Caesars Times Square Will Be a Losing Hand for Broadway
As Vegas creeps closer, why is Actor's Equity letting it ride?
Come hear the people sing at a FREE class on Les Misérables on Tuesday, June 10 at Noon and 7 pm. This is the first of three Les Miz classes (the other two are Members-only) that explore the show from dozens of angles small and large, from the musical’s motifs to its stellar international reception to the show’s sweeping grand themes.
Shalom, Broadway lovers!
In today’s issue of MARQUEE: The Broadway Maven’s Weekly Blast: A) an opinion essay rejecting the proposed casino in Times Square; B) a survey about the casino; C) a meme called “Jukebox Sondheim”; D) a Broadway Blast about Into the Woods; E) a Broadway Maven YouTube GEM about the Broadway canon in 2075; and F) a Last Blast about Chicago.
ESSAY: Here's the deal—a Las Vegas gaming behemoth, New York’s largest office landlord, and Jay-Z are gambling on the future of Broadway with a risky, unproven bet: a Times Square casino that’s moving quietly through the approval process. And they're not alone. Supporters of Broadway's essential character may be surprised that Actor’s Equity, the largest union on Broadway, has thrown its support behind the plan. The project—slated for 1515 Broadway, in the very building that houses The Lion King—threatens the delicate ecosystem that keeps Broadway alive.
The plan brings together Caesars Entertainment, real estate giant SL Green, and billionaire rapper Jay-Z. Each partner brings something different—celebrity, capital, and political clout—but together, they’re pushing a vision that could fundamentally change what, and whom, Times Square is for.
The well-heeled investors promise widespread economic benefits, but the costs are easy to predict. Rents will spike. Congestion will worsen. Tourists may stay inside the casino, bypassing the restaurants, shops, and theaters that fuel the neighborhood’s cultural economy. It’s a flashy scheme disguised as revitalization, and it risks unraveling what makes Times Square—and Broadway—the defining destination for theater lovers.
Wary of what seems like an obvious disruption to the cultural fabric of Manhattan, most producers and many community groups are opposed. Alarmingly, though, some major Broadway institutions—including Actor’s Equity—have come out in favor of the plan. Much of the broader theater community, meanwhile, seems unaware or at least disengaged. Too many stakeholders have been, well, zoning out when it comes to zoning. That has to change, at least this once, or a high-stakes gamble may permanently alter the character of the theater district.
Broadway is more than a collection of stages. It’s a public space built on shared rituals: arriving early to soak in the lights, grabbing dinner before curtain, browsing the merch, and lingering at the stage door. A casino doesn’t complement that—it competes with it. Theaters rely on foot traffic, spontaneity, and a sense of civic presence. Pull people into a casino, and you pull them out of the neighborhood. You don’t just disrupt the flow—you weaken the rhythm and vitality that keeps Broadway going strong.
I don’t doubt that Equity finds itself in an uncomfortable position. Many of its members feel a strong allegiance to the broader labor movement, even when its goals don’t fully align with the realities of the theater industry. But that tension is exactly why the union should consider stepping back. By removing its name from the pro-casino coalition and taking no formal position, Equity would make space for individual members to weigh the trade-offs—and take a stand on this critical issue.
Look, there are no acting jobs on a casino floor. Equity’s support isn’t about its members—it’s about standing with other unions. That kind of solidarity has a place. But here, it comes at a cost—loyalty to a labor alliance is taking precedence over loyalty to Broadway itself.
It’s not hopeless. Just this month, community opposition and political pressure scuttled a proposed $12 billion casino project in Hudson Yards. That one had deep-pocketed backers (Wynn Resorts) and city-friendly packaging—a casino, a public park, and thousands of housing units—and it still fell apart when people spoke up. There’s no reason Broadway can’t do the same. Because if a casino replaces a cultural landmark, it proves even our most iconic artistic spaces can be bought—if the price is high enough. A coalition of artists, neighborhood groups, ticketbuyers, producers, and yes, fans, could stop this thing in its tracks. If enough people care about maintaining Times Square’s current cultural vibe—and say so out loud—there’s still time to, well, save Broadway.
Las Vegas already has a New York, New York casino. New York doesn’t need to return the favor. If Broadway means something to you—not just the performances, but the whole experience—then now's the moment to pay attention. A casino in the middle of Times Square isn’t inevitable. But if nobody pushes back, it will start to feel like a done deal. Anybody who visited Broadway in the 1970s knows that the neighborhood matters. And so does the choice to protect it.
