by Miles River Willow
I recently had the privilege of sitting down with the incredible multi-hyphenate LaChanze, for a conversation that spanned her remarkable journey as a Broadway producer, her innovative approach to marketing and audience development, and her vision for the future of theater. LaChanze’s passion for making Broadway more accessible—not just on stage, but in the producer’s chair and on the creative teams—shines through every answer.
From her groundbreaking grassroots marketing approach with the LCP Street Team to her commitment to projects that center underrepresented voices, LaChanze is reshaping what it means to be a producer in today’s theater landscape.
Please find our conversation below, lightly edited for clarity.
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Q: You obviously have an extensive background as a performer. Do you remember the moment when producing started feeling as much a part of your work in the industry as performing does?
LaChanze: My journey as a producer started back in 2009 when I saw a play that really moved me. I felt compelled to option it, though I didn’t fully understand what that even meant at the time. I was learning as I went. Then in 2015, when I was working with David Stone, I paid for a 29-hour reading of a project, and that’s when I decided to seriously pursue producing. It’s evolved over the years to become equal to my acting career, though I’m planning to be more intentional about my acting work this year.
Q: When a script or concept lands on your desk, what’s the first thing you respond to—before you think about budgets or logistics?
LaChanze: I look for three main things: inclusivity, fresh ideas, and unifying themes. But above all, I look for shows that have “heart” – work that leaves audiences feeling something meaningful. I aim for universal appeal where every single person can see themselves in the show. It’s not just about entertainment; it’s about creating work that connects audience members with each other and uses theater to uplift, inform, and heal.
Q: Can you give an example of what you mean by emotional impact?
LaChanze: Sure. I want people to leave the theater feeling something real – whether that’s joy, empowerment, or a new perspective. Theater should do more than just entertain for two hours. It should stay with you, make you think, maybe even change how you see the world or other people.
Q: Producing means putting your reputation—and sometimes your money—on the line. How do you personally make peace with the risk?
LaChanze: I manage risk through confidence in my vision and my extensive experience in theater. I know what works and what resonates with audiences. But I’ve also learned some hard lessons. For example, you can’t just rely on things working out – you need alternatives ready. Also, timing is everything. You have to consider audience appetite and market saturation. If there are too many similar shows running at once, or if the subject matter isn’t what audiences are ready for at that moment, even a great show can struggle. It’s about reading the room – understanding what Broadway and its audiences need at that particular time.
Q: As a producer, you now have the power to open doors for other artists. How conscious are you of that power when assembling creative teams?
LaChanze: It’s super important to me that everyone on the team gets along and has the same vision for the show. When you’re all pulling in the same direction, that’s when magic happens. But when there’s misalignment, it can derail everything. Everyone needs to understand not just what we’re making, but why we’re making it and who we’re making it for. Also, in creating these teams, we need to bring fresh voices into this industry rather than using the same creative teams over and over. How can we grow and evolve as an industry if we keep going back to the same well? There are so many talented directors, designers, and creatives who deserve a shot, and they’ll bring perspectives we haven’t seen before.
Q: With the LaChanze Productions Street Team serving as a grassroots extension of your marketing apparatus, how do you think about the synergy between producing and building a hands-on, community-driven marketing engine?
LaChanze: The Street Team began in connection with marketing the show “Jaja’s African Hair Braiding.” Instead of just doing traditional Broadway marketing, I went directly to Harlem and met with braiding salon owners. I invited them to see the show in exchange for displaying promotional materials in their salons. We used QR codes to track which zip codes our audiences were coming from, and the results were incredible.
Q: What kind of results did you see?
LaChanze: We successfully brought in audiences from demographics that typically don’t attend Broadway shows. People who had never been to a Broadway theater before were coming to see the show. And here’s what’s beautiful about it – once they’re in my show and they’re walking back out, they’re experiencing Broadway for the first time. They’re seeing the lights, the energy, the other theaters. They’re thinking, “Oh my god, this is Broadway!” So we’re not just building an audience for one show; we’re introducing new audiences to Broadway as a whole.
Q: When you think beyond individual shows, what do you hope artists say about the kinds of rooms you created and the stories you stood behind?
LaChanze: I want to make space for future generations in leadership, in creativity, and in ownership. It’s not enough to just open doors; we need to make sure people can walk through them and have real power and agency once they’re inside. I want young artists, especially artists of color and LGBTQ+ artists, to see that there’s a place for them not just on stage, but in the producer’s chair, in the creative team, making the decisions.
Q: What excites you most about where theater is heading—and where do you see yourself pushing it next?
LaChanze: I’m really excited about producing “Cats: Jellicle Ball,” which highlights the ballroom community. This is important to me because Black LGBTQ+ artists have created so much culture that’s been incorporated into pop culture without proper recognition or credit. Ballroom culture has influenced everything from fashion to music to dance, and these artists deserve to be celebrated and compensated for their contributions. This show is about giving them that platform and that credit.