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Theater Kid: A Broadway Memoir
A Simon & Schuster book. Simon & Schuster has a great book for every reader.
A coming-of-age tale from one of the most successful American producers of our time, Jeffrey Seller, who is the only producer to have mounted two Pulitzer Prize–winning musicals—Hamilton and Rent. Read by the author and a full cast of Broadway and Off-Broadway actors! The star-studded cast includes: Annaleigh Ashford, Kyle Beltran, Steven Boyer, Danny Burstein, Darren Criss, Jesse Tyler Ferguson, Sas Goldberg, Renée Elise Goldsberry, Lindsay Mendez, Lin-Manuel Miranda, Alex Newell, Andrew Rannells, Conrad Ricamora, Jonathan Marc Sherman, and Christopher Sieber. The program also features original music composed by Tony and Pulitzer Prize Award winner Tom Kitt. Before he was producing the musical hits of our generation, Jeffrey was just a kid coming to terms with his adoption, trying to understand his sexuality, and determined to escape his dysfunctional household in a poor neighborhood just outside Detroit. We see him find his voice through musical theater and move to New York, where he is determined to shed his past and make a name for himself on Broadway. But moving to the big city is never easy—especially not at the height of the HIV/AIDS crisis—and Jeffrey learns to survive and thrive in the colorful and cutthroat world of commercial theatre. From his early days as an office assistant, to meeting Jonathan Larson and experiencing the triumph and tragedy of Rent, to working with Lin-Manuel Miranda on In the Heights and Hamilton, Jeffrey completely pulls back the curtain on the joyous and gut-wrenching process of making new musicals, finding new audiences, and winning a Tony Award—all the while finding himself. Told with Jeffrey's candid and captivating voice, Theater Kid is a gripping memoir about fighting through a hardscrabble childhood to make art on one's own terms, chasing a dream against many odds, and finding acceptance and community.
A coming-of-age tale from one of the most successful American producers of our time, Jeffrey Seller, who is the only producer to have mounted two Pulitzer Prize–winning musicals—Hamilton and Rent. Read by the author and a full cast of Broadway and Off-Broadway actors! The star-studded cast includes: Annaleigh Ashford, Kyle Beltran, Steven Boyer, Danny Burstein, Darren Criss, Jesse Tyler Ferguson, Sas Goldberg, Renée Elise Goldsberry, Lindsay Mendez, Lin-Manuel Miranda, Alex Newell, Andrew Rannells, Conrad Ricamora, Jonathan Marc Sherman, and Christopher Sieber. The program also features original music composed by Tony and Pulitzer Prize Award winner Tom Kitt. Before he was producing the musical hits of our generation, Jeffrey was just a kid coming to terms with his adoption, trying to understand his sexuality, and determined to escape his dysfunctional household in a poor neighborhood just outside Detroit. We see him find his voice through musical theater and move to New York, where he is determined to shed his past and make a name for himself on Broadway. But moving to the big city is never easy—especially not at the height of the HIV/AIDS crisis—and Jeffrey learns to survive and thrive in the colorful and cutthroat world of commercial theatre. From his early days as an office assistant, to meeting Jonathan Larson and experiencing the triumph and tragedy of Rent, to working with Lin-Manuel Miranda on In the Heights and Hamilton, Jeffrey completely pulls back the curtain on the joyous and gut-wrenching process of making new musicals, finding new audiences, and winning a Tony Award—all the while finding himself. Told with Jeffrey's candid and captivating voice, Theater Kid is a gripping memoir about fighting through a hardscrabble childhood to make art on one's own terms, chasing a dream against many odds, and finding acceptance and community.
11 pages, Audiobook
Published May 6, 2025
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May 9, 2025I love Hamilton so I'm excited to read this but good lord that cover is hideous lol
September 25, 2025
Jeffrey Seller's eminently absorbing memoir, Theater Kid, is clearly modeled on Moss Hart's equally fun (and highly fictionalized) memoir, Act One. No shade intended: Seller admits to reading and loving the latter during his days as a summer camp theater counselor.
Just as Hart accounted his impoverished New York childhood, his quest to gain a foothold in the theater industry, and his creative struggles to write a hit play, Seller writes a thoroughly enjoyable and immersive tale of his impoverished metro Detroit childhood with sometimes less-than-ideal parents, his drive to establish himself as a producer of plays, and his eventual struggles and successes with Rent and later such productions as Avenue Q, In the Heights, and Hamilton.
Seller's childhood is told with little self-pity and a lot of can-do gumption. The chunk of the book devoted to Seller's early years in New York and his eventual production of Rent is especially compelling; he spins a dynamic story of quick thinking, collaboration, and sheer force of will that's a joy to read. The last portion of the book, however, which consists of a handful of essays about the major productions after Rent, feels like a bit of an afterthought. And once Seller is done with his Detroit years, his family is largely never heard from again. His parents are proud of him—of course—but from a storytelling perspective, a little more integration between past and the narrative's present might have tied things together more neatly.
These are minor quibbles, though. Theater Kid is a terrific read.
Just as Hart accounted his impoverished New York childhood, his quest to gain a foothold in the theater industry, and his creative struggles to write a hit play, Seller writes a thoroughly enjoyable and immersive tale of his impoverished metro Detroit childhood with sometimes less-than-ideal parents, his drive to establish himself as a producer of plays, and his eventual struggles and successes with Rent and later such productions as Avenue Q, In the Heights, and Hamilton.
Seller's childhood is told with little self-pity and a lot of can-do gumption. The chunk of the book devoted to Seller's early years in New York and his eventual production of Rent is especially compelling; he spins a dynamic story of quick thinking, collaboration, and sheer force of will that's a joy to read. The last portion of the book, however, which consists of a handful of essays about the major productions after Rent, feels like a bit of an afterthought. And once Seller is done with his Detroit years, his family is largely never heard from again. His parents are proud of him—of course—but from a storytelling perspective, a little more integration between past and the narrative's present might have tied things together more neatly.
These are minor quibbles, though. Theater Kid is a terrific read.
