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.

https://archive.md/WmyBu

Cameron Mackintosh Ltd saw turnover almost double year on year – to £186 million – as the company reports its first full 12 months of accounts since the pandemic. However, the numbers are still down slightly when compared with accounts pre-pandemic.

According to documents filed to Companies House, covering the period to March 31, 2023, turnover at the company – which operates eight venues and produces shows such as Hamilton – jumped from £94.5 million the year before to £186 million.

Profit before tax was £45.5 million, compared with £18.9 million in 2022.
The accounts mark the first full year since the pandemic. Comparatively, in the year to March 31, 2019 – the last year recorded that was not impacted by Covid disruption – turnover was £210 million, with profit before tax put at £51.4 million.

"Turnover and profits were materially better than the previous year as the group’s performance continued to recover from the Covid-19 pandemic and benefited from a full year’s trading," the report said.
CML covers productions, venue operation (Delfont Mackintosh) and licensing arm (Music Theatre International).

It highlighted productions such as Les Misérables, Mary Poppins, Hamilton and The Phantom of the Opera as contributing to the success of the year, and its portfolio of eight venues, including the Prince Edward and the Novello Theatre. The report also pointed to "significant improvement in audience attendance levels".

Writing in the report, secretary Richard Knibb wrote: "Production around the world returned to something approaching normality, following the disruptions in the previous two accounting periods due to the Coronavirus pandemic. The group had productions of Les Misérables, Mary Poppins, Hamilton and The Phantom of the Opera running in the West End and a UK touring production of Les Misérables."

The success of the company comes as it emerged that producing venues in London are facing "devastating" financial issues due to increased costs and changing audience patterns, as reported by The Stage.

Josh Groban and Annaleigh Ashford completed their runs in Sweeney Todd at the Lunt-Fontanne Theatre on January 14. Aaron Tveit and Sutton Foster start performances as Sweeney Todd and Mrs. Lovett on February 8. The standbys and understudies will be playing the lead roles until they join the cast, and the production announced the cast schedule for all performances January 17-February 8 via Instagram.

Nicholas Christopher will play Sweeney Todd for all Wednesday-Saturday performances. Christopher will also play Pirelli for Sunday performances. Paul-Jordan Jansen will play Sweeney Todd for all Sunday performances.

Jeanna de Waal (Diana, The Musical) will play Mrs. Lovett for all evening performances and DeLaney Westfall will play the role for Wednesday and Saturday matinees.

Raymond J. Lee (Groundhog Day) will play Pirelli for all evening performances. Daniel Torres (The Music Man) will play the role for Wednesday and Saturday matinees.

The critically acclaimed cast of the smash hit Donmar Warehouse production of the Broadway musical Next to Normal are set to return as the show prepares to transfer to London’s Wyndham’s Theatre from 18 June for a strictly limited 14-week run.

The cast includes: Caissie Levy (Frozen, Broadway) as Diana Goodman, Jamie Parker (Harry Potter and the Cursed Child, West End/Broadway) as Dan, Jack Wolfe (Shadow and Bone, Netflix) as Gabe, Eleanor Worthington-Cox (Jerusalem, West End) as Natalie, Trevor Dion Nicholas (Aladdin, West End) as Dr Madden/Dr Fine, and Jack Ofrecio (The Merry Wives of Windsor, Shakespeare’s Globe) as Henry.

The musical, about early-20th-century efforts to win the right to vote for women, will open in April at the Music Box Theater.

https://archive.md/W5wBh

She has been a first lady, a United States senator, a secretary of state, a Democratic nominee for president, and, most recently, a podcaster and a Columbia University professor. Now Hillary Rodham Clinton is adding some razzle-dazzle to her résumé: She’s becoming a Broadway producer. Clinton has joined the team backing “Suffs,” a new musical about the women’s suffrage movement, as has Malala Yousafzai, a Pakistani activist and Nobel Peace Prize winner.

