Anania, Isa Briones, Aidan Close and Emmet Smith, McKenzie Kurtz, Whitney Leavitt, Jake Shane, and Runyonland Productions’ Thomas Laub and Alyah Chanelle Scott open up about their big years.

Meet the Broadway breakouts of 2026

Anania, Isa Briones, Aidan Close and Emmet Smith, McKenzie Kurtz, Whitney Leavitt, Jake Shane, and Runyonland Productions' Thomas Laub and Alyah Chanelle Scott open up about their big years.

By Patrick Gomez

Patrick Gomez

Patrick Gomez is an Executive Editor at . Formerly at People magazine and The A.V. Club, the Critics Choice and Television Critics Association member has appeared on ‘Today,’ ‘Extra!,’ ‘Access Hollywood,’ ‘E! News,’ ‘CNN,’ and ‘Nightline,’ and can be seen frequently on ‘Good Morning America.’ Follow the Texas Native at @PatrickGomezLA wherever your media is social for all things ‘For All Mankind’ ‘Top Chef,’ and puppy related.

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May 21, 2026 7:33 p.m. ET

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In just a few days, June will be bustin' out all over. But before then, there's a few other things breaking out — or at least Breaking Big.

This Friday, the inaugural Broadway Breakout Brunch — created and hosted by Theatrely editor-in-chief Kobi Kassal and Christopher Ketner and Hunter Regian of Origin Story Productions — will celebrate five honorees. And ** is joining in on the standing ovation, declaring the group our Broadway Breaking Big Class of 2026.

This inaugural class consists of Anania (*The Rocky Horror Show*), *The Pitt*'s Isa Briones (*Just in Time*), Aidan Close and Emmet Smith (*Harry Potter and the Cursed Child*), McKenzie Kurtz (*Schmigadoon!*), *Mormon Wives* and *Dancing with the Stars* alum Whitney Leavitt (*Chicago*), Jake Shane (*All Out: Comedy About Ambition*), and Runyonland Productions' Thomas Laub and Alyah Chanelle Scott.

Together, they represent a Broadway ecosystem expanding in real time: one where a viral comic can make his Broadway debut, a reality star can test herself in an eight-show-week institution, a swing can hold multiple versions of a cult classic in her body at once, and a producing team can help shape what the next generation of Broadway looks like from behind the scenes.

We asked some of this year's honorees to reflect on what the honor means to them, the ups and downs of their breakout year on Broadway, and what they think the future holds for the Great White Way. So grab a mimosa and join us in a toast to their Big moment.

**: What does it mean to receive this honor?**

**AIDAN CLOSE:** It feels like I've accidentally tripped into someone else's life and I need to keep the seat warm until they get back. You even asking me this question is exciting, terrifying, and funny. How lucky am I that I live a life where someone asks me this? Most of all, "breaking big" just means I'm not only lucky enough to be living my dream, but also that my other dreams are terrifyingly possible.

**ANANIA:** Breaking big means to achieve something that you put your all into. To be at the top caliber of what you set out to do. Even being asked the question makes me chuckle. I don't know, it gives such "I hopped off the plane at LAX" energy a bit. But I claim that! I want to break big!

**MCKENZIE KURTZ:** Right now for me I think it means breaking new ground and continuing to check things off my bucket list. Originating a role on Broadway in the most Tony-nominated show of the season is a total dream come true. It's funny and exciting, with maybe just a pinch of terrifying.

**RUNYONLAND:** As we've led our first several productions on Broadway, we've always operated by the principles "if we're not excited and terrified, we're not trying hard enough," and that you can't break the rules until you know the rules. Both seem pretty synonymous with Breaking Big.

**WHITNEY LEAVITT:** It means having the courage to dive head-first into this next chapter of my life and career. The feelings include all of the above, but mostly boil down to excitement. My community and the support behind each of my ventures — from my role on Broadway to the launch of my production company Leavitt Media House — means everything to me, and I am filled with all of the gratitude in the world.

**JAKE SHANE:** I feel honored that you consider me to be "breaking big." It's so exciting. But with me, excitement always comes with the thought that it could all go away, which is terrifying. At the end of the day, this is an honor, and I know that. I just need to remind myself to take the wins and focus on the excitement.

**EMMETT SMITH:** "Breaking Big" means an entire class from my high school came to my show this week and asked me to give a talkback after. It dawned on me sitting there that the first talkback I ever went to was with Lin-Manuel Miranda, who hosted the same thing as an alum of that same school. What on earth.