January 19, 2025
(Received an advance copy from the publisher, Simon and Schuster) Jeffrey Seller's memoir is a fast-moving, well-written and absorbing account of his journey from a struggling childhood to becoming one of Broadway's top producers. Seller charts his voyage with telling details and his love of the theater, starting with growing up as an adopted son in a Detroit suburb named Cardboard Village for its poorly built houses to community theater, stage camp, working as a booking manager for the husband-and-wife producing team of Fran and Barry Weissler to starting his own company to winning four Tonys for Rent, Avenue Q, In the Heights, and Hamilton. (He also won a fifth for a revival of Private Lives.) Each of these shows changed the face of Broadway. When Seller was getting started, Broadway was in dire straits. The seasons in the late 80s and early 90s were dominated by British imports, revivals, plotless jukebox revues, and nostalgia-infused retreads such as Crazy for You and Never Gonna Dance. New young American composers and lyricists writing about contemporary life were nowhere to be found. That all changed when Seller met Jonathan Larsen, the author and composer of Rent. Though Larson passed away just after Rent's first preview, the update of Puccini's La Boheme revolutionized the American musical. I can remember seeing it at the Off-Broadway New York Theater Workshop before it transferred to Broadway and being excited because it was so different than anything else on stage then. In addition, it was so refreshing not to see the same old faces but totally new ones in the cast. All of them with the exception of Anthony Rapp who was a veteran from the time he was a child actor, were newcomers.
The book is also a must-read for those interested in a career behind the scenes in the theater. Seller offers a crash course in management, booking, public relations, direction, choreography, developing shows, and production. His personal life is just as fascinating. The book chronicles his search for identity as a gay man and the truth about his birth parents while coping with the dysfunctional relationship of his adoptive ones.
Back in the late 1980s, I was cast as the Old Actor in a church theater group production of The Fantasticks Jeffrey directed in Sheepshead Bay, Brooklyn (which get a mention in the book.) He was the consummate professional even then, taking his duties seriously. We were all just starting out in NYC and it was thrilling working with him. I also encountered Jeffrey when I served as president of the Drama Desk, an organization of theater critics, when his shows were in contention for our DD Awards.
The book is also a must-read for those interested in a career behind the scenes in the theater. Seller offers a crash course in management, booking, public relations, direction, choreography, developing shows, and production. His personal life is just as fascinating. The book chronicles his search for identity as a gay man and the truth about his birth parents while coping with the dysfunctional relationship of his adoptive ones.
Back in the late 1980s, I was cast as the Old Actor in a church theater group production of The Fantasticks Jeffrey directed in Sheepshead Bay, Brooklyn (which get a mention in the book.) He was the consummate professional even then, taking his duties seriously. We were all just starting out in NYC and it was thrilling working with him. I also encountered Jeffrey when I served as president of the Drama Desk, an organization of theater critics, when his shows were in contention for our DD Awards.
July 26, 2025
I was just going to dip into this audio version, but found I could not turn it off. So well written, so eloquent. Especially for us theater nerds, it is insightful and generous. But those who aren't fascinated by all things theater will love it too. The audio version is enhanced by an A-list cast of actors from Broadway who make this such a rich experience.
December 22, 2025
AUDIOBOOK: I have mixed feelings about this book. Primarily the audio is over-produced and annoying. Seller narrates and actors play the other characters… but it isn’t a play or script. It doesn’t work. After an actor has spoken, Seller still reads “said < name of character >”, which we know they just said, because we just heard them. We know they said it angrily/happily/sarcastically, because they just performed it in that way. It made all those parts of his book redundant. It became so jarring.
I skipped two chapters because the first half of the book is all about him growing up. Which, to be honest, I couldn’t care much about. I got through the first eight chapters (they were so dull) but just wanted to hear how he met Jonathan Larson and produced Rent, then later on, Hamilton. These latter sections are great, and the reason why I wanted to read this book. I didn’t want to know about Seller as a boy, I wanted to know about his career as a producer!
Still, as a novel/memoir with actors, it falls flat… if it was a play script with a cast, sure, that would work. This felt like an ego massage and flex over how many Broadway stars he can get in his audiobook - rather than just telling a really good story.
I skipped two chapters because the first half of the book is all about him growing up. Which, to be honest, I couldn’t care much about. I got through the first eight chapters (they were so dull) but just wanted to hear how he met Jonathan Larson and produced Rent, then later on, Hamilton. These latter sections are great, and the reason why I wanted to read this book. I didn’t want to know about Seller as a boy, I wanted to know about his career as a producer!
Still, as a novel/memoir with actors, it falls flat… if it was a play script with a cast, sure, that would work. This felt like an ego massage and flex over how many Broadway stars he can get in his audiobook - rather than just telling a really good story.
March 16, 2025
Jeffrey Seller: The Ultimate Theater Kid Who Made It Big
For every gay boy who found solace in the darkened wings of a theater, Jeffrey Seller is proof that we were never alone. He is, in essence, the ultimate theater kid who never grew out of it—he just found a way to turn that passion into a Broadway empire. Seller, the producer behind Hamilton, Rent, Avenue Q, and In the Heights, didn’t just champion groundbreaking theater; he built a career around the kind of stories that give misfits, dreamers, and outsiders a home.
Growing up in a world where sports fields and locker rooms felt like foreign battlegrounds, I, like many, found my safe haven in the theater. There, emotion wasn’t a liability but a superpower, and the idea of transforming into someone else for two and a half hours was both thrilling and, at times, necessary. For a young, queer kid, Broadway wasn’t just entertainment—it was a lifeline. Seller seems to have understood that instinctively, producing shows that didn’t just dazzle but spoke—to the rebels, the romantics, the queers, and the people who never quite fit in anywhere else.
Rent was a revolution. It told us that love—queer, messy, real—mattered, and it dared to put HIV-positive characters at the center of the narrative, not in the margins. Hamilton took history’s dusty portraits and turned them into hip-hop legends, making Broadway an inclusive space where people of color and queer artists could see themselves in the fabric of America’s founding. Even Avenue Q—with its raunchy puppets and irreverent humor—felt like a love letter to the misfits who hadn’t quite figured it all out yet (which, let’s be honest, is most of us).
Jeffrey Seller didn’t just produce hit musicals. He made theater a place where kids like me—like us—could find belonging. Where being too much was just enough. Where emotion, passion, and a deep love for storytelling weren’t things to suppress but to celebrate. He took what so many of us felt in our high school auditoriums and amplified it to the highest stage.
So, to the boy who once sat alone at lunch but found his people in the cast list, to the kid who lived for the overture and cried at curtain call—Jeffrey Seller didn’t just make theater. He made a home for us in it.
For every gay boy who found solace in the darkened wings of a theater, Jeffrey Seller is proof that we were never alone. He is, in essence, the ultimate theater kid who never grew out of it—he just found a way to turn that passion into a Broadway empire. Seller, the producer behind Hamilton, Rent, Avenue Q, and In the Heights, didn’t just champion groundbreaking theater; he built a career around the kind of stories that give misfits, dreamers, and outsiders a home.
