s “Passing Strange” and 2010’s “The Scottsboro Boys,” the latter for which he earned his Tony nomination. Domingo co-wrote the book for 2018’s “Summer: The Donna Summer Musical”.

Emma Stone, who replaced as Sally Bowles in the 2014 revival of “Cabaret,” was nominated for Actress in a Leading Role for her turn in “Poor Things.”

Bradley Cooper was also nominated in the Oscar’s leading actor category for his portrayal of Leonard Bernstein in “Maestro.” Cooper was also nominated as a writer of the original screenplay for “Maestro” and again as producer for the film.

For the first time in the Middle East, the popular and award-winning Broadway musical “Hamilton” is being shown in a four-week run at Etihad Arena, Abu Dhabi.

Worded and composed by Hollywood actor and songwriter Lin-Manuel Miranda, the 2015 production is about the unlikely rise of US founding father and politician Alexander Hamilton.

Although the story takes place in 18th-century New York City during the American Revolution, the music is gutsy and punchy, sung in rap and hip-hop style, which makes musical theater “cool,” according to “Hamilton” music director Alex Lacamoire.

During a media lunch and sneak preview of the musical in the UAE capital, Lacamoire told Arab News: “By and large there are people who tend to feel some distance with Broadway musicals. They don’t feel like it’s for them.

“But I’ve been finding that with the power of the way Lin writes, he makes musical theater accessible, hip, crackle.”

Lacamoire and Miranda have been friends and fellow actors (on the musical “In The Heights”) for 20 years, and Lacamoire recalled the first time he heard about the idea of “Hamilton.”

He said: “I was lucky to hear Lin’s songs just after he wrote them. Lin came to my room and said, ‘hey, here’s this song that I wrote.’ It was just like a seed of an idea, and we never could have dreamed that it could have gotten to Broadway, let alone come here to Abu Dhabi.

“Anytime I see someone wearing a ‘Hamilton’ shirt anywhere in the world, it is mindboggling to me.”

Although Lacamoire had initial doubts about Miranda’s unconventional choice of music, he warmed to it.

“Everybody thought Lin was crazy. I thought it was a joke. I wasn’t sure he was taking it seriously until I heard more and more music and I realized how serious he was. He did have the confidence, he saw it, and that’s what makes him a genius,” he added.

Australian actor Jason Arrow plays the lead role of Alexander Hamilton.

He said: “It is equal parts rewarding and challenging. There’s a lot to say. Honestly, it’s keeping my brain alert that is the hard bit. In work generally, when you’re so used to something, you just switch off, which I absolutely cannot do in this part at all.”

The drama-filled story of Hamilton is a manifestation of the American Dream. The founding father, once referred to as “the original immigrant,” was born out of wedlock in the West Indies in 1757. In the newly born country of the United States of America, Hamilton became its first secretary of the treasury at the age of 32.

“The thing that surprised me the most about him was his early life, the fact that he didn’t really have a family. He’s kind of on his own, which made me find a sympathetic ear for him,” Arrow added.

There is also a feminine touch to the story in Hamilton’s wife, Eliza, played by Filipina stage actress Rachelle Ann Go.

She told Arab News: “It’s a great musical. I feel I’m never going to get tired of being part of the show. It’s like a family.”

Go previously starred in the London and Manila productions of the show.

Having recently become a mother herself, the role felt personal. She said: “She is like the heart of the show. I fell in love with this character because of the way she ended the story, continuing Alexander’s legacy.

“All the emotional depth I feel, I can now understand Eliza’s story better: Her strength and resilience, going through a lot of things, but still having that voice and grace in her. As a woman, I’m rooting for this character,” Go added.

The show has been praised for its diverse casting and bold lyrics that reflect modern politics.

“We can always speculate and say, ‘it’s the music, the message, or it just came at the right time.’ But I honestly think it just has the right amount of everything – the entertainment and different song styles – that you need, and I think that’s what’s drawing people to it,” Arrow said.

Lacamoire said: “It doesn’t matter where you live, what language you speak, at the end of the day the show has enough draw to it with exciting aspects that will hook you in regardless of what you know about American history.

