The company of 'Carousel.' (Photo: Julieta Cervantes)
Clubby and tradition-bound as Skull and Bones, Broadway has made worthy strides toward sunlight in recent years as conventions of sex and race finally began to crumble. But you’d hardly know it to look at this season’s Tony nominations. Despite an expanding roster of exceptionally talented directors and choreographers who happen to be female, just two of this season’s 15 nominations for best direction and choreography went to women: Tina Landau, for directing “SpongeBob SquarePants: The Musical” and Marianne Elliott, for “Angels in America.” Yes, there were 25% fewer openings in 2017-18, and yes, many top names are working on…

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  1. How come none of the female directors you name went to Producers to say “I want to direct this show”?
    In the case of Once On This Island, I’ve read that it was Michael Arden who wanted to direct a revival of the show and that it was he who initiated the conversations with the Ahrens/Flaherty and with producers.
    So please don’t put it all on the producers. Any of those women you name obviously have the skills to have already established themselves and their careers, so why didn’t they speak up?
    It goes both ways, Mr. Gerard.

  2. I wonder how you know what all those directors did or didn’t bring to producers? I will note that when, a couple of seasons back,
    Leigh Silverman staged an extraordinary, unromanticized revival of “Sweet Charity” starring Sutton Foster, not even its seasoned Broadway backer could move it uptown (not yet, anyway). There was a message in that.