Live Arts: Jane Dubin and Blair Russell Of ‘Still’ On The 5 Things You Need To Create A Highly Successful Career in Broadway, Theater or Live Performance Art
…For actors, your job is auditioning, facing rejection, and learning how to move on from it. Occasionally, you get to act. For producers, your job is managing challenges, dealing with unexpected changes, and navigating questions. Occasionally, you get to sit in a theater and watch the show you produced. So you really need to have that tenacity and commitment. That’s the biggest thing I always advise people. You also need to build relationships. One mistake I made early on was not fully understanding that you need to build relationships with your peers. And by “peers,” I don’t necessarily mean people the same age as you. I mean people who are trying to do the same things you’re trying to do at the same time. It’s easy to look up to people who you think might help pave your way to success. But in reality, those people often aren’t the ones who will help you most. It’s the people around you — your peers — who will. When people say, “It’s about who you know,” what they really mean is it’s about who you’re friends with. If your friends are successful, they’ll want to bring you along to share in that success. So when you see successful people working together, it’s because they’re friends. Find your people, build those relationships, and grow together, instead of just hoping someone above you will pull you up…
I had the pleasure of talking with Jane Dubin and Blair Russell.
Jane Dubin is an American producer celebrated for her extensive work in Broadway theater, where her productions have earned both critical acclaim and commercial success. Born and raised in Queens, New York, Dubin’s early life was shaped by a love for the arts, nurtured by frequent theater visits with her family. She attended public schools before enrolling at Hunter College High School in Manhattan, an experience that marked her first exposure to the complexities of city life. Dubin graduated with a Bachelor of Science and a Master of Science from the University of Rochester and an MBA from NYU, later embarking on a career in financial services as an actuary and principal at an investment firm.
At the age of 40, following the loss of both parents to lymphoma, Dubin reexamined her professional trajectory. Motivated by her long-standing appreciation for the performing arts, she transitioned into theater production, beginning by managing the business aspects of shows. Over time, her role evolved, and she became a full-fledged Broadway producer. Dubin’s financial background and strategic acumen provided a unique foundation for her work in the theater, enabling her to navigate the industry’s financial and creative demands with precision.
Dubin’s breakthrough came in 2009 when she received a Tony Award for Best Revival of a Play for The Norman Conquests. Her subsequent productions further cemented her reputation, with credits including An American in Paris (2015), Ann, Farinelli and the King and Peter and the Starcatcher. Among her notable off-Broadway contributions is The Absolute Brightness of Leonard Pelkey, which earned a nomination for Best Solo Show at the Lucille Lortel Awards in 2016.
As president of Double Play Connections, a theatrical production and management company, Dubin focuses on fostering new talent and supporting emerging playwrights. She is also a prominent advocate for expanding the accessibility of theater. Her work includes chairing the Board of Directors of Houses on the Moon Theater Company, an organization dedicated to amplifying underrepresented voices. She has also served on the board of the League of Professional Theatre Women and is a member of several industry organizations, including the Broadway Women’s Alliance, the Off-Broadway Alliance, and the Off-Broadway League.
Throughout her career, Dubin has prioritized creating impactful and resonant theater. Her productions often explore themes of connection, empathy, and identity. Stories from her professional life highlight the profound influence of her work, such as the experience of meeting a young audience member whose first Broadway play deeply inspired her, or witnessing how productions like The Prom could spark personal revelations and foster inclusivity.
Dubin’s dedication extends beyond producing. She regularly mentors emerging producers and shares her expertise through teaching. Recognizing the challenges of breaking into the theater industry, she emphasizes the importance of collaboration and community-building, encouraging her peers and mentees to persevere despite the industry’s difficulties.
Currently, Dubin is focused on Still, an off-Broadway play by Lia Romeo that explores themes of love, belief, and communication. The production, which Dubin describes as deeply personal and timely, reflects her commitment to supporting meaningful and thought-provoking works. She and her producing partner Blair Russell are championing the play as a platform for fostering dialogue about empathy and understanding.
