MickeyJoTheatre Podcast Summary

Episode: Why is a Broadway musical getting sued? | How the Ciara Renée WANTED lawsuit might impact theatre

Date: September 1, 2025
Host: MickeyJoTheatre

Overview:

In this episode, Mickey Jo unpacks the developing lawsuit between actress Ciara Renée and the producers of the upcoming Broadway musical, "Wanted" (formerly "Gun & Powder"). He explores the legal and industry implications of the dispute, the history of pre-Broadway casting controversies, and considers how such lawsuits might influence Broadway’s approach to recasting and performer rights in the future. Throughout, Mickey Jo blends sharp theater criticism with an accessible, conversational tone.

Key Discussion Points & Insights

1. Background on Ciara Renée and "Wanted"

[03:00 – 07:20]

• Ciara Renée: Noted for Broadway debut in "Big Fish," replacement for Patina Miller in "Pippin," originator of Esmeralda in Papermill Playhouse's "Hunchback," and a nearly career-defining stint as Elsa in Broadway's "Frozen" halted by the pandemic.
• "Wanted" (formerly "Gun & Powder"): A musical by Angelica Chéri (a descendant of the real-life protagonists), with music by Ross Baum and direction by Stevie Walker-Webb. It recounts the journey of twin sisters Mary and Martha Clark from farm girls to outlaws in 1893 Texas.
• The Production’s Journey: Several workshops and regional productions, with Renée and others (including Solea Pfeiffer and Leri LaFontaine) stepping into key roles at different stages.

Notable quote:
"It's often said by audiences that... we want original musicals. We want unique stories. We want stories from underrepresented cultures. Here you have a story about historic, real-life women of color... being told in part by one of their descendants. I mean, that is surely everything that audiences have been asking for."
— Mickey Jo [07:10]

2. Details of the Lawsuit – What Happened?

[11:30 – 17:00]

• Core Issue: Ciara Renée alleges breach of contract: after originating the role at Papermill Playhouse, she was recast for the Broadway production despite a contracted "first right of refusal" for future New York or London productions.
• Producers’ Reasoning: Cited "material failure to collaborate" and unwillingness to accept feedback.
• Renée's Side: Denies any breach; points out she was hired for promotional events and readings after the Papermill run, indicating no concerns were raised until she was dropped.
• Legal Stakes: Renée seeks a jury trial and $486,000, comprising nine months' anticipated salary ($13,500/week), plus damages and legal fees.

Notable quote:
"This is what is often referred to within the industry as the right of first refusal... It's theirs to refuse."
— Mickey Jo [14:20]

3. Industry Impact & Precedent

[17:15 – 21:55]

• Documentation Matters: "Show notes" from rehearsals and performances will likely be key evidence.
• Likelihood of Settlement: Mickey Jo notes that ~99% of such civil cases settle out of court, especially when negative press could impact an imminent Broadway launch.
• Gender & Racial Bias: Raises the point that tags of "difficult to work with" disproportionately affect women and especially women of color in theatre.

Notable quote:
"I am also in this moment feeling particularly aware of the frequency with which women, and in particular women of color, are branded ‘difficult to work with’ within the industry..."
— Mickey Jo [19:50]

• Historic Parallels: References Patti LuPone's "Sunset Boulevard" lawsuit (which she won) and how producers sometimes sidestep performer rights, often shaping industry customs.

4. Broader Issues: Who Owns the Creative Work?

[22:00 – 25:45]

• Role of Developmental Performers: Discusses that actors who shape a role in workshops and early productions often don't have contractual security for commercial runs.
• Notable Example – "Hamilton": Original cast negotiated royalties for shaping the developmental form—a rare industry exception.
• Lack of Compensation/Recognition: Highlights that even for performers who shaped defining elements of later-famous roles, recognition rarely translates to royalties or job security.

Notable quote:
"A lot of these working actors can't eat acknowledgment for dinner. They can't pay their rent with playbill thanks. So how then does the industry appropriately recognize the creative and artistic contributions of those performers? I think it's a conversation worth having."
— Mickey Jo [25:30]

5. Other Notorious Casting Shakeups

[26:05 – 29:45]

• Jeremy Jordan & "Finding Neverland": Replaced by Matthew Morrison for Broadway, sparking fan outrage.
• Rumors Around Rachel Zegler and "Evita": The industry is rife with speculation and machinations, often leaving original developers sidelined.
• Dynamic Nature of Pre-Broadway Development: Many workshops, tryouts, and regional productions feature different actors, many of whom are never seen again when the show hits Broadway.

6. Implications & Concerns Moving Forward

[29:45 – 32:15]

• Dangerous Precedent?: The lawsuit could set a precedent for how producers handle (or strategically avoid) rights of refusal, possibly resulting in more cautious (or manipulative) contract practices.
• Broadway Economics: Notes that most new, non-IP-based musicals are risky and rarely run as long as nine months; actors’ projected earnings can be a tough sell if terminated before Broadway.
• Concern for Artistic Fairness: Fears toxic environments where producers manufacture "bad behavior" allegations to void actor rights.

Notable quote:
"I think if anything this is going to encourage producers to be a little more light footed when it comes to promising Broadway opportunities to the company members of regional or pre Broadway productions... enters us into very dangerous territory..."
— Mickey Jo [31:00]

Notable Quotes & Memorable Moments

• On the context of casting and identity:
  "I say this as someone who was given a name with the same first initial as my father... Those children are going to have enough in common their entire life. The least you could do is give them, you know, unique initials."
  — Mickey Jo [08:10]

• On the industry’s short memory/fairness:
  "With every possibility of truth to the allegations that have been leveled by producers, I am also in this moment feeling particularly aware of the frequency with which women, and in particular women of color, are branded 'difficult to work with'."
  — Mickey Jo [19:50]

• On workshop performers’ lack of leverage:
  "But a lot of these working actors can't eat acknowledgment for dinner. They can't pay their rent with playbill thanks. So how then does the industry appropriately recognize the creative and artistic contributions of those performers?"
  — Mickey Jo [25:30]

Timestamps of Key Segments

| Timestamp | Topic | |---------------|-----------| | 03:00 - 07:20 | Background on Ciara Renée and history of "Wanted" | | 11:30 - 17:00 | Lawsuit specifics and right of refusal explained | | 17:15 - 21:55 | Legal realities, industry patterns, gender/race issues | | 22:00 - 25:45 | Broader industry impact & "Hamilton" royalties precedent | | 26:05 - 29:45 | Other major casting controversies | | 29:45 - 32:15 | Final thoughts, concerns for the industry, possible outcomes |

Concluding Thoughts

Mickey Jo wraps up with a reminder that these lawsuits—though rare—shine a light on the complicated, sometimes unfair mechanics of theatrical labor. The outcome for Ciara Renée is uncertain but, whatever happens, the industry will be left grappling with how it values (or doesn’t value) the formative contributions of actors during a show’s journey to Broadway.

Tone: Insightful, witty, empathetic, with an overt theater nerd enthusiasm.
For listeners: This episode is rich with context, history, and critical thought—highly valuable for anyone curious about entertainment law, Broadway casting, or just the unseen inner workings of new musical development.

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