“It’s not just an American story. It’s about someone who, against odds, creates a life for himself, and who doesn’t want that? People enjoy the story of the underdog.”

Out of town, on Broadway and on the road, the recent revival of “1776” was strategically cast in a nontraditional manner, with actors of diverse gender identities and racial backgrounds portraying the white, male Founding Fathers as they finalized the Declaration of Independence. “Putting history in the hands of the humans who were left out the first time around,” read the show’s marketing material.

But a lawsuit, filed earlier this week by actor Zuri Washington, alleges racial discrimination and retaliation on the show’s national tour. Washington hopes the complaint, which recounts producers’ dismissal of Washington’s hair preferences and alleges she was terminated after expressing an intent to submit a formal report of discrimination, reignites conversations about the industry’s inequitable treatment of Black hair and the harmful perpetuation of the “angry Black woman” stereotype.

“I was made to feel like I did something wrong in the course of this entire experience, and I know I didn’t do anything wrong,” Washington tells The Times. “I could have done things differently, perhaps. But what they did to me is like a legal version of tone-policing, and like I’m being constantly punished for existing and telling my truth.”

Washington filed the complaint against the tour’s production companies NETworks Presentations and 1776 Touring, and several of their employees. The tour’s production companies did not respond to The Times’ request for comment.

The article goes into more detail. Makes for interesting reading.

BroadwayWorld also covered this lawsuit in some detail a couple of days before the LA Times.

Disney’s Theatrical Group has posted closing notices for the London production of Frozen. Frozen will extend for the final time, completing its run at Theatre Royal Drury Lane after three years on 8 September 2024, having been seen by over 2.8 million people.

Frozen has music and lyrics by Kristen Anderson-Lopez and Robert Lopez, a book by Jennifer Lee, and is directed by Michael Grandage.

Director Michael Grandage said today, “It has been a joy to be part of the Frozen journey in London. Working with the team at Disney, the brilliant creative team, and the incredible cast have made this one of my happiest theatre experiences.

“Frozen opened in the UK on the heels of the pandemic, and it was glorious to welcome back audiences, many of whom were coming to the theatre for the first time. To introduce so many to the power of theatre and hopefully cultivate a life-long love for it, has been an immense privilege.”

The cast of Frozen includes Jenna Lee-James as Elsa until Sunday 28 January 2024 (Samantha Barks who originated the role of Elsa returns to the show on 7 February 2024) and Laura Dawkes as Anna.

How to Dance in Ohio has announced its closure on Broadway. The show’s final performance will be February 11. The new neurodivergent coming-of-age musical opened at the Belasco Theatre December 10 after beginning previews November 15. At the time of closing, the musical will have played 27 previews and 72 regular performances.

The production was a major milestone for neurodivergent representation on Broadway, with seven openly autistic actors playing the show's seven autistic characters, as echoed in the show's mantra: "nothing about us without us."

The show had just released its cast album January 19.

"Developing new work is always a risk, but producing this show was an endeavor we eagerly accepted,” said the show’s producers in a statement. “We're incredibly proud that this original, joyful, and life-affirming musical has deeply moved countless audience members at the Belasco Theatre and beyond. Broadway has been changed forever because of How to Dance in Ohio and all the artists involved. We look forward to seeing its legacy continue in new and exciting ways."

Directed by Sammi Cannold, the production is a verifiable cornucopia of Broadway debuts, with Cannold making her long-awaited Main Stem debut alongside the show's writers, composer Jacob Yandura and book writer and lyricist Rebekah Greer Melocik, and much of the cast.

Adapted from Alexandra Shiva's 2015 HBO documentary, the show follows the challenges faced by a group of autistic young adults at a counseling center in Ohio. With the support of clinical psychologist Dr. Emilio Amigo, the center arranges a spring formal dance and encourages them as they encounter love, fear, stress, excitement, and hope, along the path to human connection.