Jane Dubin’s journey from finance to Broadway exemplifies a remarkable blend of determination, creativity, and passion. Her contributions to theater production, her mentorship of emerging talent, and her advocacy for accessible and inclusive storytelling underscore her enduring impact on the industry.
Blair Russell is a Tony-nominated producer and developer of theater and live performance, known for his innovative approach to creating and presenting theatrical works. With a career spanning multiple facets of the industry, from fringe festivals to Broadway, Russell has played a significant role in championing new voices and exploring the intersection of traditional theater with technology and immersive experiences. He is the founder of Blair Russell Productions, LLC (BRP), established in 2018, which focuses on supporting emerging artists and leveraging creative financial and technological models to expand theater’s reach.
Among Russell’s most notable projects is the critically acclaimed Slave Play by Jeremy O. Harris, which received 12 Tony nominations, marking it as a landmark in contemporary theater. Other credits include Lizard Boy by Justin Huertas, the concept album for EPIC: The Musical by Jorge Rivera-Herrans, and an immersive Off-Broadway production of Sweeney Todd at the Greenwich House Theater. In addition, Russell has contributed to West End productions such as Gypsy, starring Imelda Staunton, and Show Boat. His portfolio demonstrates a commitment to producing works that resonate with diverse audiences while pushing the boundaries of theatrical storytelling.
As Co-founder and Director of Operations for Resounding and the Denver Immersive Repertory Theatre, Russell has been instrumental in producing immersive and technology-driven live entertainment events across the United States. His passion for innovation is complemented by his role as an educator and mentor. He has served as a guest speaker at institutions including the University of Maryland and the University of North Carolina Greensboro, and as a visiting lecturer for Princeton University’s Atelier program, where he collaborated with composer Georgia Stitt on her oratorio The Circling Universe. Russell is also the Producer-in-Residence for the Johnny Mercer Writers Grove at Goodspeed Musicals, further reflecting his commitment to nurturing creative talent.
Russell is deeply involved in the theater community, holding leadership positions on multiple boards. He previously served as Co-President of the Board of New York Theatre Barn, and is currently Co-Chair of the Board of The New Harmony Project, and a Trustee for Goodspeed Musicals and SPACE. Through these roles, he continues to advocate for the development of new works and the amplification of underrepresented voices in the arts.
Born in Silver Spring, Maryland, and raised in Northern Virginia, Russell discovered his passion for theater in middle school. Although initially drawn to science, he pivoted toward the arts in high school, ultimately earning a Bachelor of Fine Arts in Technical Theatre/Stage Management from Virginia Commonwealth University. His early career included work as a stage manager for Cirque du Soleil, the Santa Fe Opera, and regional theaters across the United States. These experiences provided him with a comprehensive understanding of the technical and logistical aspects of live performance, which he later channeled into his work as a producer.
Russell’s approach to theater is shaped by a belief in the transformative power of storytelling and the importance of inclusivity and accessibility. He has often spoken about the need for tenacity in the industry, emphasizing that success comes from resilience, relationship-building, and a commitment to meaningful collaboration. His productions reflect these values, frequently sparking conversation and engagement among audiences and industry professionals alike.
Among Russell’s current projects is Still, a play by Lia Romeo that delves into questions of love, belief, and understanding. Produced alongside Jane Dubin, Still highlights Russell’s dedication to supporting new works that address timely and universal themes. The play, running off-Broadway in early 2025, continues his tradition of championing thought-provoking and emotionally resonant theater.
Blair Russell’s contributions to the performing arts extend beyond the productions he brings to the stage. As a producer, educator, and advocate, he is committed to fostering a vibrant, inclusive, and innovative theater landscape that resonates with contemporary audiences while laying the groundwork for the next generation of artists and storytellers.
Yitzi: Jane and Blair, it’s such a delight and an honor to meet you. Before we dive in, our readers would love to learn about your personal origin stories. Jane, could you share with us a story of your childhood and how you grew up?