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**Was there a specific moment this past year you realized, "Oh, something has changed..."**

**CLOSE:** So many: seeing my blond mug on a billboard, getting to wear that opening night dress, meeting my new dad [Tom Felton, who joined the *Cursed Child* cast reprising his *Harry Potter* role as Draco Malfoy]. But that first show on Broadway, when Tom stepped out on stage for the first time, and the house erupted in applause it was unlike anything I'd ever felt in my life. You can watch the moment online, but backstage it brought my new life into sharp clarity.

**SMITH:** Probably just now when I found out ** reached out to do a profile on me with *this* group of people.

**KURTZ:** When people I've admired, looked up to and respected for years started asking me for my opinion.

**RUNYONLAND:** Looking into the house of the Booth Theater during *John Proctor Is the Villain* and seeing the faces of Gen Z audience members taken with the magic of [playwright Kimberly Belflower and director Danya Taymor]'s work in the same way we are was truly magical. It affirmed our belief that the next generation of theatergoers is hungry for content that reflects and respects their experiences.

**LEAVITT:** *Dancing with the Stars* was a marquee moment for me. That is when I realized everything was about to change, and dreams can become reality. Being there further assured me that this is what I wanted to do with my career, and it has led to so many incredible opportunities. There are no limits for what you can work for, create, and become.

**SHANE:** I started to notice a lot more negativity surrounding who I am and what I do. At first it hurt. But funny enough, that's also when I noticed I was becoming a lot more visible than I had been. This past year has taught me I really can't please everyone, but also that people seem to care more about what I have to say, and that inspires me to keep going.

**ANANIA:** Honestly, this past week has been really illuminating to why I love what I do. I love the art form. As a swing, it's such a thankless job, and it makes you bend yourselves in ways that are a bit uncomfortable. But with going on so much in the past week, I've found that I do it for my friends and castmates. To tell great stories and to encourage others to do the same. The other day, I heard some recordings of me singing in the Magenta track and found myself smiling on the Q train like an idiot.

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**Has your rising profile has changed you at all — or at least how people see you?**

**KURTZ:** I think I'm pretty much exactly the same as I always have been. If anything, I've become more confident in my abilities and know my body better than I ever have. There's nothing like doing eight shows a week to make you completely tuned in with yourself. When it comes to other people, I really don't know.... Maybe strangers see how nuts I am on stage before they see how nuts I am in real life.

**CLOSE:** I hope there isn't any difference in how, but there is certainly a difference in how many. That increased visibility — however niche — has been a steep lesson. But I'm lucky that I have Emmet learning it with me and making sure those parts of us we cherish stay the same.

**SMITH:** A sadly high percentage of my social life now is bringing friends and family backstage after the show, because that's when our schedules overlap. Which is very cool, but, you know. What's stayed the same is weekly *Survivor* nights with my family. And my meal preps: chicken, rice, and kale.

**ANANIA:** Sometimes, my partner says I feel more in control or confident. I like to think I'm still the same clown for hire I was when I started this business we call show.

**LEAVITT:** Nothing and everything has changed. I am so proud that who I am has not changed throughout all of these amazing opportunities. My family and I are growing together, and we ground each other with what really matters. While the world around us, the city we are in, and the career opportunities are ever evolving in the best way, we will always be us. I am very proud of that.

**SHANE:** I like to think that now people see me as a true performer as opposed to just someone online. But the most important thing to me, and something that will never change, is that all I care about is making people laugh.

**RUNYONLAND:** Not much changed around here, but it is getting harder and harder for Alyah to hide her deeply-held obsession with Paddington Bear, now that he's a smash-hit on the West End.

Isa Briones in 'Just in Time'.

Matthew Murphy

**What has this past year taught you?**

**SMITH:** The balance of consistency and freshness. I worked with an actor, Terry Hamilton, in Chicago who taught me that the trick to long runs is "finding infinity within the pin of a needle." The pin of the needle being your lines, your blocking, all the boxes you must stay inside to give a consistent show every day. But within those boxes, it's up to me, and us, to find the infinite amount of exploration possible. Aidan helps with that.

**CLOSE:** I'm starting to learn how to act, which is really exciting. Kidding! Maybe. In all seriousness, I've been learning how to foster the relationships in my life and with myself while exhausted and with limited time. Boundaries, gratitude, effort, grace —[I'm] still learning.

**KURTZ:** I've always considered myself a "yes" person, and when I commit to something, I give it 100%. I've learned in the past year to pick and choose wisely and prioritize myself — to say no and prioritize both my physical and mental heath.