Growing up in a world where sports fields and locker rooms felt like foreign battlegrounds, I, like many, found my safe haven in the theater. There, emotion wasn’t a liability but a superpower, and the idea of transforming into someone else for two and a half hours was both thrilling and, at times, necessary. For a young, queer kid, Broadway wasn’t just entertainment—it was a lifeline. Seller seems to have understood that instinctively, producing shows that didn’t just dazzle but spoke—to the rebels, the romantics, the queers, and the people who never quite fit in anywhere else.
Rent was a revolution. It told us that love—queer, messy, real—mattered, and it dared to put HIV-positive characters at the center of the narrative, not in the margins. Hamilton took history’s dusty portraits and turned them into hip-hop legends, making Broadway an inclusive space where people of color and queer artists could see themselves in the fabric of America’s founding. Even Avenue Q—with its raunchy puppets and irreverent humor—felt like a love letter to the misfits who hadn’t quite figured it all out yet (which, let’s be honest, is most of us).
Jeffrey Seller didn’t just produce hit musicals. He made theater a place where kids like me—like us—could find belonging. Where being too much was just enough. Where emotion, passion, and a deep love for storytelling weren’t things to suppress but to celebrate. He took what so many of us felt in our high school auditoriums and amplified it to the highest stage.
So, to the boy who once sat alone at lunch but found his people in the cast list, to the kid who lived for the overture and cried at curtain call—Jeffrey Seller didn’t just make theater. He made a home for us in it.
June 30, 2025
I don't know...maybe this book wasn't for me. Maybe I'm not the intended audience...but also, I am? I love the theater, and I love the excitement around new shows, and the shows Seller has produced are amazing and have breathed life into theater. But...but...but...this book. Was it a Broadway Memoir? A little bit. Was it odd retellings of conversations roleplayed from memory? Mostly. Was he constantly the voice of reason and the ultimate savior swooping in with his can-do attitude, hard work and "now, now, boys" approach to heroically save the day (and the only one to be able to save the day?)? Whew...yes, yes he was.
The first half of the book about his childhood and how he "got into theater" was long and repetitive. The last bit about everything since Rent was rushed and uneven with each show occupying a chapter or so. Seller is at one the savior of everything, the voice of reason, and the merciless underdog fighting for what he believes in (and what he believes in is fantastic - which is what drew me to this book), but holy cow...Wwding through the rest of it was such a slog.
The first half of the book about his childhood and how he "got into theater" was long and repetitive. The last bit about everything since Rent was rushed and uneven with each show occupying a chapter or so. Seller is at one the savior of everything, the voice of reason, and the merciless underdog fighting for what he believes in (and what he believes in is fantastic - which is what drew me to this book), but holy cow...Wwding through the rest of it was such a slog.
July 15, 2025
3.5⭐️
May 10, 2025
Theatre Kid by Jeffrey Seller is the kind of book that grabs your heart because it gets you. I listened to the audiobook version, and hearing Jeffrey tell his own story made it feel even more personal—like a friend was confiding in me about his journey. And the icing on the cake? Broadway stars voicing the people in his life. Such a fun surprise for any theatre fan.
But what really made this book special was how much I related to his story. He was a theatre kid. I was a theatre kid. So many of the thoughts, doubts, triumphs, and insecurities he shares were ones I’ve lived too. Time after time, I found myself thinking, “Wait…that’s me.”
Sure, I'm not a Tony-winning Broadway producer—but this book reminded me that the heart of a theatre kid never really changes.
Highly recommend to anyone who's ever found a home onstage or in the wings.
But what really made this book special was how much I related to his story. He was a theatre kid. I was a theatre kid. So many of the thoughts, doubts, triumphs, and insecurities he shares were ones I’ve lived too. Time after time, I found myself thinking, “Wait…that’s me.”
Sure, I'm not a Tony-winning Broadway producer—but this book reminded me that the heart of a theatre kid never really changes.
Highly recommend to anyone who's ever found a home onstage or in the wings.
June 21, 2025
This was disappointing. The author, a big-time Broadway producer spends WAY TOO MUCH time seeking catharsis in his childhood, while skipping entire decades of his fascinating professional life. Oh, and I truly did not need the graphic details of the author's sauna threesome. What kind of editorial malpractice is going on here?
Mr. Sellers advancement from publicity flack to Broadway producer is fascinating. As is the behind the scenes story of Rent, and Jonathan Larson's tragic death. So, there are pleasures to be had here. Alas, this memoir is uneven and poorly executed.
Mr. Sellers advancement from publicity flack to Broadway producer is fascinating. As is the behind the scenes story of Rent, and Jonathan Larson's tragic death. So, there are pleasures to be had here. Alas, this memoir is uneven and poorly executed.
May 7, 2025
✨ The Vibes ✨
A glimpse into the life of a Broadway producer
📖 Read if…
✨ You’ve always wanted to learn more about what producers do
✨ You want to hear behind-the-scenes stories about musicals like Rent and Hamilton
✨ You’re looking for a memoir that explores identity, in addition to accomplishments
Jeffrey Seller is best known as the producer of hit Broadway musicals like Hamilton and Rent, but in his new memoir, Theater Kid, he pulls back the curtain on his own life and journey to Broadway.
Seller tells his own life story in a traditional linear format, starting with his youth in Michigan, where he first became interested in theater, and ending with his work on Hamilton. As a massive musical theater fan, this book was perfect for me! I loved getting to learn more about the path to becoming a producer, a job that often feels amorphous. The book is filled with interesting anecdotes, but never crosses the line into salacious or gossipy territory, rather focusing on Seller’s recollections of pivotal moments in his life, like his early days as a booker, or the moment he met Jonathan Larson.
There were two things that really made this a standout memoir for me. First, Seller doesn’t try to shy away from the hard or challenging parts of his journey. He writes openly about his difficult relationship with his parents, being adopted, and exploring his sexuality in a way that is both honest and without judgement. And secondly, there’s something about Seller’s writing style that is compulsively readable, almost as if he is speaking directly to you. I found it really hard to put the book down, simply because of how engrossing his prose was.
Theater Kid is a book I’d recommend to anyone, even if they don’t consider themselves a fan of the theater. The book is out now. Thanks to Simon & Schuster and NetGalley for the eARC in exchange for an honest review.
A glimpse into the life of a Broadway producer
📖 Read if…
✨ You’ve always wanted to learn more about what producers do
✨ You want to hear behind-the-scenes stories about musicals like Rent and Hamilton
✨ You’re looking for a memoir that explores identity, in addition to accomplishments
Jeffrey Seller is best known as the producer of hit Broadway musicals like Hamilton and Rent, but in his new memoir, Theater Kid, he pulls back the curtain on his own life and journey to Broadway.