Jane: Well, I guess I would say that I had a pretty normal childhood. I don’t have any horror stories to report. I grew up in Queens, New York City, with my mom, dad, and brother in an apartment. I went to public school until high school, and then I attended Hunter College High School in Manhattan. That was my first experience riding the subway, which is probably why I don’t ride them very often now!
I went to college, then graduate school, and later business school. I worked in the investment world for a number of years until I didn’t want to anymore. Then I had one of those second or third career shifts into theater. It all happened by accident — producing a friend’s show, having such a good time that I kept doing it, meeting people, and continuing on from there. That’s the short version, but here we are today, producing this wonderful show off-Broadway.
When I first started, I was a newcomer to the theater world but it’s been over 15 years now, so I guess I’m not the newcomer anymore. I’ve been involved in nine Broadway shows, four or five off-Broadway shows, a couple in London, and even one in Paris — which was really cool. I’ve also worked on a few tours.
Producing theater is one of the most fulfilling things you can do. It’s exciting, frustrating, and everything in between. The people who work in theater are so passionate about what they do. They have to be, because it’s such a difficult industry. But the kinds of experiences you have and the families you form with each show make it all worth it.
Growing up, my mom was a professor, and by virtue of being in the union, she was automatically a member of TDF (Theatre Development Fund). Even though I wasn’t involved in theater back then, I went to a lot of theater because we had access to tickets. A lot of times, my mom and dad would go out to dinner and get a couple of tickets for a friend and me, so I saw a lot of shows as an audience member.
I think being an audience member is really helpful in the process of becoming a producer. When you’ve spent time sitting in the middle of the audience and understanding what they enjoy, it helps you figure out what to do — or not do — when you’re putting together a show to make it more appealing to an audience.
So, I’ve got to give a shoutout to TDF for that and highlight how important it is to get people into the theater, no matter what. It’s a little off-topic, but making theater accessible is so crucial because if you get people to come to one show, they’re more likely to come back for the next show, and the next, and the next.
Yitzi: Blair, how about you? Can you share your origin story with us?
Blair: Of course. I was born in Silver Spring, Maryland, just outside Washington, D.C., and I spent most of my childhood in the suburbs of D.C., in Northern Virginia. It was a pretty standard upbringing. Like Jane, I went to public school.
I started to fall in love with the arts and theater when I was in middle school, around 12 or 13. While I was exploring theater as an extracurricular activity, I was also really into science — or at least I thought I was. Looking back, I think I was more into trying to impress my parents by being into science. But towards the end of high school, I realized, “Oh, I don’t think I actually like science or math. I think I like theater.” So, I made a sharp pivot and decided to pursue a degree in theater.
I enjoyed every part of putting on a show. Performing was fine, but I liked everything else more. I ended up going to Virginia Commonwealth University in Richmond, Virginia, where I got a degree in technical theater with a concentration in stage management.
I started my career as a professional stage manager. I worked in Las Vegas for Cirque du Soleil, at the Santa Fe Opera, and in California. After spending some time in opera and the circus world, I realized I really missed musical theater. So, I moved back to the East Coast and began working at several regional theaters as a stage manager.
Over time, I became interested in a couple of things. First, I wanted to understand where shows come from — not just putting them on once there’s already a script, but really understanding how they start and develop. At the theaters I was working at, I had the chance to work on some new shows, which sparked that curiosity. Second, I started becoming interested in the bigger picture. As a stage manager, you know everything that happens from the proscenium back, but I wanted to understand how everything happened, from start to finish.
That curiosity led me to producing. I began assisting a few producers at theaters and eventually started working on the development side, helping artists develop their work. I even worked in New York on Broadway for a bit with a theater owner, which helped me understand the real estate aspect of the business.
After that experience, I realized I wanted to produce. I found myself drawn to projects that excited me but weren’t getting the attention they deserved. I kept asking, “Why is nobody talking about this? Someone should do something about it.” Then it hit me — “I guess that someone is me.”
