Broadway’s Youngest Power Player? Alexander Robertson Talks ‘Gypsy,’ Betty Boop and Building an Inclusive Theater Future
“More than anything, I want people — especially the next generation — to leave feeling like they’ve just met a new superhero for Broadway.”
I had the pleasure of talking with Alexander Robertson, a 26-year-old producer whose career is rapidly gaining momentum on Broadway and beyond. Alexander has emerged as one of the youngest voices shaping the future of American theater. With a producing résumé that already includes both established revivals and ambitious new works, Robertson is positioning himself at the intersection of legacy and innovation, bridging Broadway tradition with a new generation’s energy and sensibility.
Born and raised in Buffalo, New York, Robertson was immersed in the performing arts from an early age. His interest was sparked after watching his brother in a middle school production of Honk!, and further nurtured by family outings to touring productions at Shea’s Performing Arts Center. Recognizing his early dedication, his family supported his ambitions, ultimately leading him to train at the Academy of Theatre Arts in Buffalo. He later earned a BFA in Musical Theater with a minor in Performing Arts Management from The Hartt School at the University of Hartford.
Robertson’s entry into producing came with notable speed. His first Broadway credit came as a co-producer on The Piano Lesson, under the mentorship of veteran producer Tom Kirdahy. The opportunity, born out of a mentorship conversation, placed Robertson on a team he had long admired. That production, which starred Samuel L. Jackson, marked not only a significant career milestone but also the beginning of what would become an expansive producing portfolio.
Since then, Robertson has been involved in a growing list of Broadway and Off-Broadway productions. His recent and upcoming credits include Cabaret, Smash, Betty Boop, and Gypsy, the latter starring six-time Tony Award winner Audra McDonald. Past productions include Appropriate, The Wiz, New York, New York, The Piano Lesson, A Beautiful Noise, and the revival of Kinky Boots. He is also part of the producing team behind the national tour of Here There Are Blueberries.
Alongside his work on Broadway, Robertson is expanding his creative reach into film and international theater. He is currently developing The Mensch, a film project with actor Jonah Platt, described as a “soulful Jewish dramedy,” set to begin filming later this year. Other works in development under his purview include Yasuke: The Black Samurai, a musical inspired by the historical African samurai in Japan; Insurance, a contemporary play; and The Chef, a musical comedy centered around two rival restaurants. Many of these projects reflect Robertson’s stated goal of diversifying the kinds of stories presented in mainstream entertainment, both thematically and demographically.
He is the founder of Emlex Entertainment and co-founder of DMQR Productions, the latter of which emerged from his desire to build a creative community among peers early in their careers. That spirit of collaboration remains a defining feature of his approach. Notably, Robertson has made it a point to elevate new voices alongside his own, as evidenced by his partnerships with emerging producers like Harmony Harris, with whom he worked on Table 17 and Boop! The Musical.
Robertson’s background in performance also lends him a distinctive perspective as a producer. During an off-Broadway production of Emmet Otter’s Jug-Band Christmas — a Jim Henson musical mounted during the COVID-19 pandemic — he nearly stepped in as a cast member when the show faced last-minute absences. Though the performance was ultimately canceled, the experience reinforced his understanding of the collaborative and unpredictable nature of live theater.
Navigating the business side of Broadway has brought its own lessons. Early in his producing career, Robertson struggled with the pressures of large-scale fundraising — a core responsibility for Broadway co-producers. An early missed opportunity taught him the importance of transparency and understanding one’s limits, even in a results-driven industry. That moment, he says, helped shape a more sustainable and self-aware approach to his work.
Robertson has also emerged as an advocate for accessibility in theater. Recognizing that Broadway’s limited seating capacity and high ticket prices can alienate potential audiences, he has expressed interest in exploring new formats for distribution — including livestreams and alternative pricing models. He views this as essential not only for expanding reach but also for ensuring the longevity of the Broadway ecosystem.