Seller tells his own life story in a traditional linear format, starting with his youth in Michigan, where he first became interested in theater, and ending with his work on Hamilton. As a massive musical theater fan, this book was perfect for me! I loved getting to learn more about the path to becoming a producer, a job that often feels amorphous. The book is filled with interesting anecdotes, but never crosses the line into salacious or gossipy territory, rather focusing on Seller’s recollections of pivotal moments in his life, like his early days as a booker, or the moment he met Jonathan Larson.
There were two things that really made this a standout memoir for me. First, Seller doesn’t try to shy away from the hard or challenging parts of his journey. He writes openly about his difficult relationship with his parents, being adopted, and exploring his sexuality in a way that is both honest and without judgement. And secondly, there’s something about Seller’s writing style that is compulsively readable, almost as if he is speaking directly to you. I found it really hard to put the book down, simply because of how engrossing his prose was.
Theater Kid is a book I’d recommend to anyone, even if they don’t consider themselves a fan of the theater. The book is out now. Thanks to Simon & Schuster and NetGalley for the eARC in exchange for an honest review.
October 9, 2025
I'm a generation older than Jeffrey Seller, theater producer and author of Theater Kid: A Broadway Memoir (Simon & Schuster, May 6, 2025). Unlike Seller, I never went to theater camp or did local community theater, but still his memoir about loving theater and remaining passionate about creating it and finally finding his way to producing stories he cares about hit way down deep in my heart.
To love this memoir, you may need to love theater, but I don't think you have to have worked in it (I was an actor and playwright for many years) or even seen Seller's hits (Rent, Avenue Q, Hamilton—I've seen none of them but still loved the play-by-play of each show's journey). The story is as rich in detail as the cover by Peter de Sève and the mesmerizing black and white (with amazing gradations of gray) illustrations by Michael Byers—there is so much to gaze at that I returned to the pictures after I finished the book to admire and sink into them. (And these pictures are nothing like the work Byers has on his website—fascinating.) In fact the combination of exciting artistic presentation plus a great book are the key to making great musicals—which utilizes the gifts Seller has honed to become a creative producer.
How did Seller write this? How do you remember the details of a childhood room or a harrowing Outward Bound island terrain or somebody's appearance and dress decades after experiencing them? Maybe he is a chronic journal-keeper who wrote it all down. Or does he have an eidetic memory for how things look? Or did he make it up when he couldn't remember? (I found one mistake: Second Stage Theater is at 76th Street and Broadway, not 75th. I know because I got fired from a revue there for being a lousy singer and we did a number about being "on 76th and Broadway, trying to work our way down . . .") No matter. Seller stuck it out through a rough childhood, finding a home in theater, and he survived firings and forged an impressive career as a producer. I'm glad he did.
After reading this electric book, one might want to be Jeffrey Seller's friend for life. It's that good and inviting.
To love this memoir, you may need to love theater, but I don't think you have to have worked in it (I was an actor and playwright for many years) or even seen Seller's hits (Rent, Avenue Q, Hamilton—I've seen none of them but still loved the play-by-play of each show's journey). The story is as rich in detail as the cover by Peter de Sève and the mesmerizing black and white (with amazing gradations of gray) illustrations by Michael Byers—there is so much to gaze at that I returned to the pictures after I finished the book to admire and sink into them. (And these pictures are nothing like the work Byers has on his website—fascinating.) In fact the combination of exciting artistic presentation plus a great book are the key to making great musicals—which utilizes the gifts Seller has honed to become a creative producer.
How did Seller write this? How do you remember the details of a childhood room or a harrowing Outward Bound island terrain or somebody's appearance and dress decades after experiencing them? Maybe he is a chronic journal-keeper who wrote it all down. Or does he have an eidetic memory for how things look? Or did he make it up when he couldn't remember? (I found one mistake: Second Stage Theater is at 76th Street and Broadway, not 75th. I know because I got fired from a revue there for being a lousy singer and we did a number about being "on 76th and Broadway, trying to work our way down . . .") No matter. Seller stuck it out through a rough childhood, finding a home in theater, and he survived firings and forged an impressive career as a producer. I'm glad he did.
After reading this electric book, one might want to be Jeffrey Seller's friend for life. It's that good and inviting.
May 25, 2025
4.5- 4.75 ⭐️ rounded up! What drew me in was the amazing cover with some of my favorite shows . What increased my interest was the audio cast list. I’ve discovered that I am obsessed with any behind the scenes information about the making of broadway shows. While I didn’t immediately recognize Mr. Seller’s name, he is one of the many reasons why many of my favorite shows exist.
The bulk of the time of the book is spent on the author’s childhood and the his initial time in the business. Much of the Broadway discussion is about Rent. Seller’s childhood was challenging with financial struggles and his parent’s rocky marriage. He found a way to cope by joining the local childhood theater group and by participating in school theater. While his father was a bit of a mess, he fully supported Seller’s in his theater journey.
Not only is this a memoir that delves deep into his childhood and family relationships, it also naturally includes his discovery of his sexual orientation. Some of this journey was more open door than I expected. Part of this journey includes the very real fear of HIV as this disease became prominent in the 80s. For younger readers, who might be unaware of just how terrifying this time was, Seller conveys the fear and judgment of the time.
I thoroughly enjoyed the can-do aspect of Mr. Seller’s life. He took a challenging childhood and found a way to create success in a field he enjoyed. He learned that his path to happiness and success wasn’t on the stage it was behind the stage. As someone with a difficult parent relationship, although very different, his struggles with his dad were very relatable. His story is completely open and honest even in moments where he made mistakes.
I was so intrigued by one of his first jobs in the booking agency. Learning about this aspect of this industry was fascinating.The behind the scenes section about Rent provided so much background about how long it takes to put together a show, the many steps involved and all of the drama. Even though I have read other behind the scenes broadway stories, I am always amazed at how any show actually succeeds. The odds are so low, the costs are high. The part that was new to me was the behind the scenes machinations in the Tony race. Similar to the lobbying for Oscar votes.
The section about Broadway shows after Rent felt a bit rushed. I wanted more details about In the Heights and Hamilton.
Enjoyable read with plenty of inside details about the theater industry. Highly recommend.
The bulk of the time of the book is spent on the author’s childhood and the his initial time in the business. Much of the Broadway discussion is about Rent. Seller’s childhood was challenging with financial struggles and his parent’s rocky marriage. He found a way to cope by joining the local childhood theater group and by participating in school theater. While his father was a bit of a mess, he fully supported Seller’s in his theater journey.
Not only is this a memoir that delves deep into his childhood and family relationships, it also naturally includes his discovery of his sexual orientation. Some of this journey was more open door than I expected. Part of this journey includes the very real fear of HIV as this disease became prominent in the 80s. For younger readers, who might be unaware of just how terrifying this time was, Seller conveys the fear and judgment of the time.