**ANANIA:** To say no more.

**SHANE:** Ignore it and go to bed.

**What's the most unglamorous part of the job?**

**ANANIA: **It's a scheduling nightmare. Half of my time is just organizing and theorizing how I can be in two places at once. And naturally, I can not. So don't do what I do if you hate Google Calendar.

**SMITH:** Weekly physical therapy, acupuncture, and voice work. It's not a musical, but we sure do use our bodies and voices.

**RUNYONLAND:** The past year has felt like such a whirlwind of exciting and very public successes, which we've felt so lucky to have had. But what's less visible is the six years prior to this, wherein we worked just as hard to develop the core of our company and our relationships with writers, directors, designers, producers, agents, partners, and venues. What's happening now is merely the manifestation of that hard work and time.

**KURTZ:** It's come with a lot of really low times. I don't talk about that side of it as much because I'm not the best at being vulnerable. But I thank God for the people in my corner who lift me up and help me through that every single day.

**SHANKE:** I show all sides of myself, so I don't think there's anything anyone would really be shocked by. I do think people might be surprised to know that I take acting classes, I do self tapes, I audition, and I still get rejected constantly. It can suck, but it also motivates me to keep going.

**CLOSE:** When I moved to New York, I was in a small play that would play for a weekend as part of a theater festival. For about two weeks, I didn't leave my apartment and emailed about 300 or so agents and casting directors to come see the show. None said yes, one said "Let's call." She's my agent to this day.

Jake Shane in 'All Out: Comedy About Ambition'.

Matthew Murphy

**Was there a note, rejection, or conversation that unlocked something for you?**

**CLOSE:** "You can cut the shrieking by two thirds" — Tony Award winner John Tiffany.

**RUNYONLAND:** Whenever those moments happen, and they happen all the time, we try to remember that we're not allowed to complain unless we have a better idea. Complain for ten minutes, then go figure out the better idea.

**KURTZ:** My freshman year of high school, I won Best Actress at our state One Act competition. Our first day of drama sophomore year, we were supposed to have learned and prepared a song to present in class. I showed up unprepared and my teacher basically said to me, "What? You think you're hot s--- now or something?" I never showed up unprepared again.

**ANANIA:** I had a meeting with a casting director after I auditioned for them. It was clear I didn't get into the show, but they took an interest in me — thank god. I needed to up my agency, up my reels, up my dancing, and just pour into my theatre career in a way that I hadn't yet. For a very long time now, and especially in NYC, I've been having to do double or triple duty: picking up gigs and hosting shows to pay the rent and losing time to perfect a jazz hand. Riveting, I know.

**SMITH:** I didn't book this show the first time around. And I think I wasn't ready for it. The year of training and classes and other shows that the rejection motivated me to into were critical to the foundation I have in the show now.

**SHANE:** After I hosted the Vanity Fair Oscar Party carpet, I knew I needed to adjust my approach for high stress environments. My podcast and comedy is often so off-the-cuff, it was sometimes hard to not be in that "mode." Now I know to go into projects like that with a different mindset.

Emmet Smith and Aidan Close in 'Harry Potter and the Cursed Child'.

Matthew Murphy

**Aidan and Emmet, you brought Albus and Scorpius from the national tour to Broadway. What changed when that same on-stage friendship landed at the Lyric Theatre?**

**CLOSE:** I think the beautiful thing is that it hasn't changed, only deepened. At the risk of sounding overly saccharine, how lucky are we that we get to go through this together? My Scorpius is only possible because of his Albus — and the vulnerability, play, and trust we found together on the road. The gift of getting to bring that dynamic to Broadway and deepen those aspects is one I'll never be able to repay. I trust him like I've never trusted a scene partner before. When you trust your scene partner, you trust yourself. When that happens: the play breaks open and comes alive.

**SMITH:** More eyes! But I'm very proud to say Aidan and I have kept our approach of play, always talking about the play, and always trying to do better. Getting to bounce off Aidan —and John Skelley, who plays Harry — is a miracle. They keep me grounded and climbing up the same shared mountain every night. Aidan and I.... It's a cool yin and yang thing we've got going on. Water and earth. Wind and fire? Who's to say. In terms of craft and trust, it's there because we consistently pour into it. Like a marriage. Every night before Platform 9 3/4, Aidan and I set an intention for our show. If we keep building that ground together every day, we can keep dancing on it.