Underlying many of Robertson’s projects is an ambition to make space for underrepresented narratives and to challenge conventional ideas of commercial viability. His involvement in developing Yasuke speaks to that intent, as does his enthusiasm for breathing new life into iconic characters such as Betty Boop — whose Broadway debut he helped shepherd.
Reflecting on his journey so far, Robertson often emphasizes the importance of community, self-awareness, and perseverance. He describes failure not as a setback but as redirection — a theme echoed in the kinds of stories he chooses to champion. Whether through revivals of American classics or new works aimed at a changing cultural landscape, his trajectory suggests a long-term investment in both the art form and the people who make it possible.
Robertson shares updates about his projects on his Instagram, @AlexanderERobertson, and through his website, a-robertson.com. As his presence continues to expand across stage and screen, he remains committed to broadening access, amplifying diverse stories, and building a more inclusive future for the entertainment industry.
Yitzi: Alex Robertson, it’s a delight and an honor to meet you. Before we dive in deep, our readers would love to learn about your personal origin story. Can you share the story of your childhood and how you grew up?
Alex: I grew up in Buffalo, New York. I’ve always been interested in the arts from a young age. My family was really supportive of me and my brother wanting to go into the arts. I think it was seeing my brother in a middle school production of Honk! that really made me realize I wanted to be in the entertainment industry. My parents also used to take us to the touring shows at Shea’s in Buffalo, which is where I really fell in love with theater.
By the time I got to high school, I was lucky enough to attend a program outside of school for kids who wanted to pursue theater professionally. It was called the Academy of Theatre Arts in Buffalo. That experience led me to getting my BFA in Musical Theater, along with a background in Performing Arts Management.
From there, I made my way into the entertainment industry pretty quickly, in a really fast and unique way. I’m super grateful for the journey, and I’m doing the things I’ve wanted to do since I was a kid.
Yitzi: Can you share with us the story of one of your first breaks into Broadway?
Alex: The first Broadway show I got to be a producer on was The Piano Lesson. That was with Tom Kirdahy, who’s one of the great lead producers in the industry. Right now, we’re actually working on Gypsy together, starring Audra McDonald.
As a young professional, I sat down with him just seeking advice and mentorship, and I was so grateful that, through that conversation, he ended up giving me the opportunity to co-produce The Piano Lesson. It was an absolute dream and such a joy to be part of a team filled with people I’ve looked up to my whole life. I’m really proud of that project. The audiences loved it, and it was a great way to have my first Broadway experience.
Yitzi: Unbelievable. You probably have some amazing stories in general. Can you share with our readers one or two that stand out most in your mind from your professional life?
Alex: Actually, there’s a fun one. During COVID, which was obviously a really challenging time, I had the privilege of working on the off-Broadway production of Emmet Otter’s Jug-Band Christmas, the Jim Henson musical.
As producers, we always want to make sure the show can go on as smoothly as possible. During our preview period, a few folks in the company had to be out due to illness, and we no longer had enough people to put on the show. Since I have an acting background, I’ll never forget — right before we ultimately had to shut down performances — they handed me a script and told me to start memorizing one of the roles. So that’s a funny story I like to tell: how I almost made my off-Broadway debut as someone on the producing team.
What else? Well, this isn’t a specific story, but something I’ve noticed about the industry that always surprises me — in the best way — is how generous so many late-career celebrities are.
Over this past year, I’ve had the privilege of working with people like Eddie Redmayne, Audra McDonald, and Jeremy Jordan, who’s now in Floyd Collins. They all bring so much heart to what they do. This is such a small industry, and we like to work with people who are kind, friendly, and fun to be around. When you’re spending eight months — or even years — with the same team, it really matters.
So I just want to say I’ve truly enjoyed having positive experiences with nearly everyone I’ve worked with, and that’s a big part of why I love the Broadway community so much.