The producing team announced Wednesday that the show, which had an Off Broadway run last year at the Public Theater, will transfer to Broadway in the spring, opening at the Music Box Theater on April 18.

“Suffs” explores the early-20th-century struggle for women’s voting rights in the United States; the dramatic tension involves an intergenerational struggle over how best to hasten political change. The musical is a longtime passion project for the singer-songwriter Shaina Taub, who wrote the book, music and lyrics; Taub also starred in the Off Broadway production, but casting for the Broadway run has not yet been announced.

The musical is being directed by Leigh Silverman (“Violet”); the lead producers are Jill Furman (“Hamilton”) and Rachel Sussman (“Just for Us”). The show is being capitalized for up to $19.5 million, according to a filing with the Securities and Exchange Commission; Furman said the actual budget will be $19 million.

The Off Broadway production of “Suffs” opened to mixed reviews; in The New York Times, the critic Maya Phillips wrote that “the whole production feels so attuned to the gender politics and protests of today, so aware of possible critiques that it takes on its subject with an overabundance of caution.” But “Suffs” sold well, and Taub and the rest of the creative team have been reworking the show over the past year.

“We’ve done a lot of work on it — we’ve listened to the critics, and we listened to the audiences,” Furman said. In the months since the Public run, Furman and Sussman added, Taub has rewritten some songs, distilled the book, removed recitative and shortened the running time. “We feel really confident in what we’ve created,” Sussman said.

The lead producers said Clinton and Yousafzai would be ambassadors for the show, helping to promote it as well as offering input. Clinton is a lifelong theater fan who, in the years since her bid for president, has become a frequent Broadway (and sometimes Off Broadway) theatergoer. Last year, a special performance of “Suffs” was held to raise money for groups including Onward Together, which she co-founded to support progressive causes and candidates; Clinton attended and participated in a talkback. Yousafzai, an advocate for women’s education, also saw the show, and called it “amazing.”

“Suffs” is joining what is shaping up to be a robust season for new musicals on Broadway: It is the 11th new musical to announce an opening this season, with at least a few more still expected. “The season is very crowded, and we recognize that,” Furman said, “but we think there is a market for this kind of story.”

Deadline reports that most of the Broadway cast is making the move from Off Broadway, though Hannah Cruz, who played Ruza Wenclawska at the Public, takes over from Phillipa Soo as Inez Milholland, and Skinner is taking over for Aisha de Haas in the Alva Belmont/Phoebe Burn roles.

As well as Tabu, Suffs will also star Tony Award winner Nikki M. James (The Book of Mormon) as Ida B. Wells, Tony Award nominee Jenn Colella (Come From Away) as Carrie Chapman Catt, Grace McLean (Natasha, Pierre and The Great Comet of 1812) as President Woodrow Wilson, Hannah Cruz (MCC’s The Connector) as Inez Milholland, Kim Blanck (Signature Theatre's Octet) as Ruza Wenclawska, Anastacia McCleskey (Waitress) as Mary Church Terrell, Ally Bonino (Broadway debut) as Lucy Burns, Tsilala Brock (The Book of Mormon National Tour) as Dudley Malone, Nadia Dandashi (Broadway debut) as Doris Stevens, and Tony Award nominee Emily Skinner (Side Show) as Alva Belmont/Phoebe Burn. Rounding out the company are Hawley Gould (Lincoln Center Theater’s Camelot) as the Alternate for Alice Paul, Jaygee Macapugay (Here Lies Love) as Mollie Hay, and Laila Drew as Phyllis Terrell/Robin (Broadway debut). The ensemble will feature Dana Costello (Pretty Woman) as well as Jenna Bainbridge, Monica Tulia Ramirez, and Ada Westfall making their Broadway debuts. The cast will also include Christine Heesun Hwang (Les MisérablesNational Tour), Kirsten Scott (Jersey Boys), Housso Semon (Girl From The North Country), and D'Kaylah Unique Whitley (Dear Evan Hansen).

The show will begin performances at the Music Box Theatre on March 26 2024 ahead of its opening night on April 18.