So, I’ve been producing full-time for about six years now. Of course, many of those years were during COVID, so it’s been an interesting journey.
Yitzi: I’m sure each of you has had amazing experiences and stories from all the different projects you’ve worked on. Jane, can you share one or two stories that stand out the most in your mind from your professional life?
Jane: I have two short stories.
I was a co-producer on Peter and the Starcatcher. After one of the early previews, we were standing outside the theater, and there was a young girl standing maybe 10 or 15 feet away from me. I was with my friends, and they said, “She’s kind of looking over here.” So, I walked over and said, “Hi.” She asked, “Are you with the production?” I said, “Yeah, I’m one of the co-producers.” Then she said, “Would you sign my playbill?”
It was the first time anyone had ever asked me to do that, so I said, “Sure,” and signed it. Her dad came over, and we chatted for a bit. I gave him my card and said, “Feel free to reach out.” They were from Tennessee, and this was the first play she had ever seen. The night before, they had seen a musical, but this was her very first play, and she loved it.
A few weeks later, I got an email from her dad. He said they had been at the theater so early in the run that there were no window cards available, and her birthday was coming up. He was trying to make a framed keepsake with the tickets and wondered if I could send him a window card. Now, they weren’t really being signed yet, and there weren’t any extras, but bless my company manager — she found one. She gave it to me, and I sent it to them.
The dad was so grateful. He said he would pay anything for it, but I just sent it as a gift. Later, he sent me pictures of her birthday party — it was a “stache party” because one of the characters in the play had a big mustache. For a couple of years, I kept seeing these photos of this girl with mustaches and Peter and the Starcatcher memorabilia. I thought, “This kid came to New York, saw this play, and it changed her life.” It was amazing to realize the impact a show can have.
Fast forward a few years to The Prom. That show had a profound impact on so many people. It was about two girls who wanted to go to prom together but weren’t allowed to.
One day, I was standing in the alleyway on the side of the theater after the show, and a young boy came up to me. He was so emotional and said, “Oh my God, this was so amazing. I just wanted to let you know — I’m going to tell my parents tonight that I’m gay.”
He was crying, I was crying. It was such a powerful moment. He had seen the show with his parents, so I imagine they might have gotten a clue during the performance. And, you know, parents often have a sense about these things with their 12-year-old boys.
But I just thought, “Wow.” The power of a show to impact young lives like that is incredible. It can affect everyone, but especially kids.
Every time I encounter stories like these, it reinforces why I do this. Like I said, it’s hard work. There are so many barriers to success. But you have to know what success means, and for me, these stories define success. Every time something like this happens, I think, “This is why I do what I do.”
Yitzi: How about you, Blair? Do you have one or two stories that stand out most from your professional life?
Blair: I think the idea of keeping your head down and working hard is so true for a producer. When you’re a producer, people often look at a Broadway or Off-Broadway show you’ve been involved in and see success. But it doesn’t always feel like that for you because you’re already focused on the next thing, or your idea of success might be something else — like the show being a sold-out hit or whatever it is. Still, there are two moments that really made me pause and acknowledge my own success.
The first was when I was producing a concert in London for a musical I’ve been developing called For Tonight. We were lucky enough to do a one-night performance at the Adelphi Theatre in the West End, which is where Back to the Future is playing. I had never done anything on that scale before. When you’re producing, everything feels so theoretical — you’re talking about the number of seats and all the logistics. Then I got to the theater, and it was so much more than I could have imagined.
I remember that before the show started, someone said, “You have to go make a speech,” and I was like, “Okay.” So I went out, looked at the audience, and thought, “Wow, there are so many people here.” I hadn’t really thought about what that would feel like because I’m usually in the back of the house. I had a lot of friends and family in the audience that night.