Yitzi: It’s been said that sometimes our mistakes can be our greatest teachers. Do you have a story about a humorous mistake that you made when you were first starting, either acting or producing, and the lesson that you learned from it?
Alex: Yes. A lot of what a co-producer on Broadway has to do is financing. One of the central responsibilities is bringing anywhere from at least $125,000 to $250,000 — sometimes even upwards of $500,000 — to any given commercial production you’re working on.
As a young person, just starting out and learning how to fundraise and wrap my head around the scale of those asks, there were a few early projects I was really excited about. Some of them ended up going to Broadway or became successful commercial productions in New York.
I remember my biggest fear at the time was being afraid to fail — being afraid to look someone in the eye and say, “Hey, actually, I can’t do this.” We always want to think we can do everything. I’ve always believed in trying my best in any situation, but sometimes things just don’t go as planned.
A lesson I learned early on — and something I really take pride in now — is understanding your full capacity and being honest about what you can and can’t commit to. There was a show I was really passionate about that ended up winning a Tony Award. But I didn’t make my full fundraising goal at the time, which meant I wasn’t formally credited on the project.
So, some people might say I missed out on a Tony Award. And while I’m not doing this for awards — I do it because I truly love theater — it was still a powerful lesson for me. That moment taught me it’s okay to admit when something isn’t possible. People respect you more when you follow through on your word, even if that means saying no.
Sometimes things won’t work out the way you hope, but that just means there are better deals and better opportunities ahead. Failure, in a lot of ways, can be a redirection. And I’ve carried that lesson with me ever since.
Yitzi: We love hearing stories where somebody who’s a bit further ahead opens up a door or creates an opportunity that then changes their career trajectory. Do you have a story where you did that for somebody else or where someone did that for you?
Alex: Definitely. It’s something I take a lot of pride in — as one of the youngest Broadway producers, I know a lot of my peers don’t always get the same opportunities I’ve had. So when I got my first shot producing The Piano Lesson, I immediately looked around at some of my colleagues in the industry and said, “Hey, I got this opportunity, and I don’t want to do it alone. It’s a team effort, and we’re all going to grow into this industry together.”
I’d rather have more people at my level growing with me than feel like I’m fighting against the powers that be. That moment actually led to the formation of my first company, DMQR Productions. I pulled in three of my colleagues and said, “Do this show with me. I want to grow with you and be in community with you,” because I believed in them.
From that, we’ve now done five shows together. We’re currently working on Gypsy and Smash, and I really take pride in bringing people up with me.
Earlier this year, a young producer named Harmony Harris came to me. She was just named on Broadway’s Women to Watch list for 2025. She was my producing partner on Table 17, an Off-Broadway production at MCC that was just nominated for four Lucille Lortel Awards. She’s also my partner on Boop! The Musical.
When she first reached out, she told me she wanted to level up in her career and really be taken seriously as a producer. I told her, “I’ve got some opportunities — come onboard. I’ll teach you the ropes.” We’ve gone through the challenges together — from learning how to fundraise, to understanding contracts, choosing the right shows, and networking.
Honestly, that’s part of my mission: to share the knowledge I’ve been fortunate enough to receive. There’s no reason to gatekeep. I believe the more informed the people around us are, the stronger we are as a community and the better the productions we can create — on Broadway and beyond. So yeah, I really care about giving back and making sure as many people as possible get the chance to do what they love.
Yitzi: What has been the most challenging role or project you’ve taken on and why?
Alex: I think any role as a lead producer is incredibly challenging. You’re essentially the CEO of that show or company, and you take ownership of so many things people might not even realize.
Whether I’m working alongside other lead producers or spearheading a project on my own, there’s a huge amount of responsibility. It requires real care, dedication, and stamina. I try to lead by creating the best possible environment for everyone involved and by serving the story or the project in the most authentic way.