If this piece resonates, and you’d like to help, The Broadway Maven is circulating the following petition:
We, the undersigned, oppose the construction of a casino in Times Square. It would threaten the fragile ecosystem that sustains Broadway’s theaters, artists, and surrounding community. While we respect the many perspectives within the theater industry, we encourage Actor’s Equity, allied unions, and other Broadway stakeholders to end their support and let individuals weigh the issue on its merits. Times Square is not the right place for a casino—and it’s not too late to stop it.
MEME: Inspired by the popular internet meme "Jukebox Shakespeare," I decided to try my hand at inventing song matches in “Jukebox Sondheim.”
BROADWAY BLAST: There’s a strange lyric near the end of Into the Woods—one that quietly menaces our old notions of good and evil: “Into the woods to mind the Wolf, to heed the Witch, to honor the Giant.” These are the show’s fairy tale antagonists: predators, monsters, villains. But in the final moments, Sondheim and Lapine ask us not to fear them, but to mind, heed, and honor them. Why? Because Into the Woods isn’t about defeating darkness—it’s about learning from it. The Wolf teaches danger, the Witch offers truth, the Giant delivers consequence. They’re not obstacles; they’re realities. And in a show about growing up, Sondheim leaves us with a mature directive: don’t just chase happy endings. Face what scares you. Listen to what’s hard. And honor the forces that shape you—even when they come in shadow.
BROADWAY MAVEN YouTube GEM: Fifty years from now, what Broadway shows will still be performed, studied, and loved? This video looks at 15 shows destined to be canonical, and examines why others (Book of Mormon? Dear Evan Hansen?) may not be.
PITCH DAY: Later this year, The Broadway Maven will be hosting a “pitch day” where MARQUEE subscribers will be able to present their show ideas to a panel of experts for feedback. I’m planning to have at least one Tony winner on the panel. Presentations could be anything between a rough idea for a show to a completed plot with a prepared song. So far, two MARQUEE subscribers have signed up: the co-creator of a 15-minute musical about Egyptian cats and a project its author calls “Annie meets Frozen.” We have room for about 3-4 more presenters. If you are interested in participating in the pitch day (which will take place in August or September) please contact David at DavidBenkof@gmail.com.
Great news! First-time Members who join The Broadway Maven can get 30 days FREE at the link below. Normally $18, a one-month Membership comes with invitations to 5-15 classes and other expert-led Broadway experiences. In the case of the next 30 days, that means four meetings of The Broadway Institute, one meeting of Sondheim Academy (Pastiche in Sondheim), two classes on Les Misérables, and the Tonys Watch Party. Cancel at any time, or continue exploring Broadway with this vibrant educational community. It’s your home for Broadway appreciation.
Note: A full calendar of upcoming classes is always available at TheBroadwayMaven.com.
• Monday, June 2 - Tuesday June 3 NO CLASS — SHAVUOT (Jewish festival)
• Sunday, June 8 Tonys Watch Party (Members only) including an in-person gathering in St. Louis (Membership not required)
• Monday, June 9 Noon and 7 pm ET The Broadway Institute (Sondheim) (Members only)
• Tuesday, June 10 Noon and 7 pm ET Les Misérables part one (FREE, register here)
• Monday, June 16 Noon and 7 pm ET The Broadway Institute (Jewish Broadway) (Members only)
• Tuesday, June 17 Noon and 7 pm ET Les Misérables part two (Members only)
• Monday, June 23 Noon and 7 pm ET The Broadway Institute (Broadway and Society) (Members only)
• Tuesday, June 24 Noon and 7 pm ET Les Misérables part three (Members only)
LAST BLAST: Chicago’s “Razzle Dazzle” is all about distraction—Billy Flynn compares the courtroom to a circus, fooling the jury with smoke and mirrors. But the song itself is also a trick: the lyrics are cynical, but the melody is charming, catchy, even seductive. The audience gets “razzle dazzled” just like the jury. The show doesn’t just tell us how easily people are manipulated—it manipulates us in real time.
The Broadway Maven is a vibrant educational community that helps its members think more deeply about musical theater. Every month, members may attend 5-15 expert-led classes and innovative Broadway experiences, all for just $18. We also foster enthusiasm for Broadway through the FREE weekly Substack newsletter MARQUEE and host an expansive YouTube channel. It's your home for Broadway appreciation. Contact The Broadway Maven at DavidBenkof@gmail.com.
In 50 years will we be enjoying the 37th revival of Gypsy with one of Broadway's leading ladies (who is not yet born), hoping that Mama Rose will help her win a Tony?!! Or will there be a Tony for best performance by an android in a musical?