So, I gave this speech about the show and then introduced the director, who gave their own speech. The funniest thing, though, was that at the Adelphi, there’s no way to get from the stage to the house internally. After giving these big, grand speeches to this packed theater, the director and I had to run outside, down an alley, and back to the front of the house to watch the beginning of the show. It was one of those moments that was magical, then humbling, and then magical again. When the show started, I was in tears because it was everything I had imagined. My family and friends were there, and it was just… magical. That’s theater for you — magical, humbling, magical.
And then you’ve got the image of the two of us running down an alley, which still cracks me up.
The other story is a quick one and happened more recently. I produced a show called Lizard Boy, which has had productions in the UK, the US, and Off-Broadway. This past summer, it was part of the Oregon Shakespeare Festival in Ashland, Oregon. Ashland is a small town, and people mainly go there for the festival.
As I was walking into the theater, someone stopped me and said, “Excuse me, do you have an extra ticket? There are no tickets left.” I was taken aback. I told them, “No, I don’t have an extra ticket — I bought mine weeks ago. Sorry, dude.” But I’ve never had anyone try to scalp a ticket to one of my shows before, let alone in Ashland, Oregon.
That moment really stuck with me. It made me realize how impactful the show had been and how much people wanted to see it. I was so thrown off because it reminded me of being 16 in New York, holding my own ticket to a show, when someone would ask, “Can I get a ticket?” But this time, it was my show they wanted to see. That was such a surreal realization.
It just shows the impact of the work we do.
Yitzi: It’s been said that sometimes our mistakes can be our greatest teachers. Do you have a story about a humorous mistake you made when you were first starting out and the lesson you learned from it?
Blair: I feel like when we think about mistakes as producers, they’re always big. It’s hard to point to a little mistake that doesn’t still feel impactful, personal, or even a bit traumatizing. But I do think there’s a general theme when you’re starting out as a producer: hubris.
When you’re new to producing, you assume everything is going to be much easier than it actually is. You also imagine that everyone thinks and feels the way you do, which just isn’t true. I’d say one of my biggest mistakes early on was not being completely certain before taking on a project — whether I truly loved it and was willing to do almost anything for it. That’s the level of commitment you need as a producer.
There were shows, or people I worked with, where I thought, “Oh, I want to do this!” But when it came down to it, I didn’t love the project enough to stick with it the way I do now. I didn’t fully understand what that commitment meant. I made that mistake a couple of times early in my career and had to learn the hard way.
Jane: I thought of something. I think because I didn’t grow up in the theater world — the stage side of it, anyway — I undervalued the importance of having an outside perspective early in my career. I grew up as an audience member. My one stage experience was when I was 13, playing the tambourine in the mission band of Guys and Dolls at camp and singing Follow the Fold. That was it.
What I’ve learned, though, is that sometimes being an outsider can be an advantage. As an insider now, I can see how we in the industry can get really excited about something the public just doesn’t care about at all.
I remember working on a show — no names mentioned — where they had just signed someone to play a major role. He’d landed a television show, and everyone was saying, “Oh, that’s so cool!” But in my head, I was going, “Who is that?” I didn’t speak up at the time because I wasn’t a theater geek and felt like I’d be out of place saying, “I have no idea who this person is.” It turned out, though, that a lot of people didn’t know who he was either. The TV show wasn’t starting for a while, so the buzz didn’t really pan out.
There’s this thing I call “producer’s hubris,” where producers overestimate what the public knows or cares about. For example, I worked on a Broadway show that transferred Off-Broadway a few months after its Broadway run; there wasn’t a big announcement while it was on Broadway. The producers assumed people would know it was still running. But at the time, there were posters all over the subway saying, “Come see the show before it closes on January whatever.” So, of course, people thought the show was done.
That’s a huge mistake producers make — assuming the audience spends all their time thinking about theater the way we do. When you underestimate or overestimate your audience, or don’t trust their responses to something, that’s when you run into trouble.
Yitzi: Jane, you have done such impressive work. Please tell us about the exciting projects you’re working on now. Specifically, can you tell us about Still and why our audience absolutely has to see it?