I make sure I’m aligned with all of the creatives — whether it’s the authors, writers, lyricists, or designers. We sit down together and figure out how to make the best production possible. That collaboration is essential.
But it doesn’t come without challenges. You have to make tough decisions, especially when people’s livelihoods are on the line — jobs, future opportunities, the stakes are high. At the end of the day, it’s our responsibility to steer the ship in the right direction and deliver something we’re proud of.
The work of a lead producer often goes unnoticed. People assume that we’re always on the winning end financially, which we hope is true, of course. But what many don’t realize is that we also take the biggest hit when things don’t go well. It’s one of the hardest roles, but also one of the most meaningful.
Yitzi: Alex, you have so much impressive work. Can you share with the readers exciting projects or productions you’re working on now and what you hope to be working on in the near future?
Alex: Right now on Broadway, I’m working on Gypsy starring Audra McDonald, and Boop! The Musical, which opens this Saturday. I’m super excited about that one — David Foster and Jerry Mitchell have been a dream to work with, along with the rest of the team.
Smash is opening next week, and that’s another really exciting one. Steven Spielberg is on the producing team, along with Neil Meron and Robert Greenblatt. So, yeah — it’s a pretty exciting time with all these shows launching.
On the development side, we’re moving forward with Yasuke: The Legend of the Black Samurai, which will be directed by JoAnn M. Hunter. We’ve been laying a lot of groundwork over the last few months for what audiences will see next — whether it’s on stage, on screen, or maybe even on your device.
I’m also developing another show with an incredible young composer, Sam Nasar. It’s called The Chef, and we just finished the first draft. It’s a fun musical comedy about two dueling restaurants, and I’m really excited about it.
There are a few other things in the pipeline that I can’t talk about just yet, but people should expect to see my name popping up more across all kinds of mediums in the next year or so.
Yitzi: You mentioned Yasuke: The Black Samurai. Can you tell us what lessons you hope society can take from the themes and motifs of the show?
Alex: That’s a great question. So, the Black Samurai — Yasuke — and the Samurai in general follow a code called Bushido. It’s a moral code that defines the Samurai attitude toward life. While there’s some debate over the exact categories, the generally agreed-upon pillars include sincerity, frugality, loyalty, martial arts mastery, and honor.
It’s a powerful code to live by, and something I personally find inspiring. I hope audiences walk away from the show with a renewed sense of pride in community and a deeper understanding of what it means to stand strong in the face of oppression.
More than anything, I want people — especially the next generation — to leave feeling like they’ve just met a new superhero for Broadway. Someone they can look up to, root for, and see themselves in. That’s the heart of Yasuke for me: giving people a new icon, a new kind of hero to believe in.
Yitzi: You’re helping to debut Betty Boop, right? Please tell me more.
Alex: Yes! It’s a new original musical. It had a run in Chicago the previous year, but this is its official Broadway debut. I’m part of the producing team.
The story follows Betty Boop as she travels from her classic black-and-white world to New York City, where she begins to discover who she truly is. It’s been such a joy to work on this show. Honestly, it’s one of my favorite musicals I’ve ever seen, and getting to be on the team makes it even more special.
I really hope everyone gets the chance to see it — and I hope it runs for a long time.
Yitzi: Betty Boop has been an iconic character for decades — almost 100 years. What do you think it is about her that’s captured people’s hearts and minds for so long?
Alex: I think what’s really special about Betty Boop is that she’s such an empowering character. She’s been a doctor, a pilot — so many different things. She’s universal.
What I love most is that she reminds people they can be anything. It doesn’t matter who you are — you can still be that same recognizable person, but whatever you put your mind to is possible. That’s such an inspiring message, and I think that’s what people have connected with for so many years.
Yitzi: Wonderful. I know that it’s still in development, but could you tell us a bit more about The Mensch?
Alex: The Mensch! Yes. I’m working with Jonah Platt on a new film called The Mensch, which is set to begin filming later this year. It’s about a young rabbi — I can’t say too much more about the story just yet — but I’m very excited about the project.