I thoroughly enjoyed the can-do aspect of Mr. Seller’s life. He took a challenging childhood and found a way to create success in a field he enjoyed. He learned that his path to happiness and success wasn’t on the stage it was behind the stage. As someone with a difficult parent relationship, although very different, his struggles with his dad were very relatable. His story is completely open and honest even in moments where he made mistakes.
I was so intrigued by one of his first jobs in the booking agency. Learning about this aspect of this industry was fascinating.The behind the scenes section about Rent provided so much background about how long it takes to put together a show, the many steps involved and all of the drama. Even though I have read other behind the scenes broadway stories, I am always amazed at how any show actually succeeds. The odds are so low, the costs are high. The part that was new to me was the behind the scenes machinations in the Tony race. Similar to the lobbying for Oscar votes.
The section about Broadway shows after Rent felt a bit rushed. I wanted more details about In the Heights and Hamilton.
Enjoyable read with plenty of inside details about the theater industry. Highly recommend.
May 11, 2025
The perfect memoir for the theater lover in me 🩷
May 15, 2025
Being primarily a fiction reader, I tend not to be captivated by memoirs, but this was a stark exception. Considering the source, it's no surprise that Theater Kid tells a story and tells it well. As relatable as it is ethereal, he paints a picture of his coming of age, and also demonstrates how musicals come together, how they go on tour, and how few new ones really become viable. Seller also challenges us to pierce the veil of indifference and find ways to make one's work impact politics and culture. On top of that, the star-studded cast of this audiobook definitely delivers.
October 15, 2025
NYC. Current Day.
Jeffrey: I want to write a book about my life!
Publisher: Great idea! I support you! Go for it!
Jeffrey feverishly writes his memoir starting with his childhood growing up outside of Detroit, MI. He's 100 pages strong into his life.
Jeffrey: Eh, I don't know about this memoir thing...it's... a lot.
Publisher: No! You can do it! Write about Rent!
Jeffrey: Okay...oh, should I put some stuff about my sex life in it to spice it up?!
Publisher: Absolutely! Great idea!
Jeffrey then writes about his childhood, his sex life and producing Rent. He gets to page 296.
Jeffrey: I don't know. I'm kind of a sick of doing this. Can I stop now?
Publisher: How about we wrap up the rest of your career in like 50 pages? ... You know how you won the Tonys for Avenue Q, In The Heights, and Hamilton? No one will want to hear about those things! So boring! Oh, and like only 1 sentence about how you and your business partner split up after 20 years. That should suffice. No one will want to know how even though you and Kevin both had a business relationship with Lin, no one will want to know how you continued with producing Hamilton and Kevin didn't. No one will question that at all. So boring of details!
Jeffrey: Ok Great! Also, do you think we need an editor for my book?
Publisher: Nah, totally not necessary.
Scene.
Also... another big question. Why did he call it Theater Kid instead of Theatre Kid? I’ve always used “theatre” for live performances and “theater” for where movies play...
With all of that said, although flawed, this book was like reading a nice memory of my time working for the business. I recognized a lot of the names mentioned and I think it's a good peek into the producing/booking world. Was it stressful at times? Yep. But was it magical and enjoyable? Yep and Jeffrey's book proves that.
Jeffrey: I want to write a book about my life!
Publisher: Great idea! I support you! Go for it!
Jeffrey feverishly writes his memoir starting with his childhood growing up outside of Detroit, MI. He's 100 pages strong into his life.
Jeffrey: Eh, I don't know about this memoir thing...it's... a lot.
Publisher: No! You can do it! Write about Rent!
Jeffrey: Okay...oh, should I put some stuff about my sex life in it to spice it up?!
Publisher: Absolutely! Great idea!
Jeffrey then writes about his childhood, his sex life and producing Rent. He gets to page 296.
Jeffrey: I don't know. I'm kind of a sick of doing this. Can I stop now?
Publisher: How about we wrap up the rest of your career in like 50 pages? ... You know how you won the Tonys for Avenue Q, In The Heights, and Hamilton? No one will want to hear about those things! So boring! Oh, and like only 1 sentence about how you and your business partner split up after 20 years. That should suffice. No one will want to know how even though you and Kevin both had a business relationship with Lin, no one will want to know how you continued with producing Hamilton and Kevin didn't. No one will question that at all. So boring of details!
Jeffrey: Ok Great! Also, do you think we need an editor for my book?
Publisher: Nah, totally not necessary.
Scene.
Also... another big question. Why did he call it Theater Kid instead of Theatre Kid? I’ve always used “theatre” for live performances and “theater” for where movies play...
With all of that said, although flawed, this book was like reading a nice memory of my time working for the business. I recognized a lot of the names mentioned and I think it's a good peek into the producing/booking world. Was it stressful at times? Yep. But was it magical and enjoyable? Yep and Jeffrey's book proves that.
July 23, 2025
If you love the theater and have an appreciation for stories where unlikely things (as Jeff says) happen to good people, this is a book for you. Did the audiobook and it’s narrated by him along with various Broadway stars. A treat to listen to, especially as someone who counts RENT as her favorite show.
July 24, 2025
4 stars with some caveats!
I've always known Jeffrey Seller by name as a "big-time Broadway producer" who was heavily involved in Avenue Q and Hamilton among others so I was interested to gain some context from his memoir!
I LOVED the part of the book in which Seller relays in detail his involvement in bringing Rent to Broadway and his relationship with Jonathan Larson. I was moved by having another POV on the Rent origin story and Larson's legacy — that part of the memoir made me emotional!
I also enjoyed the other Broadway tidbits and the name drops and learning how Seller's career has intersected with other big Broadway names.
That said, this memoir needed better dramaturgy (aka editing!) It's ironic that Seller discusses shaping musicals, but his own memoir needed tightening. I did NOT need to know graphic details about Seller's sex life — in particular, it was entirely unnecessary to learn he had a threesome in a sauna on his 30th birthday. He mentions that he needs both musicals and sex to live...that was honestly TOO candid for a memoir.
Overall, this had too much discussion of sex and general bodily functions — I really just wanted to know more about Seller's path as a Broadway producer and those secrets!
The first half or so also goes into detail on Seller's childhood and family, then the family all but disappears from the narrative. And while that first half has a narrative format, the memoir ends with random tidbits from Seller's producing career.
Tl;dr: This memoir was fascinating in terms of the inside scoop on Seller's career as a Broadway producer of epic musical hits, but I didn't need as much personal backstory — or discussion of sexploits — to accomplish that mission.
Hard-core musical theater fans like myself will find enough nuggets of info here to make this a worthwhile read — as I ultimately did!
