BEHIND THE CURTAIN: Three Guys, One Way…and the Many Roads to Broadway

By Ricky Anderson

The spotlight may shine brightest on the actors, but behind every showstopper is a producer—or, more often, a team of them—making the impossible feel inevitable. From big-budget Broadway debuts to passion-fueled revivals, the producer’s job is equal parts architect, investor, creative lead, and firefighter. And as it turns out, there’s no single path—or paycheck—that defines what a producer really is.

To get a clearer picture of what producing looks like from different vantage points, we spoke with Brian Moreland, a lead producer with multiple Broadway credits; Cody Lassen, a Tony-nominated producer blending strategy with storytelling; and Rob Finch, a medical affairs professional who produces on the side as a deeply engaged investor.

What emerges is a vivid portrait of an industry driven by risk, heart, collaboration—and a lot of coffee.

Different Paths, Same Passion

Brian Moreland, who started as a dancer and dresser before stepping into producing, traces his theater roots all the way back to a third-grade performance. “I was Santa Claus in a school play,” he laughs. “Once it ended, I just wanted to do it again.”

Cody Lassen, by contrast, came to producing through corporate strategy. “I realized I wasn’t going to write or direct a show,” he says. “But I could build the infrastructure for great work to happen—and protect it once it did.”

And Rob Finch? His journey began with a high school marching band performance of Phantom of the Opera. “I didn’t even know what musical theater was until then,” he admits. Now, after completing a producing intensive and carefully selecting projects he’s emotionally connected to, he balances his Broadway investments with a full-time job in healthcare.

Despite vastly different beginnings, all three share a clear motivator: a deep love for storytelling and a desire to bring meaningful work to the stage.

[the_ad id=”116764″]

What Does a Producer Actually Do?

The word “producer” may conjure up images of champagne and red carpets, but in reality, producing is about managing chaos—financial, creative, and emotional.

For Brian Moreland, being a lead producer means handling everything from raising money and assembling the creative team to securing theater space and guiding the show from idea to opening night. “Sometimes you have your cast, but no rights. Or you have your money, but no theater. Or you’ve got it all—but still no greenlight,” he says. “When it finally all aligns, it’s magic. But getting there is like solving a 3D puzzle blindfolded.”

Cody Lassen emphasizes how unglamorous the day-to-day really is: “Most of it is meetings, spreadsheets, and managing personalities,” he says. But that doesn’t mean it’s without joy. “The stress is constant, but it’s worth it when you see a cast take their bow and know you helped make that moment possible.”

At the investor-producer level, Rob Finch is less involved with the nuts and bolts but still sees his work as part of the greater artistic ecosystem. “I invest in shows I believe in. I bring in other investors. And I show up for the company. That’s my lane,” he says. “Producers at every level help shape the future of theater. Even if I’m not in the Playbill, I’m proud to be part of that.”

Choosing the Work

When it comes to selecting shows, all three producers rely on one thing: instinct.

For Moreland, it’s about urgency. “My first question is always: why now?” he says. “Broadway can handle every kind of story. But what’s the right story for this moment?”

Lassen is driven by underrepresented voices and powerful reinvention—like his acclaimed Deaf West revival of Spring Awakening. “We’re not just here to sell tickets,” he says. “We’re here to make people feel seen.”

Finch, on the other hand, leads with heart. “I have to feel something,” he says. “Secret Garden? One of my all-time favorites. Sunset Boulevard? I’ve loved it since high school. If a show moves me, that’s what gets me to write a check.”

The Perks—and the Pressure

Perks vary by position. As a lead producer, Moreland shoulders the most responsibility—and therefore the highest risk. But he also gets to steer the vision and lead the creative process. “You’re not just raising money,” he says. “You’re building community. You’re guiding art. And sometimes, yeah, you’re also unclogging a dressing room sink.”

Lassen, who often functions as both business lead and creative partner, enjoys the best of both worlds: hands-on involvement with casting and direction, but also the satisfaction of running a tight financial ship. “You have to wear both hats at once—artistic and operational,” he says. “If one side falters, the whole thing wobbles.”

For Finch, the perks are more experiential: access to opening nights, industry events, and—most importantly—a front-row seat to the magic. “I got to see Nicole Scherzinger’s Sunset Boulevard twice in London before it even came to Broadway,” he beams. “And now I’m part of the team bringing it here.”

Looking Forward

All three producers share a belief in the future of Broadway—but acknowledge that it will take fresh energy and new voices to shape it.

Lassen mentors emerging talent. Moreland champions inclusion behind the scenes. Finch continues to bring in first-time investors who care about the art, not just the bottom line.

And as for their “white whale” shows? Moreland dreams of producing Dreamgirls. Lassen wants more boundary-breaking revivals. Finch is holding out for an Aida comeback—and he’s ready when it happens.

Producing may not always come with a spotlight, but make no mistake: without producers like Brian, Cody, and Rob, the curtain wouldn’t rise, the actors wouldn’t bow, and Broadway wouldn’t be what it is today—a collaborative act of courage, creativity, and a little bit of controlled chaos.