We’re calling it a “soulful Jewish dramedy,” and for me, it marks one of my bigger steps into the film industry. It’s been a great experience working on it so far, and I’m really looking forward to seeing where it goes.I hope you enjoy the movie when it gets released. Um, hopefully I’ll have more updates about that later this year.
Yitzi: Okay, so this is our signature question. Alex, you’ve been blessed with a lot of success, and I’m sure you’ve learned a lot from your experiences. Looking back to when you first started, can you share five things you’ve learned that you wish you knew at the beginning?
Alex: Yes, five things.
- One, it’s okay to trust your gut, even when it doesn’t match the advice you’re getting from someone you look up to or consider a mentor.
- Two, it’s okay to say no. You don’t have to do everything. It’s better to be known for the quality of your success than for how much you can put out.
- Three, there’s a lesson in everything. Whether it’s a good experience or a tough one, there’s always something to learn.
- Four, it’s okay to take breaks. That’s something people don’t really tell you — especially when you’re young and chasing big goals. Rest is productive too. I’ve found that allowing myself to step away has helped me do so many things and actually find more success. Taking time for yourself — whether that’s gardening, sitting on a beach, or taking a walk — whatever it is, do it. Because at the end of the day, it’s just you, and you need to take care of yourself to stay productive.
- Five, embrace that everything will work out. Don’t be afraid of getting everything you wanted — because you wanted it for a reason. I think sometimes we stop ourselves before we even get the chance to fully realize our dreams because we’re scared they might actually come true. But the more you lean into the idea that anything you want in this life is possible, and you just keep walking toward it little by little every day, it can happen.
Yitzi: This is our aspirational question. Alex, because of your great work, you’re 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?
Alex: That’s a great question. I think something I’m a strong advocate for — especially in the arts, and especially as we’re seeing a lot of arts organizations facing challenges, as they have been since the pandemic — is access. In my position, I’ve been able to advocate for creating more access for people to experience what we do here.
There are only 41 theaters on Broadway. There are only so many seats, and ticket prices can be really inaccessible for a lot of people. But out there, there are so many people who will watch a TV show or play video games — there are other ways to reach our audience. And I’ve made it part of my mission, as someone who grew up on the internet — learning to love theater through things like slime tutorials — to make space in our projects for people who can’t join us in person. Whether that’s for financial reasons or anything else that might keep someone from coming to New York to see a show live.
That might mean working on livestream captures, making ticket prices more accessible, or having specific nights where certain groups of people can attend at a price point that works for them. And it also means diversifying the stories we’re telling on Broadway. There’s this traditional idea of what makes a “commercial” show, but I think we’ve learned over the years that success doesn’t always come from what makes sense on paper.
I mean, if you told me that a play about the wife of Abraham Lincoln — played by someone in drag — would be one of the biggest hits of the season, I probably wouldn’t have believed you. But here we are.
So I think there’s still a lot more we can do as an industry to make Broadway sustainable, and to keep the legacy of what people know and love about it alive. Continuing to open the door — that’s the movement I want to see.
Yitzi: So Alex, how can our readers continue to follow your work? How can they attend and purchase tickets to your plays? How can they support you in any possible way?
Alex: Yes! I’m on Instagram @AlexanderERobertson, and my website is a-robertson.com. I usually post about the shows I’m working on and all things entertainment. And I’m pretty accessible by email too.
Yitzi: Alex, it’s been so delightful to meet you. I wish you continued success and blessings, and I hope we can do this again next year.
Alex: I hope so too. Thank you. This has been so great. You’re my favorite interview so far. (Laughs)
Yitzi: I appreciate it.
Alexander Robertson Talks ‘Gypsy,’ Betty Boop and Building … was originally published in Authority Magazine on Medium, where people are continuing the conversation by highlighting and responding to this story.