25 DAYS OF TONYS: What Excites Producer and Theatre Owner Jordan Roth Most About Broadway?

Tony Awards   25 DAYS OF TONYS: What Excites Producer and Theatre Owner Jordan Roth Most About Broadway?
 
The president of Jujamcyn Theaters and Broadway producer peels back the curtain on his role in making theatre happen and what most energizes him about the potential of theatre.
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Jordan Roth Marc J. Franklin

As President of Jujamycn Theaters, Jordan Roth has his finger on the pulse of Broadway. Jujamcyn is one of the three major theatre owners on Broadway—along with The Shubert Organization and The Nederlander Organization—and manages the Eugene O’Neill (home to Tony winner The Book of Mormon), the Al Hirschfeld (home to Tony winner Kinky Boots), the August Wilson (home to Tony nominee Mean Girls), the St. James (home to Tony nominee Frozen), and the Walter Kerr (home to Springsteen on Broadway). Roth continues to use his position to innovate within the art form and make each of his houses a home for the cast and creators of the shows.

Read: JORDAN ROTH ON HIS ROLE AS A BROADWAY PRODUCER AND THEATRE OWNER

But he also feels fortunate to play a part in each production’s Broadway story. “This entire season has been the most extraordinary experience, starting with Springsteen on Broadway and a remarkable spring of Angels and Frozen and Mean Girls—full of people I adore and admire and love. The whole season has been one bit moment of pinch-me,” he says in the video above.

Roth is also a producer on the 11-time Tony-nominated Angels in America. “‘Angels in America, most Tony-nominated play in Broadway history’ is a sentence I can't quite wrap my head around,” he says. “We are extraordinarily grateful and deeply proud of every person who is a part of making this show and every person who has opened their hearts to it. This play belongs to all of us.”

Read: JORDAN ROTH ON HIS NEWEST VENTURE: WARMLY, JORDAN

While he’s helped make Tony history this year, Roth continues to look forward. “I’m excited by a big canvas—a Broadway that can continue to expand and allow for all different kinds of work, all different kinds of voices, and all different kinds of stories. And we have to do better on all of that, but every year it gets a little bigger and a little bigger and a little bigger. It's a Broadway I want to be a part of.”

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