Broadway Breakdown: BACKSTAGE PASS – Premiering Marcel on the Train w/ Jill Rafson

Podcast Host: Matt Koplik
Guest: Jill Rafson (Producing Artistic Director, Classic Stage Company)
Date: March 11, 2026

Episode Overview

This episode of Broadway Breakdown’s “Backstage Pass” features Matt Koplik in conversation with Jill Rafson, the Producing Artistic Director at Classic Stage Company (CSC). Focusing on the world premiere of Marcel on the Train—a new play about Marcel Marceau’s heroic activities during WWII—Matt and Jill dig deep into the evolving definition of theatrical “classics,” what makes a piece right for CSC, the interplay between new work and canon, and the nuts-and-bolts of creative producing Off-Broadway. Along the way, Jill shares her ethos on dramaturgy, reading reviews, and shaping American theater’s future.

Key Discussion Points & Insights

Jill Rafson’s Role & Career Path

• The Many Hats of an Artistic Director
  • Jill describes her responsibilities as "a Jack or a Jill of all trades" (02:18), ranging from programming and vision-setting to budgeting, fundraising, artist relations, marketing, and educational outreach.
  • "There is no typical day," she emphasizes, citing the constant juggling between creative and administrative duties.
  • Her literary/dramaturgical background brings a new-play-development focus to the traditionally classics-driven CSC.

CSC’s Mission & Expanding the Canon

• Reimagining the Classics (05:18)
  • CSC’s mission is “to reimagine the classics for today’s audiences.”
  • Jill talks about expanding the definition of “classic” over CSC’s fifty-year history—from Greeks and Shakespeare, to Chekhov, to eventually musicals and neglected American works.
  • Notable quote:

    "The classics are not a closed set... The canon is not just done for all time." (06:30)

  • This philosophy informs programming: reviving '90s plays, blacklisted playwrights like Alice Childress, and making room for new works destined to become future classics.

Marcel on the Train—Why CSC?

• Bridging New & Classic (08:24)
  • Marcel on the Train exemplifies CSC’s approach:
    • While a new play, it's about a “classic figure” (Marcel Marceau) and invites contemporary audiences to see unknown chapters of history.
  • Season Themes: This year, Jill focused not on broadening, but “going deeper”—presenting lesser-known works by “canon” writers and staging a “lost” Thornton Wilder play.
• How the Project Came Together (10:32)
  • A producer friend introduced Jill to the creative team (Max, Mitch, and already-in-dialogue Ethan Slater).
  • Jill highlights her enthusiasm for providing platforms for artists expanding their skillsets (e.g., Lachanze’s directing debut).
  • “To be able to do that with someone like Ethan, who already had this deep affection for CSC...it just all sort of made sense.” (11:57)
  • Marshall Palett is praised for his creative use of CSC’s challenging thrust space.

From Script to Stage: New Works at CSC

• Literary Management & Artistic Vision (13:27)
  • Jill reflects on her Roundabout years, launching programs for playwrights and directors ("Space Jam," Roundabout Underground) and balancing mission and artist development.
  • Notable quote:

    “It's not just, do I like this play... it's, is this right for the theater that I am representing?” (18:10)

• How Jill Evaluates Scripts (18:10)
  • Deep reading knowledge (including classical references) is critical.
  • Gut instinct matters, but so does considering CSC's mission and the “feel” of a show in its unique space.
  • “If they think it should be on some other stage, then I’m doing it wrong... This isn’t just about me producing plays I like.” (19:22)
  • She actively pushes herself to consider new genres and theatrical forms, to avoid “mission drift.”

Feedback, Reviews, and Criticism

• Reading Reviews & Responding to Critique (22:32)
  • Jill reads reviews for practical reasons, mainly marketing and preparing artists for shifting audience expectations.
  • She distinguishes between criticism that “gets on the ride” (is constructive) and critics whose taste simply doesn’t align.
  • Notable quote:

    "Did they even want to get on the ride or did they board a train, so to speak, that isn’t the one we were driving?" (24:21)

  • She notes the evolving landscape—more diverse voices, yet less space for professional critics—and thinks carefully about what feedback is useful to her process.