Jane: Oh, I — this is like a deep sigh — I love this play so much.
Without getting too melodramatic, the last Broadway I did was in 2021, right after the pandemic. It was Is This A Room and Dana H., and it was really difficult because audiences weren’t coming back. I found that a lot of what happened after that was troubling. I mean, we were all troubled. I was in what I can only describe as a theater depression, for lack of a better term.
Nothing excited me. I wasn’t involved in any shows, and I barely even went to the theater. Then, about a year and a half ago, I participated in something on Zoom called a writer-producer speed date. It’s wild — we meet 22 writers in two hours, and they each get two minutes to pitch us and two minutes to answer questions. The playwright Lia Romeo, came into my breakout room and started talking about her play, Still.
And it hit every button for me in the first 45 seconds. My eyes got really wide. The play had already had a production at a theater I respect, it was about to have another production, the people involved were amazing, and the premise was so easy to understand. It’s a play about two people who discover things about each other that they didn’t know and asks the question: What happens when you love someone, but not the things they believe? Is love enough?
And I thought, “Oh my god, if that isn’t exactly what we’re all facing right now!” It was also such a personal story — Lia’s story about her own marriage.
The play features older actors, which adds such an interesting layer because they’re looking back on their lives and reflecting on things we all long for — connection, understanding. So I read the script, had a longer meeting with Lia and the director, and then I called Blair.
I was like, “Blair.” And he said, “Yeah, I know.” He said, “I read the script too. What do you think?” And he was like, “Let’s do it.”
So we got involved with the production that spring. I’ll never forget the first time we saw the show together. We were sitting on the steps of the DR2 Theater in Union Square after everyone else had left. We just looked at each other like, “Wow, what did we find?”
And Blair said to me, “Okay, let’s start preparing for success.” And we were off and running.
The team is so amazing. They’re just completely in sync — the designers, the director, and of course Lia, the playwright. This is their third time working together, and you can tell they all want to be part of this.
We have such a great team, but more importantly, we have a great play. And now we have this incredible new cast — Melissa Gilbert and Mark Moses — that’s going to bring a whole new dimension to it. Plus, we’re in such a different time now, which adds to the depth of the story.
Blair and I both love new work. Lia Romeo has been writing plays for a while — she has a ton of awards and recognition — but this is the biggest production she’s had. It’s New York. It’s off-Broadway.
I love that. I love being able to say we’re lifting up this incredible female playwright and this amazing female director.
And, I mean, do you get the sense that I’m really passionate about this play? Because I just love it. I want more people to see it. I want more conversations to happen because of it.
Yitzi: Blair, let me ask you the same question, but from a different angle. What lessons do you think society can take from the themes of Still? What’s important for us to see and appreciate in its message?
Blair: I think the most important thing that society can take away from Still — and I’m not even going to say it’s about the lessons in the play — but it’s what the play does. The play asks questions. Questions of itself, of the audience, and of the world.
And I think people need to do a lot more of that.
The play operates in a gray area, and I think people need to do a lot more of that too. It’s all about communication, and people absolutely need to do a lot more of that as well.
And yeah, that’s what makes great theater. That’s what makes great work. That’s why I’m so excited to produce it, because I think that is such an important message right now.
Jane: Yeah, if I could add to that — it’s really about conversation. I think so often, when we’re stuck in the black and white, we’re just trying to tell the other side, “You’re wrong, I’m right.”
And what this play is encouraging is something different. It’s about talking to each other. And it doesn’t have to be about changing anyone’s mind. It’s maybe more about empathy or understanding each other.
Look, if Congress can manage to pass bipartisan bills every now and then, we can talk to people, right?
There’s this beautiful note from Lia, the playwright, about why she wrote this play. It ends with something like, “I wrote this play because I was trying to figure out the answers, and I didn’t figure out the answers. But I did discover that there are a lot of other people who have the same questions.”