Developing and producing Broadway musicals is very expensive and time-consuming, which is why it's very rare for musicals to open directly on Broadway. Most shows have an out-of-town tryout and/or are developed by (or in association with) a non-profit/subscription based theatre company.

This is a roundup of where musicals (and plays) opening on Broadway in 2024 were developed, including:

• Days of Wine and Roses (off-Broadway, Atlantic Theater Company)
• The Notebook (Chicago Shakespeare Theater)
• Water for Elephants (Atlanta, PigPen Theatre)
• The Who's Tommy (Chicago, Goodman Theatre)
• The Outsiders (San Diego, La Jolla Playhouse)
• Lempicka (Williamstown Theatre Festival, then La Jolla Playhouse)
• The Wiz (US tour)
• Suffs (off-Broadway, Public Theater)
• Hell's Kitchen (off-Broadway, Public Theater)
• Cabaret at the Kit Kat Club (London)
• The Heart of Rock & Roll (San Diego, The Old Globe)
• The Great Gatsby (New Jersey, Paper Mill Playhouse)

Have been thinking about what kbin can do to combat spam accounts, which are currently on the rise again on kbin.social.

In the past this prevalence of spam has caused issues with federation, so it's potentially a major problem not just for kbin.social but the fediverse overall if spam accounts aren't identified and blocked/deleted quickly.

USER LEVEL ==========

Individual users can block accounts, which is good for blocking accounts that annoy you but which might otherwise contribute positively, but not so good for addressing instance-wide spammers.

MAGAZINE/COMMUNITY LEVEL ==========

Moderators can block accounts at a magazine/community level, which is good for addressing trolls or bots that infest a single magazine, but not so good for addressing instance-wide spammers.

The other downside is that as most magazines only have a single moderator it may take days for mods to block spammers, depending on how active the mod is. In addition there are thousands of magazines on kbin which are abandoned (ie not being actively moderated), so spammers posting to these communities won't be blocked at all.

Increasing the number of mods would help (especially if they could ensure 24/7 coverage) but it's important to keep in mind that the fediverse is still tiny compared to places like reddit and there are very few people who are willing and able to take on these roles, especially on a volunteer basis.

INSTANCE LEVEL ==========

Reporting spam ----------

There is a "report" function, and presumably these generate messages for the instance administrator (@ernest in the case of kbin.social) to action.

I don't know what the admin interface for this is, but it may influence how easily spam accounts may be blocked. For example, if users report 100 posts belonging to 10 different accounts as spam, does this generate 100 separate messages which ernest has to review and action (which could be laborious), or does it group them into 10 different "queues" for the 10 different spam accounts (which would be less laborious to review and action).

The other limitation of course is that, like for magazine-level modding, we're constrained by the fact that kbin.social currently only has one administrator who has a job, a personal life, and is also working hard on further developing the platform.

Tools/approaches that could be used/developed to manage spam at an instance level ----------

I'm not sure what spam combatting abilities are built into (or envisaged for) kbin at an instance level, over and above the "report" function, but some ideas I had are:

A) Appoint more administrator (or other system roles with the ability to block/delete spam accounts)

Ernest could appoint administrators (or other system-level roles, ie not necessarily a full administrator) with the ability to deal with spam.

Upsides: \- Probably relatively easy to implement (depending on what system level roles already exist)

Downsides: \- As for community moderators, there's potential issues of coverage and commitment. \- We may decry corporate-owned social media platforms like reddit, but - being a business with plenty of money coming in - they can at least pay some people to keep an eye on the community (by which I mean admins, not mods), ensure the stability and uptime of the site, and develop enhancements. These are all more difficult in small, privately-funded systems. But that's a much bigger topic, and best left for another day.

B) Limit accounts by IP address

Most spammers create multiple accounts. Limiting the number of new accounts for an IP address could help with this, although that limit shouldn't necessarily be as low as 1 (as you wouldn't want to prevent genuine alt accounts).

Upsides: \- Prevents too many accounts being created from a single IP address (ie most likely from a single person)

Downsides: \- Can be bypassed relatively easily by using VPNs (though it adds an extra step that spammers have to take) Could prevent genuine users from registering (eg if multiple genuine users share an IP address)

C) Manually review and approve new accounts

Some instances require new accounts to answer some questions to allow admins to assess their suitability (and humanity). kbin could institute something like this.

