Upper-Level Students and Entitlement: Does Seniority Equal Stardom?
Plus, your weekly round-up of theatre news you may have missed!
Welcome to The Scene, your weekly round-up of theatre news you may have missed. In this week's edition:
We explore how to handle seniority in high school theatre casting, balancing tradition, talent, and transparency to keep your program fair, inspiring, and growth-focused for all students.
We also discuss the historic wins, unforgettable performances, and powerful educational moments from the 2025 Tony Awards, offering inspiration and insight for every theatre teacher shaping the next generation of artists.
Don’t miss this week’s free read from Playscripts: subText by Tyler Dwiggins.
And don’t miss the latest episode of The Scene podcast, featuring a conversation with the playwright Madeline Sayet!
So, raise the curtain and shine the spotlight as we dive into another thrilling week in the theatre world. Welcome to The Scene.
How Maybe Happy Ending Overcame a Shaky Start and Won Big at the Tonys by Michael Paulson, The New York Times | Broadway’s best musical winner had to delay its opening last fall and was selling poorly. But strong word-of-mouth and reviews helped this quirky show triumph. Read...
Smash Announces Abrupt Closing on Broadway by Diep Tran, Playbill | The musical, about the making of a musical, will play its final performance June 22. Read...
Lin-Manuel Miranda on How That Hamilton Reunion at the Tony Awards Came Together in a Few Days by Diep Tran, Playbill | The cast learned the medley over the weekend. Plus, see photos from the rehearsal. Read...
Meet Broadway’s Teen Whisperer by Alexis Soloski, The New York Times | “The Outsiders” and “John Proctor Is the Villain” showcased Danya Taymor’s adept staging of teen stories. Off Broadway, next: the teen satire “Trophy Boys.” Read...
Peter Pan Goes Wrong Will Be Licensed by Dramatists Play Service by Logan Culwell-Block, Playbill | The follow-up to The Play That Goes Wrong sees the Cornley Drama Society take on the J.M. Barrie classic to disastrous results. Read...
TV Ratings for Tony Awards 2025 Highest Since 2019; Streaming Audience Biggest Ever by Andrew Gans, Logan Culwell-Block, Playbill | Cynthia Erivo hosted the annual ceremony, watched by an average of 4.85 million viewers. Read...
The Big Idea
Upper-Level Students and Entitlement: Does Seniority Equal Stardom?
By Zach Dulli, The Scene
The idea that upper-level students “deserve” lead roles is a perennial issue in high school theatre. It’s natural for seniors, especially those who’ve dedicated years to your program, to expect their time in the spotlight. However, casting based solely on seniority can create tension and undermine the integrity of your production. Younger students who outperform seniors during auditions may feel discouraged if seniority consistently takes precedence over talent and effort. For directors, navigating this delicate balance requires transparency, fairness, and a focus on the bigger picture, your students’ growth, and the overall quality of your production.
The Challenge
Entitlement Among Upperclassmen: Seniors often feel that their years of participation and loyalty to the program should earn them a lead role. While their dedication is commendable, this sense of entitlement can create conflict when their performance doesn’t align with the demands of a lead role.
Disappointment for Younger Students: When younger students consistently outperform their senior counterparts during auditions but are overlooked for lead roles, it can lead to feelings of frustration and discouragement. These students may begin to see the program as unfair, which could impact their future participation and enthusiasm.
Pressure from External Sources: Directors often face pressure from parents, students, and even school administrators to “reward” seniors with prominent roles. Balancing these external expectations with the need to cast a show that works artistically can be one of the most challenging aspects of casting in high school theatre.
How to Approach It
Establish a Clear Philosophy for Your Program: The first step in addressing this issue is to establish and communicate a clear casting philosophy to your students and their families well in advance of auditions. If seniority plays a role in your casting decisions, make that known early so there are no surprises. However, if you prioritize talent, effort, and fit for the role over grade level, be clear that roles are earned through auditions, not tenure. For example, you might say:
“Our casting process is designed to find the best fit for each role based on the production needs. While we deeply value the dedication of our seniors, our priority is to assemble the strongest cast possible for the story we’re telling.”
Transparency upfront helps manage expectations and builds trust in your process.
Honor Seniors in Other Ways: Seniors who don’t land lead roles can still feel valued and celebrated within your program. Consider offering them alternative opportunities that honor their dedication and leadership:
Assistant Director or Choreographer Roles: Invite seniors to contribute to the production in a behind-the-scenes capacity, giving them valuable leadership experience and ownership of the show.
Featured Ensemble Roles: Assign seniors ensemble roles that include solos, small scenes, or moments that allow them to shine without carrying the full weight of a lead role.