I've always known Jeffrey Seller by name as a "big-time Broadway producer" who was heavily involved in Avenue Q and Hamilton among others so I was interested to gain some context from his memoir!
I LOVED the part of the book in which Seller relays in detail his involvement in bringing Rent to Broadway and his relationship with Jonathan Larson. I was moved by having another POV on the Rent origin story and Larson's legacy — that part of the memoir made me emotional!
I also enjoyed the other Broadway tidbits and the name drops and learning how Seller's career has intersected with other big Broadway names.
That said, this memoir needed better dramaturgy (aka editing!) It's ironic that Seller discusses shaping musicals, but his own memoir needed tightening. I did NOT need to know graphic details about Seller's sex life — in particular, it was entirely unnecessary to learn he had a threesome in a sauna on his 30th birthday. He mentions that he needs both musicals and sex to live...that was honestly TOO candid for a memoir.
Overall, this had too much discussion of sex and general bodily functions — I really just wanted to know more about Seller's path as a Broadway producer and those secrets!
The first half or so also goes into detail on Seller's childhood and family, then the family all but disappears from the narrative. And while that first half has a narrative format, the memoir ends with random tidbits from Seller's producing career.
Tl;dr: This memoir was fascinating in terms of the inside scoop on Seller's career as a Broadway producer of epic musical hits, but I didn't need as much personal backstory — or discussion of sexploits — to accomplish that mission.
Hard-core musical theater fans like myself will find enough nuggets of info here to make this a worthwhile read — as I ultimately did!
Read
December 17, 2025I was a Theater Kid with Jeffrey at Stagecrafters in Michigan, so it was very exciting to read this book. It brought back some amazing memories of a wonderful time and great youth theater program. When Jeffrey described the actual theater, it was perfect and made me tear up as the memories came flooding back. Listening to the audiobook was really awesome, because I could so easily picture Jeff as he was in the 1980s. One thing I remember about Jeffrey at that time was that he had his hand in so many different parts of the production. He was honing his craft way back when.
I was fascinated by the producer portions of the book. I loved the descriptions of RENT. I didn’t get to see it on Broadway but have seen it numerous times in Detroit and other places including an amazing version in Amsterdam. When RENT came to the Fisher Theater in Detroit it was very exciting. I remember reading articles about Jeffrey in the local newspapers and thinking it was so cool that he had produced this amazing show. I loved the descriptions of his other shows ( huge In the Heights fan!) and would have loved to read even more about that time period.
Listening to Jeffrey describe his childhood was heart wrenching. I didn’t know about that part of his life. He always seemed really confident to me, and it made me think how sometimes you just don’t know what people are going through in their lives. I thought the section about his birth family was really moving as well.
I went to Jeffrey’s book talk and signing when he was in Michigan this year and it was nice to see other “theater kids” there and a couple of his former teachers. He was gracious to everyone while signing his books.
I was fascinated by the producer portions of the book. I loved the descriptions of RENT. I didn’t get to see it on Broadway but have seen it numerous times in Detroit and other places including an amazing version in Amsterdam. When RENT came to the Fisher Theater in Detroit it was very exciting. I remember reading articles about Jeffrey in the local newspapers and thinking it was so cool that he had produced this amazing show. I loved the descriptions of his other shows ( huge In the Heights fan!) and would have loved to read even more about that time period.
Listening to Jeffrey describe his childhood was heart wrenching. I didn’t know about that part of his life. He always seemed really confident to me, and it made me think how sometimes you just don’t know what people are going through in their lives. I thought the section about his birth family was really moving as well.
I went to Jeffrey’s book talk and signing when he was in Michigan this year and it was nice to see other “theater kids” there and a couple of his former teachers. He was gracious to everyone while signing his books.
This entire review has been hidden because of spoilers.
September 21, 2025
This book is well worth reading as far as it goes, but it's oddly shaped into the first 150 pages devoted to his uneventful youth and college years, a large midsection covering the creation of Rent, and only the last 50 rushed pages summarizing the past 28 years of successes with three major Tony-winning hit musicals before the disastrous final pages turn into an embarrassment. How can Seller devote 100 padded repetitive pages to his relatively dull youth and then only 17 to Hamilton, over half of which are used to slam Donald Trump?
Namely, this producer's "first act" is incredibly long and overly detailed with minutia that is often meaningless. He should have cut the pre-college navel gazing in half or more, then tripled the length of the "third act" with his big hits. It's like the book was meant to end with Rent, then the rest of the shows got tacked on in a rush so he can insert a ridiculous anti-Trump message where Seller hypocritically is mean and almost violent toward the new president he hates. Shadows of Seller's production of Hamilton, a musical which may well have led liberals to think gun violence is an acceptable way of resolving anger?
The guy doesn't even have sex until he's a grown-up and skips over large chunks of his adult years which must have been more fascinating. He namedrops biggies that approached him after Rent becomes a hit but gives no details of their meetings.
I do appreciate that the author is thoughtful and contemplative. He ponders his choices and opens up about his mistakes. Part of that comes from his being adopted, which unsettles him. He tries to paint his father as kind of an abusive bad guy, but in truth dad was the one who wanted to adopt him and who always supported Seller through everything, including driving him to rehearsals and hugging him when the author came out. I've read few memoirs where a father is this loving. But it's complicated--the man had a serious brain injury that took the family from the middle class to the ghetto, and as a result dad started acting erratically. Sometimes Jeffrey seems to forget that he should be thrilled to have had the kind of supportive father that many kids wish for.
The author clearly states he's grateful that he wasn't aborted and when his mother pushes him to be pro-abortion, he responds, "I don't believe life begins at conception...but I also know I wouldn't be here today if my birth mother had had an abortion." Something everyone that is so pro-abortion should think about. And, I may add, if life doesn't start at conception when does it begin? A theatrical musical starts its life when it's the creative kernel in the writer's mind, not opening night on Broadway.
Sexually he's an interesting guy. He did kiss a couple of girls in school but never really dated and claims to have never even thought about sex until high school. Seller thankfully doesn't try to use the book to claim he was gay from birth or "born this way"--nor does he push propaganda or an agenda--instead he slowly discovers his desire for male companionship when he is a young adult. But he adds, "My early fantasies of sex with women have allowed me to nurture the fiction that I'm bisexual. I know it's untrue and I need to accept the way I am." Um, if you never dated a woman and never tried to have sex with a woman, how can you possibly conclude you're not bisexual after for years thinking you were interested in women?
By the way, another rarity is the printed expression of his sexual preference and how much joy penetrating someone is (saying intercourse and musicals equally top his list of what makes life worthwhile).
Seller also slams Christianity subtly despite the fact that it's uncovered that he's not a Jew by birth but his original mother was Irish Catholic--why doesn't he address that?