Upsides: \- This could at least limit the creation of new spam accounts, which currently seem to spring up like weeds.

Downsides: \- This approach requires time and resources to set up and keep going. \- It impedes the sign-up experience for genuine users (especially if it takes hours or days to be approved). \- It could be bypassed by sophisticated responses to the challenge questions.

D) Rate limit new accounts

New accounts could be throttled so that they can only post one thread / reply per (let's say) 15 minutes. This limitation could be removed after a certain time or number of posts.

Upsides: \- Limits the "productivity" of spam accounts, making it more difficult for spammers.

Downsides: \- Requires time and effort to build \- Impedes user experience for genuine users \- Depending on how the posting throttling is relaxed, this system could be gamed. For instance, if the throttling is removed after (say) one week, all a spammer has to do is wait a week for the spamming to start.

E) Tie posting limits to reputation or mod reports

The above "rate limit new accounts" approach could be supplemented with an approach whereby posting limits are only removed if the account has neutral or positive reputation, and/or if the account has not been repeatedly reported for spamming.

So, for example, someone registers a new account. For the first week (or whatever time set by an admin-definable parameter), that account can only post once every 15 minutes (or whatever interval set by an admin-definable parameter).

After that first week the system reviews the status of the account. (Alternatively this review could be run "after the first X number of posts" rather than "x number of days".)

If the overall net reputation of the account is less than an admin-definable value (let's say, lower than negative 5), then the account restrictions remain in place, and the account is flagged for an admin (or similar role) to manually review and either block/delete or approve. If the net reputation is above this threshold, the posting limits are removed automatically, ie without manual intervention being required.

Alternatively (or additionally) the system could check how often posts by that account have been reported. If it has been reported more than an admin-definable value, posting limits remain in place and the account is flagged for an admin to review.

Upsides: \- Limits the "productivity" of spam accounts \- Uses the collective user base to identify spam accounts in a more sophisticated way than just reporting these to mods/admins, ie by creating a dataset which can be used by an inbuilt system to more easily help throttle/block spammers

Downsides: \- Requires considerably more time and effort to build \- Still requires a level of ongoing manual administration \- Could be "gamed" by malicious users who downvote/report even worthwhile posts (which is why I think the system should not outright block users automatically but only rate limit them, and why I think an admin should have the ability to manually approve users for normal posting. Ie, just because someone posts unpopular opinions doesn't mean they're posting spam, and a manual review could accommodate this)

THE WAY FORWARD ==========

The above are only some potential ideas, I'm sure there are others. And I'm sure there are issues that I haven't identified either.

Perhaps the way forward is to look at what can be done:

• short term
• longer term

As what's required right now to stomp the current spammers on the head may not be an long-term optimal solution

And if you thought eight years working in a Broadway show was a long time, here's an interview with Karl Jurman, who just retired from the The Lion King after 26 years.

Highlights:

> > > Could you tell this was going to be special in those early workshop days? > No. I remember at one point [director Julie Taymor] was doing the workshop and The Magic Flute at the Met. We were sharing a cab up the West Side Highway after rehearsal one day, and I just looked at her and I said, “Do you think this puppet thing is gonna work?” She goes, “It’s not Cats. Yeah.” OK, she has confidence in it, I have confidence in it. And remember, there was never a South African show outside of Serafina on Broadway, and that show had lasted just a little over a year. As a musician, I was just focused on learning some South African music and seeing how it goes. If it’s a hit, it’s a hit. If it’s not, we keep moving on. > >

> > > Was South African music in your wheelhouse, or was it new to you? > Totally new. That was the joy of it, bringing that to Broadway. Learning the music. And bringing something new that hadn’t really been in the movie. > >