Mentorship Opportunities: Pair seniors with younger cast members to help them navigate the production process. This gives seniors a sense of responsibility and fosters a positive and collaborative program culture.
Acknowledge Seniors’ Contributions Publicly: Use the first rehearsal or your program’s promotional materials to acknowledge the contributions of your upper-level students. Thank them for their dedication and emphasize their importance as role models for younger students. Even a tiny amount of public recognition can make seniors feel appreciated, regardless of their role in the production.
Encourage a Growth Mindset Across All Grade Levels: Foster a culture where all students, regardless of age or experience, view casting as a learning opportunity rather than a competition. Remind them that every role, lead, ensemble, or backstage, contributes to the production's success. Encourage students to reflect on their auditions and ask for constructive feedback so they can continue to improve.
Be Prepared for Tough Conversations: If a senior expresses disappointment about not being cast in a lead role, handle the conversation with empathy but also with honesty. For example:
“I know how much you were hoping for this role, and I truly appreciate your dedication to the program. Casting this show was incredibly challenging due to the exceptional talent we have this year. I think the role you’ve been given will allow you to showcase your strengths and contribute to the production in a meaningful way.”
Offer constructive feedback if appropriate and remind them of the opportunities they still have to shine in their assigned role.
Fairness and Tradition
The reality is that every program and every director approaches this challenge differently. Some directors feel strongly about giving seniors their moment in the spotlight, while others prioritize creating the best possible cast, regardless of grade level. Both approaches have merit, but the key is to make decisions that align with your program’s values while keeping your students’ growth at the center of your process.
Ultimately, your goal is to serve both the production and your students. By prioritizing fairness, transparency, and growth, you can create a program where students trust your decisions, feel valued regardless of their role, and leave with lessons they’ll carry long after the final curtain call. And when students feel that their work, rather than their grade level, determines their success, you’re setting the foundation for a theatre program that is not only artistically excellent but also deeply respected by everyone involved.
Step Into the Studio with West End Cast of Stereophonic by Margaret Hall, Playbill | The David Adjmi play made history last year by earning 13 Tony Award nominations, the most of any play, ever. Read...
The Play That Goes Wrong celebrates its 4001st performance in the West End and releases new photos by Alex Wood, WhatsOnStage | Read...
Initial casting revealed for immersive Grease revival in London by Alex Wood, WhatsOnStage | This won’t be like any previous version of a Secret Cinema show. Read...
Tony Winner Jefferson Mays Will Lead Noises Off at San Diego's Old Globe by Meg Masseron, Playbill | The production will be directed by Gordon Greenberg (Dracula: A Comedy of Terrors). Read...
42 Balloons Soars to Chicago Shakespeare Theater by Bill McLean, Playbill | The musical, based on the true story of a man who flew thanks to a mass of balloons, has come to the US after a hit run in the UK. Read...
Cast Complete for Ogunquit Guys and Dolls, Starring Bianca Marroquín, Rob McClure, Ephraim Sykes by Andrew Gans, Playbill | Al Blackstone will direct and choreograph the classic American musical. Read...
The Spotlight
Inspiration from Broadway’s Biggest Night: Takeaways from the 2025 Tony Awards
By Zach Dulli, The Scene
It was a night of standing ovations, history-making headlines, and heartfelt reminders of why we tell stories on stage in the first place.
This past Sunday, under the gilded lights of Radio City Music Hall, the 78th Annual Tony Awards unfolded like a perfectly rehearsed overture, familiar in form, but full of new notes. Hosted with grace and gravitas by Cynthia Erivo, the evening was a celebration of artistry, identity, and the enduring, essential role of live theatre. For Broadway, it was a season defined by innovation and intention. For students and teachers watching from across the country, it was a masterclass in courage, creativity, and connection.
Among the standout achievements, Maybe Happy Ending emerged as the night’s most decorated production, winning six Tonys, including Best Musical. Darren Criss’s win for Best Actor in a Musical, the first for an Asian American performer, was more than a historic first; it was a meaningful victory for the countless students and educators who have tirelessly called for more inclusive storytelling on the Broadway stage.
Andrew Lloyd Webber’s Sunset Boulevard stormed back to the Broadway stage with cinematic grandeur, earning the Tony for Best Revival of a Musical. At its center was Nicole Scherzinger, whose powerhouse performance not only brought audiences to their feet but also earned her the Tony for Best Actress in a Musical. With this win, Scherzinger becomes only the second Asian American woman to receive the honor, following Lea Salonga’s landmark victory in 1991 for Miss Saigon.
Meanwhile, Branden Jacobs-Jenkins’s Pulitzer Prize-winning Purpose claimed the Tony Award for Best Play, while Kara Young made history with her powerful performance in the production, earning her a second consecutive Tony and becoming the first African American actor ever to win back-to-back Tony Awards.