And I think that’s the real takeaway. If we can help people ask more questions or listen better, then we’ve done our job.
And we get to have fun while doing it. We get to make theater.
Yitzi: What are your thoughts on the extreme commercial success of film adaptations of plays, like Wicked? Does that excite you, or do you feel like it might dilute the appeal of Broadway?
Blair: Oh no, I think it actually has the exact opposite effect. Wicked had its highest-grossing week ever after the movie came out.
What these films do is get more people excited about musical theater, musicals, and theater in general. We’ve seen that happen with every major project — take Hamilton, for example. That’s another generation of people who are like, “Oh, Wicked. I liked that as a movie. Wait, it’s a play? What’s that about? I want to see it.” Suddenly, there are more people interested in theater.
So, more movies? Absolutely. Bring on the movie adaptation of Still. We’re ready. Let’s do it!
Jane: Yeah, exactly. And look, Broadway is in New York, in Midtown Manhattan, and it’s expensive. There are always ways to see a show more affordably, but movies are accessible all over the country — and all over the world, really.
What often happens is that people see the movie, and then when they visit New York, they want to see the original live version. People are just more comfortable spending money on something they already know.
Like Blair said, Wicked has been running on Broadway for 20 years now, and it’s doing better at the box office than ever. That’s because of the movie and all the publicity surrounding it. And it spills over, too. If people can’t get a ticket to Wicked, they’ll say, “Well, I want to see something. Maybe another musical or a play.” And then they’re coming back to Broadway.
So, yeah — go for it!
Yitzi: Amazing. Is there a story or meaning behind the title Still?
Blair: You have to see the play for that.
Jane: Well, that’s a question you could ask the playwright, because she’s the one who titled it. I will say one thing: now that you’re aware of the title Still, start noticing how many times you use the word “still” in a day.
It’s not a word I paid much attention to before, but now I notice how often people say it.
I think it carries a lot of connotations. I think of time — how there was a “then” and there’s a “now.” Still?
Is it still still?
Still, as a question.
Still, as an affirmation. You know? It’s a small word, but it holds so much weight.
Yitzi: This is our signature question. Each of you has achieved a lot of success. Can you share a few things that are essential for building a successful career on Broadway or in live performance art?
Blair: As a producer, I’d say the number one thing you need is tenacity. You’re going to face challenges almost every single day, and you can’t let those things stop you. I think that’s true for anyone working in theater or live performance.
For actors, your job is auditioning, facing rejection, and learning how to move on from it. Occasionally, you get to act. For producers, your job is managing challenges, dealing with unexpected changes, and navigating questions. Occasionally, you get to sit in a theater and watch the show you produced.
So you really need to have that tenacity and commitment. That’s the biggest thing I always advise people.
You also need to build relationships. One mistake I made early on was not fully understanding that you need to build relationships with your peers. And by “peers,” I don’t necessarily mean people the same age as you. I mean people who are trying to do the same things you’re trying to do at the same time.
It’s easy to look up to people who you think might help pave your way to success. But in reality, those people often aren’t the ones who will help you most. It’s the people around you — your peers — who will.
When people say, “It’s about who you know,” what they really mean is it’s about who you’re friends with. If your friends are successful, they’ll want to bring you along to share in that success. So when you see successful people working together, it’s because they’re friends. Find your people, build those relationships, and grow together, instead of just hoping someone above you will pull you up. That’s my advice.
Jane: First of all, I’d say you have to recognize that theater is a business, like any other business. Don’t think of it as some magical place where the rules are entirely different. You need to follow many of the same principles — like building business relationships. Demystifying that aspect is really important.
But unlike other businesses, you have to be truly passionate about what you do. Theater is difficult. It’s challenging, emotional, and deeply personal. If you’re not passionate about it, then why are you doing it? If you don’t feel that passion, you might be better off doing something else.
Another thing I’d say — and this is kind of two sides of the same coin — is to be bold enough to ask. I’m a baseball fan, as you can probably tell from the hat behind me. There’s an expression in baseball: “No one ever looked one [a home run] out of the park.” You have to swing.