For most of the book he doesn't take political stances, though he slams Ronald Reagan unfairly (claiming the president's election cost his mother her job), belittles George W. Bush, and even takes a pot shot at Dick Cheney. The author, of course, bends over backwards praising the Obamas and Clintons, all of whom have done most of the same horrible things Seller and Democrats condemn Trump for.
But the tastelessness of wasting his last short chapter on Hamilton to berate Trump's election (and anyone who voted for him) shows how really out of touch a rich NYC elitist is with American society and what freedom really means. He, like most left-wingers, only advocate for free speech that supports progressive/socialist beliefs. That's not American--over half the country voted to support the positions held by Trump in the most recent election.
He calls his "proudest moment as a producer" organizing an anti-Trump protest message read by the Hamilton cast from the stage to departing audience member Vice President Mike Pence. How rude and inappropriate. Pence actually was the friendly one and true American fashion listened kindly to the opposition, responding with "that's what freedom sounds like."
Jeffrey Seller (or should I say Mark Belanger, your real birth name?): maybe Hamilton isn't the best representation of what our country is about. The glorification of conflict among politicians and using violence to resolve issues is not something to be proud of, despite your attempt to embarrass a publicly elected official who hadn't even taken office yet. You stereotype, misrepresent and act intolerant due to the media image you have of Pence and Trump being racists, bigots, anti-immigrants, etc. Instead look at the whole picture of the country and accepting that your point of view may be inaccurate or much less popular that your New York City theater elitists have led you to believe. You should be ashamed of using these pages to spout unintelligent intolerant bigoted hypocrisy while claiming your musical changed America to become more tolerant! Could it have actually made the political environment worse by returning us to the founding fathers' era and glorifying divisiveness and violence as an acceptable solution?
It all ends up being way too long because of the verbose younger years, a lot of recreated dialogue from decades ago that is impossible for him to have recalled accurately, and the disappointing inclusion of hand illustrations instead of photographs. But there's enough hidden within to make it interesting, especially for any "theater kid" thinking of becoming a theatrical producer or dreaming of Broadway.
Namely, this producer's "first act" is incredibly long and overly detailed with minutia that is often meaningless. He should have cut the pre-college navel gazing in half or more, then tripled the length of the "third act" with his big hits. It's like the book was meant to end with Rent, then the rest of the shows got tacked on in a rush so he can insert a ridiculous anti-Trump message where Seller hypocritically is mean and almost violent toward the new president he hates. Shadows of Seller's production of Hamilton, a musical which may well have led liberals to think gun violence is an acceptable way of resolving anger?
The guy doesn't even have sex until he's a grown-up and skips over large chunks of his adult years which must have been more fascinating. He namedrops biggies that approached him after Rent becomes a hit but gives no details of their meetings.
I do appreciate that the author is thoughtful and contemplative. He ponders his choices and opens up about his mistakes. Part of that comes from his being adopted, which unsettles him. He tries to paint his father as kind of an abusive bad guy, but in truth dad was the one who wanted to adopt him and who always supported Seller through everything, including driving him to rehearsals and hugging him when the author came out. I've read few memoirs where a father is this loving. But it's complicated--the man had a serious brain injury that took the family from the middle class to the ghetto, and as a result dad started acting erratically. Sometimes Jeffrey seems to forget that he should be thrilled to have had the kind of supportive father that many kids wish for.
The author clearly states he's grateful that he wasn't aborted and when his mother pushes him to be pro-abortion, he responds, "I don't believe life begins at conception...but I also know I wouldn't be here today if my birth mother had had an abortion." Something everyone that is so pro-abortion should think about. And, I may add, if life doesn't start at conception when does it begin? A theatrical musical starts its life when it's the creative kernel in the writer's mind, not opening night on Broadway.
Sexually he's an interesting guy. He did kiss a couple of girls in school but never really dated and claims to have never even thought about sex until high school. Seller thankfully doesn't try to use the book to claim he was gay from birth or "born this way"--nor does he push propaganda or an agenda--instead he slowly discovers his desire for male companionship when he is a young adult. But he adds, "My early fantasies of sex with women have allowed me to nurture the fiction that I'm bisexual. I know it's untrue and I need to accept the way I am." Um, if you never dated a woman and never tried to have sex with a woman, how can you possibly conclude you're not bisexual after for years thinking you were interested in women?
By the way, another rarity is the printed expression of his sexual preference and how much joy penetrating someone is (saying intercourse and musicals equally top his list of what makes life worthwhile).
Seller also slams Christianity subtly despite the fact that it's uncovered that he's not a Jew by birth but his original mother was Irish Catholic--why doesn't he address that?
For most of the book he doesn't take political stances, though he slams Ronald Reagan unfairly (claiming the president's election cost his mother her job), belittles George W. Bush, and even takes a pot shot at Dick Cheney. The author, of course, bends over backwards praising the Obamas and Clintons, all of whom have done most of the same horrible things Seller and Democrats condemn Trump for.
But the tastelessness of wasting his last short chapter on Hamilton to berate Trump's election (and anyone who voted for him) shows how really out of touch a rich NYC elitist is with American society and what freedom really means. He, like most left-wingers, only advocate for free speech that supports progressive/socialist beliefs. That's not American--over half the country voted to support the positions held by Trump in the most recent election.
He calls his "proudest moment as a producer" organizing an anti-Trump protest message read by the Hamilton cast from the stage to departing audience member Vice President Mike Pence. How rude and inappropriate. Pence actually was the friendly one and true American fashion listened kindly to the opposition, responding with "that's what freedom sounds like."
Jeffrey Seller (or should I say Mark Belanger, your real birth name?): maybe Hamilton isn't the best representation of what our country is about. The glorification of conflict among politicians and using violence to resolve issues is not something to be proud of, despite your attempt to embarrass a publicly elected official who hadn't even taken office yet. You stereotype, misrepresent and act intolerant due to the media image you have of Pence and Trump being racists, bigots, anti-immigrants, etc. Instead look at the whole picture of the country and accepting that your point of view may be inaccurate or much less popular that your New York City theater elitists have led you to believe. You should be ashamed of using these pages to spout unintelligent intolerant bigoted hypocrisy while claiming your musical changed America to become more tolerant! Could it have actually made the political environment worse by returning us to the founding fathers' era and glorifying divisiveness and violence as an acceptable solution?
It all ends up being way too long because of the verbose younger years, a lot of recreated dialogue from decades ago that is impossible for him to have recalled accurately, and the disappointing inclusion of hand illustrations instead of photographs. But there's enough hidden within to make it interesting, especially for any "theater kid" thinking of becoming a theatrical producer or dreaming of Broadway.