Francis Jue also made history as only the second Asian American male actor to win the Tony for Best Featured Actor in a Play, recognized for his powerful performance in David Henry Hwang’s Yellowface. The milestone echoes a historic precedent set in 1988 by B.D. Wong, who became the first to win the award, also for a Hwang play: M. Butterfly.
But perhaps the most talked-about moment came from Cole Escola, whose portrayal of a reimagined Mary Todd Lincoln in Oh, Mary! earned them the Tony for Best Actor in a Play. As the first openly nonbinary performer to win in that category, Escola’s win was more than historic; it was deeply personal, a beacon for authenticity that lit up the stage with both humor and hope.
As always, the Tony Awards delivered moments that stirred the soul. There was the long-awaited reunion of the original Hamilton cast, marking a decade since the show changed the landscape of American theatre. Jonathan Groff lit up the stage with a high-energy medley of Bobby Darin hits from Just in Time. Audra McDonald shook the rafters with a showstopping rendition of “Rose’s Turn” from Gypsy. And in one of the evening’s most poignant moments, the In Memoriam tribute, underscored by Cynthia Erivo and Sara Bareilles singing the late Charles Strouse’s “Tomorrow,” served as a tender reminder of legacy and the way theatre helps us carry memory forward.
Yet amid all the dazzling performances and star-studded reunions, the heart of the night belonged not to a Broadway legend but to a high school teacher.
Gary Edwin Robinson, the cherished director of the Theatre Arts Program at Boys and Girls High School in Brooklyn, was honored with the 2025 Excellence in Theatre Education Award during an early segment of the broadcast on Paramount+. In his moving acceptance speech, Robinson spoke not just of theatre, but of transformation:
“I love working with my students to help them find the theater in themselves,” he said. “When they shout, ‘I got it, Mr. Robinson, I found it,’ that is what brings me the joy of teaching theater.”
With the award comes a $10,000 grant for his program, a masterclass from Carnegie Mellon University’s School of Drama, and, perhaps most significantly, a national spotlight on the profound impact of arts educators.
Robinson’s recognition served as a moving reminder that theatre education isn’t just about putting on a show, it’s about building confidence, cultivating empathy, and preparing young people for life far beyond the footlights.
While the evening celebrated dazzling revivals and groundbreaking new works, it also lifted up what makes theatre endure: truth-telling, inclusivity, and the ability to reflect who we are and who we might become. This year’s Tonys spotlighted stories that transcended identity and tradition, proving that even as the world grows noisier and more fragmented, theatre remains one of our most powerful tools for connection.
And now, as the school year draws to a close and classrooms quiet for summer, one thing is sure: the next standing ovation is already in the making. It’s taking shape in a rehearsal hall, a scene study, or the quiet bravery of a student stepping onto a stage for the very first time. Because theatre, like teaching, is an act of belief. In potential. In progress. In the power of story to shape lives. And on Sunday night, that belief took a well-deserved bow.
Click here to see the complete list of this year’s Tony Award winners.
Click here to learn how to apply for the 2026 Excellence in Theatre Education Award.
Free Reads of the Week
Read entire plays for free! Playscripts offers a selection of full-length and one-act plays that you can access for free, which is ideal for use in theatre productions, school performances, or competitions. To explore these titles, click on the cover image below or select the "READ FOR FREE" button at the bottom of this section. This action will direct you to the play's page on the Playscripts website. Once there, click "READ NOW" to begin enjoying the play immediately!
subText by Tyler Dwiggins
The Story: Even though everybody on the planet is just a text away, getting your message across has never been more complicated. subText is a hilarious series of vignettes detailing the awkwardness of dating in the digital age, from capturing the perfect selfie to making a relationship Facebook official. At its heart, subText is a reminder that "love is a lot of things, but it is rarely a thing of convenience."
Genre: Comedy | Run-Time: 80 - 90 minutes | Casting: 13 W, 7 M, (5-20 actors possible: 3-13 W, 2-7 M) | Set: Unit set. Projections.
Please note: From May 15 to August 15, The Scene will be moving to a bi-weekly publishing schedule. We'll return to our regular weekly schedule after that. Thanks for your continued support, and have a great summer!
There has been a quiet (sometimes not so quiet) shift happening in the way many people are moving through our world, and it is one that is costing all of us more than we know in the long run. As adults, educators, caregivers, coaches, and for the sake of humanity, we have a responsibility to humanize this somewhat controversial conversation for our youth first because they are our future and highly influential in how our world progresses.
https://open.substack.com/pub/paintopossibilities/p/you-matter-but-so-does-everyone-else?utm_source=share&utm_medium=android&r=2at1yi