Just like an actor who auditions 20 times before landing a role, as a producer, you might put 20 asks out there before getting one “yes.” You have to realize it’s not personal and just keep going. Persevere.
And lastly, pay it forward. Blair and I share something in common: we both teach. We work with a lot of young producers — not necessarily young in age, but young in experience. We teach producing classes, and the people we work with are so eager. Many of them are also writers themselves.
Sometimes, you have the opportunity to offer guidance that can save them hours — or even weeks — of work. You can share something that might take them 100 hours to figure out on their own, and instead, they can do it in two hours because of what you’ve shared.
And they’ll remember that, just like we remember the people who mentored us. So, paying it forward is key. It’s about helping others find their way, just as you were helped along yours.
Yitzi: This is our final aspirational question. Jane and Blair, because of your great work and the platforms you’ve built, each of you is a person of enormous influence. If you could spread an idea or inspire a movement that would bring the most good to the most people, what would that be?
Jane: Kindness. I don’t know if that’s a movement, but empathy, kindness — it feels so needed right now. A lot of people are struggling, hurting, scared, and still recovering from three years of really strange and difficult living.
I think about those early days of the pandemic — the table by the door with Clorox wipes, latex gloves, washing down groceries, even washing orange peels. Remember that?
Things have changed a lot since then, but there’s still so much uncertainty in the world. If we could just “pay it forward” with kindness — give each other a break, give ourselves a break — it would make such a difference.
We don’t need to do everything. Just do what you can, and give yourself credit for what you’re able to do.
Blair: I would say building a community of generosity. The best experiences I’ve ever had in theater are when people show up with a generous spirit. I think there’s a lot of fear around the idea of generosity — people worry that if they give something, they’ll lose out. But actually, the opposite is true. You win. You feel better.
You can take pride in your work and in the work of others. Being generous with each other ultimately helps everyone in the long run. Focusing on silos and fiefdoms doesn’t build community — or anything else, really.
Jane: Yeah, it’s about working together. Instead of competing for a piece of the pie, let’s work together to make the pie bigger.
Yitzi: How can our readers continue to follow your work? How can they purchase tickets for Still? How can they watch any of your other productions? And how can they support you in any possible way?
Blair: Tickets for Still are available at stilltheplay.com. The first performance is on January 28th and the show runs through March 23rd.
I’m also on social media — you can find me at @BARussell4 on all platforms. I’m mostly on Instagram, although I’m currently taking a bit of a social media break. But there you go!
Jane: Yeah, I’m more old-school and tend to be on Facebook, but I am also on Instagram — just look for Jane Dubin.
The play is at the Sheen Center, on Bleecker St in Manhattan and we’re doing a special performance on Wednesday, January 29th to support the Entertainment Community Fund’s relief efforts in Los Angeles. In this business, you can’t help but know people in LA, and it’s important to give back.
Right now, my main focus is Still. I have another musical called The Village of Vale coming up in June in upstate New York, but for now, it’s all about this play. All Still, all day.
You can also follow Melissa Gilbert and Mark Moses on social media — they’re part of the cast and have strong online presences. You can also follow theStillplay on Instagram and Facebook to get the latest updates on the play, the cast, and everything happening around it.
And honestly, the best way to support us is to buy tickets and tell your friends.
Yitzi: Beautiful. Jane and Blair, it’s such an honor to meet you. I wish you continued success and hope we can do this again next year when you have your next great production.
Blair: Absolutely. Thank you so much — it’s been really fun.
Jane: Always a pleasure. We’re always happy to take the time to talk about theater, and especially Still. Thank you for giving us the opportunity.
Live Arts: Jane Dubin and Blair Russell Of ‘Still’ On The 5 Things You Need To Create A Highly… was originally published in Authority Magazine on Medium, where people are continuing the conversation by highlighting and responding to this story.