> > > What did you learn working on it that you’ll take with you? > Mostly all the African stuff that [vocal director and arranger Lebo M] did in the vocals. As music directors, we were so tied in with the vocal side of things. How they work, their harmonies, how they approach music—the outlook they have on music, the spirit they put into their music. It wasn’t the most complicated music in the world, but we were also mixing it with Mark Mancini’s film scoring and the Broadway-style musical numbers and Julie’s puppets. That’s too exciting to pass up. > >

> > > It's wild to me that all these years later, it still stands alone. It’s still the top of the charts almost every week. > It turned out to be a masterpiece, but it took a while. I remember we’d been with the show out-of-town in Minneapolis and by the time we got back, the people on the beaches in Long Island knew more about The Lion King than we did, and we were doing it. The word was out. The publicity department, the marketing people are so good at Disney. I do remember from the first preview in Minneapolis the animals coming down the aisle and the whole audience just started talking and looking. It was like nothing they’d ever seen. No one was ready for that effect. We’d played about 32 bars and the place was in an uproar. That was very exciting, but it’s unexpected. > >

> > > What are you going to miss the most? > The people. What I’ve been trying to do all these years is keep the spirit that we found in Minneapolis alive, the spirit the original creators started. The feeling of community, the importance of bringing South African culture to the United States and then the world. I’ve been trying to get that spirit of community all these years and impart that to all the people that have music directed and taught new people, and it lives on today. It lets it speak to everyone. I’ll miss conducting “Circle of Life” and quickly glancing to the audience and seeing tears in their eyes. > >

> > > What will you miss the least? > Well, the paperwork. To run the ship, it’s a whole department. The orchestra is 23 people, and they all have subs so it turns out to be 150 people. And then there’s the whole cast and all of their covers. That’s a lot of people to manage and direct, to give them the spirit and show them why it’s important to invest when you play or perform the show. > >

Interview with Miguel Cervantes, who played Hamilton for eight years.

Highlights:

> > > According to Lin-Manuel Miranda, who made curtain call remarks at Cervantes' closing performance, "That's 6,039 hours you've been on this stage [as Hamilton], a total of 251.6 days, 24/7. In other words, to find someone who has been Alexander Hamilton longer than Miguel Cervantes, you have to go back to the late 1700s to talk to the original guy." > >

> > > The consistency of the show is perhaps the only unchanging aspect of Cervantes' life over the last eight years. While some changes were expected and accepted (such as his family moving from New York to Chicago and back to accommodate the sit-down production), others were far more difficult to survive. > >

> > > On October 12, 2019, Cervantes' daughter Adelaide passed away only five days before what would have been her fourth birthday. Adelaide's brief life was inextricably tied to Hamilton: shortly after Cervantes' was cast, Adelaide was diagnosed with a rare childhood form of epilepsy called Infantile Spasms (IS), which caused her to suffer dozens of seizures each day. Cervantes' wife Kelly became a full-time caretaker for Adelaide and their young son, working alongside several doctors, nurses, and friends to keep Adelaide alive. Meanwhile, Cervantes acted out the horror of a parent losing a child onstage every day. > >

> > > "I couldn't have written a better version of this tragedy that we experienced," Cervantes states, his voice low with reverence. "I say this all the time: You could have Hamilton, I don't want it, if that meant we could have had a different ending for my daughter. But that was not the option I was given. Instead, this show gave me an opportunity to use my frustrations and anger and sadness." > >

> > > "Could I have done Hamilton for another year? Yeah, sure. I could have kept going. But the reality of watching my son go from four years old to 11 years old right in front of my eyes..." Cervantes clears his throat, pulling himself out of a memory. "I'm needed somewhere else. And it's a hard thing, because I've never closed a show. I've never left a show before, every show I've ever done in my entire life closed. Since I was a kid, I never left before the show closed. But the recognition of my own mortality, that my kids are getting older, and that life is moving...it was time." > >

How to Dance in Ohio has partnered with the Autistic Theatremakers Alliance. The inaugural partnership event will take place January 25, with an extraordinary celebration of New York’s neurodivergent theatre companies.