July 22, 2025
When I originally started this audio book, I thought it would be a dishy, behind-the-scenes gossip fest about the theater world. The kind of book I love. And then it turned out, it wasn't that at all, and I still really loved it. I listened to the audio version of this, and I highly recommend. It's a full cast of Broadway actors who play all the different people in Jeffrey Seller's life, with Seller narrating and playing himself. It was an incredible listening experience. This is less dish (there is some dish in the later "acts" of the book) and more memoir, with the first part devoted to Seller's difficult upbringing. To be completely honest, I usually don't like reading memoirs about people's lousy childhoods and teenage angst. But listening to him tell his life story, with famous Broadways actors playing his mom, dad, his first boyfriend, etc. was a deeply moving and engaging experience. Jeffrey Seller literally came from nothing and climbed to the top of a very, very difficult peak, and his story is both inspirational and incredibly interesting. I have to admit to also admit to shedding a few tears when Jonathan Larsen dies as Rent opens - and Rent is certainly not one of my favorite musicals. If a book is so good it can make cry, it generally earns five stars from me.
November 21, 2025
Jeffrey Seller produced some of my favorite Broadway shows. A lot of this book is about his childhood, which was actually pretty sad and complicated, especially his relationship with his parents, but that part could have been shorter, though it was interesting to find out his first boyfriend was Andrew Lippa. There were a few chapters on Rent and then only one chapter each about his other Tony-winning musicals and a lot of that stuff is theater lore at this point, like the Avenue Q Tony campaign, so I was hoping to learn more that I didn't already know. I'm not really sure how he chose what to include in the book. He also comes off as arrogant (with his track record, I guess he has a right to be) and sometimes selfish and wishy washy. It made me feel bad for Kevin McCollum, who I don't know anything about personally, but it seemed like he had to put with a lot of shit. My favorite part of the book were when he wrote about hearing Jonathan Larson's music for the first time. And he was right that "Your Eyes" should have been cut from Rent.
October 17, 2025
The great Jeffrey Seller who has some Broadway producing chops (Rent, Hamilton, Avenue Q)tells his story. Starts with an abusive dad (doesn't always?) who you could feel sympathy for (head injury) except for his violent and out of nowhere outbursts. His mom is forever "divorcing" him, except she never does.
Sellers shares his rise to producing stardom (those guys, yes, usually guys) are super important and yet before reading this book I couldn't tell you the name of one producer. And now I know one. He also shares his sexuality and sex life in pretty complete detail. While I wasn't offended, I am not sure what the purpose of that was.
The stories of friends and actors and a little glimpse behind the curtain was fun and sometimes super sad (Jonathan Larson dying the day before RENT opened). And he does all this without seeming to brag, despite the many names that guy can drop.
Sellers shares his rise to producing stardom (those guys, yes, usually guys) are super important and yet before reading this book I couldn't tell you the name of one producer. And now I know one. He also shares his sexuality and sex life in pretty complete detail. While I wasn't offended, I am not sure what the purpose of that was.
The stories of friends and actors and a little glimpse behind the curtain was fun and sometimes super sad (Jonathan Larson dying the day before RENT opened). And he does all this without seeming to brag, despite the many names that guy can drop.
July 10, 2025
I was disappointed by the balance of personal and professional stories on this one. The first half is spent on his youth and childhood and it's a memoir, so I expect and enjoy stories from childhood, but it was not clear why these stories were chosen, so their great detail and placement seemed haphazard. The second half detailing becoming a booker, finding Jonathon Larson, Rent, and his breakthrough into becoming a successful producer was much more interesting to read. Sadly, Avenue Q, In the Heights, and Hamilton are only each given a chapter at the end in a kind of epilogue to the rest of his career. I would have loved to hear more about those endeavors and what life was like after he achieved the level of success that Rent provided.
November 8, 2025
I really really loved this book! I picked it up at the library because I liked the cover, and saw it was a memoir. I didn’t know who Jeffrey Seller was before this book, but something about it intrigued me. I’m so glad I read it! He is a Broadway producer who can’t from a tumultuous family background, but he weaves an incredible story of complex love. I have always wondered how someone becomes a producer and I was enthralled by his entire life. At one point he says about Rent, that he wonders if there were kids watching the 1996 Tony awards being introduced to this new musical and how that might impact their lives. I was one of those kids - and it did impact my life! So grateful for the arts and musicals. This makes me want to head to NYC immediately. 😂
I will say- there is a fair amount of gay sex in the book. If you don’t want to read that, just skip over it. But don’t let it keep you from reading this book. Loved it!
I will say- there is a fair amount of gay sex in the book. If you don’t want to read that, just skip over it. But don’t let it keep you from reading this book. Loved it!
June 2, 2025
I had never heard of the author before reading the summary for this memoir. It was an interesting and enjoyable behind the scenes of his life and love of musicals, learning and growing up in the theatre business and his award winning musicals. Other themes or adoption/being an adoptee, belonging, tenacity and persistence and being open to different and emerging talent. The middle was a bit low for me when he was a boomer and early producer but if you’re interested in the business, I’m sure it will be of interest.
November 9, 2025
now that im making my big return to reading i decided im gonna start reviewing. seriously SUCH a cool guy- produced rent hamilton in the heights and avenue q. AND created the idea of the broadway lottery! really easy read (probably written more-so for younger audiences) but LOVED it and felt like i learned so much about theater/broadway business and about the creation of the shows i love so much (hamilton rent and in the heights). i read this but wish i listened to the audiobook bc it has a star studded cast (darren criss, renee elise goldsberry, lin manuel miranda and sm more cool ppl) def recommend 🫵
June 1, 2025
I loved following Jeffery’s journey to where he is today. His passion that came through on every page has re-ignited my own passion for theatre and the work I get to do every day to inspire a love of musical theatre to a new generation of young performers. Thank you for all you’ve done, Jeffery! I want to be like you when I grow up!
August 30, 2025
If you're a theater lover -especially rent and Hamilton-this is a must read.
A behind the scenes look at the young and adult life of the head producer of rent. Lots of behind the scenes on how that musical got made -the ups and downs of the business-all centered in the author's life.
A behind the scenes look at the young and adult life of the head producer of rent. Lots of behind the scenes on how that musical got made -the ups and downs of the business-all centered in the author's life.
October 10, 2025
This book is about Jeffery Seller, one of the most successful American broadway producers. It goes in depth about his rocky upbringing to producing RENT, Avenue W, In the Heights, and Hamilton. 3/4 of the musicals I have seen and loved. Avenue Q is the musical that beat Wicked for the best new musical Tony back in the day.
As a musical lover, I just loved this background.
As a musical lover, I just loved this background.
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