Beltline to Broadway

Kara Lindsay and Kevin Massey join the pod squad to discuss the importance of live theater in a world increasingly dominated by screens and the magic of performing in regional theaters.

Kara Lindsay is best known for her Broadway performances as Katherine Plumber in Newsies, Glinda in Wicked, and Cynthia Weil in Beautiful: The Carole King Musical. Her husband, Kevin Massey, has starred in A Gentleman’s Guide to Love and Murder, Tarzan, and the national tour of Big River. Both have had extensive careers on regional stages and bring a wealth of experience to their roles in Mary Poppins. In this episode, they open up about their personal and professional journeys, the impact of theater on audiences young and old, and the joy of sharing the stage together as a family.

Love what you hear on the podcast? Join the pod squad by joining our online community! Dive deeper into the episodes, share your thoughts, ask questions, and connect with fellow listeners. Visit https://beltlinetobroadway.org/register-2/ to join our theater fam.

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Tony, Grammy, and Emmy Award-winning actress Rachel Bay Jones joins the pod squad to discuss the unexpected path that led her to the stage—from dreaming of becoming a marine biologist to finding her voice in theater. She reflects on the evolving industry, the struggles actors face, and why she once left the business entirely. They also discuss the emotional weight of portraying complex mothers on stage, the impact of live theater on audiences, and the importance of fostering a healthier, more supportive arts community.

About the Guest

Rachel Bay Jones is best known for originating the role of ‘Heidi Hansen’ in the Original Broadway Cast of Dear Evan Hansen, and she received a Tony Award, Emmy Award, Grammy Award, Lucille Lortel Award, and a Drama League nod for her performance.

An actress acclaimed for her versatile ability to bring life to comedic, dramatic, and character roles, she has garnered praise for her performances in Diane Paulus’ Tony Award-Winning Revivals of Pippin and Hair, went on for Patti Lupone in the Original Broadway production of Women on the Verge of a Nervous Breakdown, wowed New York audiences in the critically acclaimed productions of Michael John LaChiusa’s First Daughter Suite and Hello Again, and received rave reviews for her performance as ‘Diana’ in The Kennedy Center’s revival production of Next to Normal, directed by Michael Grief. She can be seen on television in major on CBS’ “Young Sheldon,” “The United States of Al,” ABC’s “The Good Doctor,” Amazon’s “Panic,” “Why Women Kill” on Paramount+, ABC’s “Modern Family” & CBS’ “God Friended Me.” On Film, she starred in “Ben Is Back,” opposite Julia Roberts, and in “Critical Thinking,” directed by and opposite John Leguizamo.

Love what you hear on the podcast? Join the pod squad by joining our online community! Dive deeper into the episodes, share your thoughts, ask questions, and connect with fellow listeners. Visit https://beltlinetobroadway.org/register-2/ to join our theater fam.

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Tony-nominated actress and Paralympian Katy Sullivan joins the pod squad for an insightful conversation about representation, accessibility, and breaking barriers in the entertainment industry. She opens up about the challenges of navigating the industry as a performer with a disability, including the changes made at the Tony Awards, and why creating truly inclusive spaces should be a priority across the industry.

Katy Sullivan is a groundbreaking performer, athlete, and advocate. She made history as the first actor who is a double above-the-knee amputee to star on Broadway, earning a Tony nomination for her role in Cost of Living. Before her acting career took off, she was a world-class Paralympic sprinter, competing in the 2012 London Paralympics. Beyond her work on stage, Katy is a fierce advocate for authentic disability representation in the arts and media, pushing for change in front of and behind the curtain.

Love what you hear on the podcast? Join the pod squad by joining our online community! Dive deeper into the episodes, share your thoughts, ask questions, and connect with fellow listeners. Visit https://beltlinetobroadway.org/register-2/ to join our theater fam.

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Michael Kushner joins the pod squad to discuss how his lifelong passion for storytelling—sparked by an early obsession with Titanic—led him to embrace multiple artistic roles. He dives into what it truly means to be a multi-hyphenate in the entertainment industry, offering insights from his new book, How to Be a Multi-Hyphenate in the Theatre Business, which aims to dismantle industry gatekeeping and empower artists to take control of their careers.

Michael Kushner is one of New York City’s leading multi-hyphenates, best known for his work as a Broadway photographer, capturing iconic headshots and portraits of theater’s brightest stars. He is also the host of Dear Multi-Hyphenate on the Broadway Podcast Network, a show dedicated to helping artists navigate careers beyond a single discipline. With a deep passion for mentorship, Michael teaches at NYU and travels nationwide, speaking on the importance of artistic identity and career sustainability.

Love what you hear on the podcast? Join the pod squad by joining our online community! Dive deeper into the episodes, share your thoughts, ask questions, and connect with fellow listeners. Visit https://beltlinetobroadway.org/register-2/ to join our theater fam.

Links

Michael Kushner's Website

Dear Multi-Hyphenate Website

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@beltlinetobroadway

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Diane Nicoletti joins the pod squad to discuss the importance of preserving theater history, the advocacy work the Museum of Broadway is doing for the arts, and how theater lovers of all ages can engage with the magic of Broadway first hand.

Diane Nicoletti is an expert in experiential entertainment, having created immersive fan experiences for major brands, from Game of Thrones to Frozen to Comic-Con. As the co-founder of the Museum of Broadway, she has applied her expertise to crafting a one-of-a-kind space that celebrates the artistry, innovation, and history of the theater industry. Passionate about making the arts accessible and engaging, she has helped shape the museum into a hub for education, storytelling, and advocacy.

Links

Museum of Broadway

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Rob Marnell joins the pod squad to discuss the power of storytelling in jukebox musicals, his deep roots in the Raleigh theater scene, and how Bob Gaudio changed his perspective.

Rob Marnell is a Broadway and television actor known for his work in Beautiful: The Carole King Musical, Tina: The Tina Turner Musical, and Jersey Boys. A graduate of Elon University, Rob has performed on stages across the country and appeared on screen in projects like Clint Eastwood’s Jersey Boys film. Beyond his professional career, he has a deep personal connection to the theater, having met his wife, actress Laurel Harris, while performing in Cinderella at Raleigh Little Theatre.

Links

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This episode explores two powerful new works that bring history to life through theater and opera. First, Tristan André talks about They Do Not Know Harlem, a deeply personal multimedia piece inspired by James Baldwin. André reflects on how Baldwin’s legacy as a Black queer artist shaped his journey and how the work serves as a love letter to marginalized communities. Then, Lauren chats with acclaimed composer Michael Abels, best known for scoring Jordan Peele’s films Get Out and Nope, about his new opera Omar, which tells the story of Omar Ibn Said, a Muslim scholar enslaved in the U.S. Abels shares insights into the process of composing opera versus film scores, the importance of diversifying the operatic canon, and why Omar is a quintessentially American story.

Tristan André is an actor, playwright, and activist whose work blends performance and social justice to amplify Black and queer voices. His play They Do Not Know Harlem explores identity, resilience, and the ongoing fight for liberation.

Michael Abels is a composer known for his genre-defying music, spanning classical, hip-hop, folk, and film scores. His recent opera Omar was co-written with Rhiannon Giddens and has been hailed as a groundbreaking piece in contemporary American opera.

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