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Industry Pro Newsletter: Economic Indicators from NYC and Canada: NYC Foot Traffic Rebounds, Canada's Recovery Lags

This week's industry news paints a complex picture of resilience, challenge, and change across the theatrical landscape. While new data reveals a promising, though uneven, post-pandemic recovery in both New York City foot traffic and the Canadian arts economy, financial realities remain stark, highlighted by the unfortunate closure of Berkeley's Aurora Theatre. Yet, signs of forward momentum are clear, with new leadership at the SDC Foundation, significant NAMT grants fostering new work, and Ohio creating new tax incentives for touring productions.

Chinai Routté Joins Everyman Theatre's Resident Company of Artists

Everyman Theatre announced the addition of the immensely talented Baltimore based actor Chinai Routté to its Resident Company of Artists. Routté, a seasoned performer with a diverse background in theatre, film, and television, who brings a powerful presence and a charm to the Company. Her appointment underscores Everyman's commitment to fostering a dynamic ensemble of actors and designers that drives its artistic vision. 

Pittsburgh Ballet Theatre To Launch 2025–26 Master Class Series

Pittsburgh Ballet Theatre (PBT) will present its 2025–26 Master Class Series, offering monthly dance classes taught by company artists and artistic staff, beginning September 9, 2025. New this season, each class will include a post-class Q&A with the teaching artist.

George C. White, Founder of the Eugene O'Neill Theater Center, Dies at 89

George C. White, founder of the Eugene O’Neill Theater Center, died August 6, 2025, just ten days before his 90th birthday. Over 37 years as Chairman, White transformed Waterford, Connecticut, into one of the most celebrated hubs for developing new plays and musicals in the United States.

The High Stakes of Broadway Recasting

Recasting a star who is above the title of a musical is a tricky endeavor. That balance of someone who artistically fulfills the role and someone who can sell enough tickets to be worthy of the above-the-title placement is a complex one, and it seems to becoming a more and more common trend recently for shows, particularly star-driven revivals, to not do a second casting, even if they are financially successful.

Review: THE PIANO LESSON at Shakespeare & Company

Over the eight years I have been covering regional productions for BroadwayWorld.com (a number in the hundreds) this production of THE PIANO LESSON is without doubt one of the overall finest.  Simply stated it approaches flawless, a Broadway caliber production.

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