Development Process for Marcel on the Train

• The Journey from Greenlight to Opening (27:05)
  • Two Prongs: Artistic development (workshop feedback, text refinement) and business (partnerships, deals, scheduling).
  • Early workshops, designer involvement, and pre-rehearsal technical experimentation were key—especially for a show with physicality and shadow puppetry.
  • “It’s sort of an ideal trajectory, honestly, to give yourself that kind of time.” (28:30)
• Developmental Culture (29:40)
  • Having come from a development-heavy environment at Roundabout, Jill notes the risk of over-workshopping ("writing toward music stands") versus meeting each new play with the right, individualized process.
  • There's a need for robust support not just for playwrights but for directors developing new visions of classics.

Artistic Wish List and Future Programming

• Dream Authors & Titles (33:23)
  • Wendy Wasserstein (“I really, really want to make sure that her work doesn’t get left behind because the writer is not around to advocate for herself.”)
  • Emphasis on bringing more American “classics” and neglected works to the CSC stage.
• Musicals at CSC (35:27)
  • CSC is carving out a niche for “weird musicals, the forgotten musicals”—pieces not grand enough for Encores!, but worthy of revival, e.g. The Baker’s Wife, I Can Get It For You Wholesale.
  • “We can canonize in this active way.”
• Decades of Interest & Archive Diving (35:38)
  • She’s especially interested in the “interesting and strange” musicals from the ’60s and ’70s.
  • Grand Hotel example:

    "I had heard about that Michael Jeter performance for years and years as this sort of legendary thing… getting to watch that in the context of the show felt like such a privilege." (38:26–39:20)

The Present & Future of Marcel on the Train

• Selling Out and Next Steps (39:52)
  • As of airing, the show is virtually sold out, with extra performances added due to demand.
  • CSC is simultaneously absorbing feedback, planning for a possible “future life” with enhancement partners, and preparing for the next show.
  • Nonprofit theater means perpetual motion: “You are never just sitting around waiting for the next project because it’s seasons. Seasons are constantly either happening or being planned.” (41:10)

Notable Quotes & Memorable Moments

• On the Evolving Canon:

  “The classics don’t end at a certain date. Right. We’re still allowed to be making new classics.” (06:15, Jill Rafson)

• On Play Selection:

  “It has to be plays that are right for CSC. I want people to know it's a CSC show when they walk in the door.” (19:15, Jill Rafson)

• On Reviews:

  “Did they even want to get on the ride, or did they board a train, so to speak, that isn’t the one we were driving?” (24:21, Jill Rafson)

• On Archival Research:

  "I just remember, like, looking at all the screens around me, and I’m like, guys, do you know what I’m getting to see?" (39:00, Jill Rafson, on watching Grand Hotel at the Lincoln Center Library)

• On Nonprofit Theater:

  “You are never just sitting around waiting for the next project because it’s seasons. Seasons are constantly either happening or being planned.” (41:10, Jill Rafson)

Timestamps for Important Segments

• 00:18 – Introduction: Marcel on the Train & Jill Rafson’s background
• 02:18 – What is a Producing Artistic Director?
• 05:18 – CSC’s mission and the evolving definition of “classic”
• 08:24 – How Marcel on the Train fits CSC’s model
• 10:32 – How Marcel came across Jill’s desk; assembling the team
• 13:27 – Jill’s role at Roundabout; new play development approaches
• 18:10 – How Jill selects scripts and evaluates new work
• 22:32 – Reading reviews and understanding criticism
• 27:05 – Path from script selection to opening night for Marcel
• 29:40 – The culture of development and balancing new/classic
• 33:23 – Artistic wish list: authors, titles, and musicals
• 35:27 – CSC’s musical focus and programming philosophy
• 38:26 – Archival discoveries: Grand Hotel at Lincoln Center
• 39:52 – The sold-out status and future for Marcel on the Train
• 41:10 – The continuous motion of nonprofit theater

Final Memorable Exchange

[42:27] Matt: “Who would you like to close out your episode?”
[42:32] Jill: “Into the Woods was a gateway show for me as a kid. So maybe Bernadette Peters.”
[42:49] Matt: “Take it away, Bernie.”

Takeaways

• Jill Rafson brings a thoughtful, mission-driven yet innovative approach to running Classic Stage Company, expanding the notion of “classic” to include new and neglected works alongside repertory standards.
• Marcel on the Train is a case study in CSC’s evolving, inclusive definition of classic theater and in Jill’s collaborative, artist-focused style.
• The episode is filled with wisdom on the importance of curation, development, adaptability, and intentional programming—all delivered in a lively, precise back-and-forth between two passionate theater geeks.

For more information:
Classic Stage Company
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