The production will welcome Actionplay, EPIC Players, and The Neurodivergent New Play Series to the show, with an exclusive talkback discussing autistic representation on Broadway to follow. The performance will also feature ASL interpretation. The talkback will be moderated by Autistic Theatremakers Alliance Executive Director (and Playbill writer) Margaret Hall.

The Autistic Theatremakers Alliance (ATA) seeks to reduce stigma and increase inclusion of autistic persons in all aspects of theatre making and offer support and foster connections between autistic artists and the American theatre industry at large.

The non-profit is an alliance of autistic-friendly theatre companies and industry leaders dedicated to the mission of uplifting autistic individuals in the arts through institutional support. The ATA also provides resources for autistic artists in the form of grants and affinity events to foster community connections, plus resources regarding sensory-friendly performances and training.

For more information, about the January 25 talkback, visit AutisticTheatremakers.org.

The curtain has fallen on Schmigadoon! On Thursday, creator Cinco Paul announced on social media that the musical series will not be getting a third season on Apple TV+. This is despite the fact that Paul and his team have written the complete season, including 25 songs.

"I am sad to share that Apple will not be moving forward with season 3 of Schmigadoon!" he wrote. "The season is written (including 25 new songs), but we unfortunately won't be making it. Such is life. I want to thank everyone involved with the show, our incredible cast & crew & writers, our wonderful supporters at Broadway Video, Universal & Apple, for everything they did to make it happen."

That's even more songs than the season 2 soundtrack, which already nearly doubled the new songs from season 1.

"It's a miracle we even got two seasons, honestly," Paul continued. "And I'm so grateful we did. And to all the fans of the show out there — thank you with all of my heart. Your love and support has meant so much, and the fact that you connected with our show, that it brought some joy, means the world to me."

Paul closed by suggesting that there might be a future for the show yet. "This was tough news to get, but the optimist in me is convinced it's not the end of Schmigadoon," he wrote. "And maybe it's even a happy beginning."

The statement referenced the season 2 finale song, "Happy Beginning," which Paul previously told EW could point to the musical themes of season 3. "The inspiration behind "Happy Beginning" was really "Rainbow Connection" [from The Muppet Movie]," he said. "It's meant to be a little hint about how things could move forward. The feeling of that is so optimistic and hopeful in that song, although there's a little melancholy tied in always with Kermit. That's the genius of the Muppets and of Paul Williams, who wrote "The Rainbow Connection."

While season 1 of the show used the Golden Age of Broadway musicals of the 1940s and 50s as inspiration, season 2 moved into the darker evolution of 1960s and 70s shows, as evidenced by its title change to Schmicago. Season 3 was poised to move into the era of the mega-musical of the 1980s and 1990s.

Paul told EW the crashing of a chandelier in the season 2 finale was a clear nod to 1980s hit The Phantom of the Opera.

Season 2 ended with Melissa (Cecily Strong) and Josh (Keegan-Michael Key) expecting a child, a longtime dream of theirs. "They're pregnant right at the end of the episode," Paul said. "I'm an optimistic, hopeful person, so I think they'll have a child and they will love it and it'll become a huge part of their lives.

Paul also hinted at a grander mythology to the mechanics of the world of Schmigadoon!, though he was unsure if it might ever be part of the storytelling. "I have a mythology in my head, but in some ways I'm following the Groundhog's Day principle here," he noted. "Which is that the original script had a big explanation for why Bill Murray was living the day over and over, and then they cut it out and no one missed it. No one cares. So, I'm leaning in that direction, although there is a bigger mythology in my head. But who knows if that'll ever see the light of day. Sometimes that stuff bogs things down and overcomplicates something that's just fun."

Other dreams for season 3 included wanting to recruit Broadway legends Bernadette Peters and Mandy Patinkin for potential roles. But Paul also seemed to hint that season 3 would bring the series to a close, suggesting that going any closer to contemporary musical theater might overcomplicate matters.

"I would be afraid of going too far because the musicals were very self-aware and a lot of meta-commentary on stuff, which is what we're doing already," he reflected. "It's a hat on a hat."

But for now, the question of whether Paul will ever get around to finishing the hat remains an open one.