Bruce Glikas/WireImage

**Anania, as a swing for both Magenta and Riff Raff, you're holding multiple versions of *The Rocky Horror Show* in your body at once. What has that taught you about readiness, ego, and command?**

**ANANIA:** It's funny, because I'm the only swing/understudy that covers both ALIENS. Not going to read into that anymore. Anyway.... I've really had to lord over my time lately. I'm having a huge problem with burnout, and I think it's because I'm trying to lasso the moon and be a broadway actress. There's something in me that says, "I can use the time I'm not in the show to create something else." And it's not sustainable. The most fun I have with the show is when I'm able to fully be present. No deliverables for brands, or being behind a personal [social media] posting schedule, or interviews close to call time. I'm learning a lot about how I need to leave brain space, so I can actually be ready at a moment's notice. As for ego, I've struggled with the thankless part of the job. But now I feel over that hump. Now I feel capable in ways I couldn't imagine. I can't believe I get to cover Juliette Lewis! That, in itself, is an absolute honor. I've reframed my relationship to being a swing from that sentiment alone.

Alex Brightman and McKenzie Kurtz in 'Schmigadoon!'.

Matthew Murphy and Evan Zimmerman

**McKenzie, you've also invited fans behind the scenes of *Schmigadoon!* through "Farmer's Daughter Diaries" on social media. What part of the Broadway process do you think fans understand better now, and what part still needs to stay a little mysterious?**

**KURTZ:** I feel like I got to give a pretty in depth look into the rehearsal process and room. But I always made sure to ask people before filming them performing. It's a very personal, vulnerable time where people are trying new things and making mistakes. As they should be! I think that should always stay a little mysterious.

**Jake, on social media, you engage with your audience in a very different way from Broadway. What are the positives and negatives of those differences?**

**SHANE:** There actually hasn't been any negative...yet. It was an awesome way to interact with my audience as I embarked on a new endeavor. I loved seeing people post how much fun they had at the show and at the stage door after. It reminded me of seeing Broadway plays with my mom when I was a kid. My favorite part of [*All Out* playwright Simon Rich]'s writing is his unflinching and hilarious honesty. It inspired me to make my own dreams known more, because playing characters that were so ambitious every night, you can't help but embody the way they view the world and their desires.

Whitney Leavitt in 'Chicago'.

Bruce Glikas/Getty

**Whitney, what did Broadway demand from you that *Dancing with the Stars* or reality television did not?**

**Leavitt:** Broadway demanded a new level of performance endurance that I did not think possible. The physicality and mental strength it takes to perform at that standard at every night is something I will never forget. Broadway is a special community of the best entertainers in the world, and I count it one of the sweetest honors of my career to have been embraced by them with open arms.

**Runyonland's mission statement prioritizes "bold, unapologetic storytelling." What does that phrase mean when you're also making budgets, schedules, investor calls, and risk calculations?**

**RUNYONLAND:** Creative producers sit at the intersection of art and commerce and need to be able to speak both languages. While one of us is working with a designer and director to clarify scenic vision for a play, the other might be interpreting that vision into an financial pro-forma. Our goal is to bring the best entertainment to the widest audience possible, and that means working with brilliant artists *and* creating sustainable business models. There's an outdated myth that young audiences don't buy tickets to Broadway shows. Turns out, Broadway shows historically don't respect or market to those young audiences, who are attending concerts and live events at a higher rate than any other group in the country.

**What do you think Broadway needs from the generation breaking through right now?**

**LEAVITT:** I think Broadway needs people who are willing to respect the tradition while also not being afraid to shake things up a little. The new generation grew up online, consuming stories differently, connecting differently, and expressing themselves way more openly. I think that energy can bring a freshness to Broadway that makes more people feel seen and invited in. At the same time, I think audiences are craving authenticity. They want performances that feel real, emotional, imperfect, vulnerable, not just polished. So I think the generation breaking through right now has an opportunity to bring more honesty and individuality into the space while still honoring the incredible talent and discipline Broadway is built on.

**RUNYONLAND:** We're so excited for the collaborative spirit of this generation, and the idea that the rising tide lifts all boats. Broadway is thirsty for kindness and originality. Theater is a collaborative art form: we should be sharing, not gatekeeping.

**SHANE:** Broadway is supposed to be fun, and I think this generation craves entertainment that's not overly polished or performative. Stage shows can sometimes have an air of prestige — which is great, but it doesn't need to feel intimidating. This generation can make it something everyone feels welcome to enjoy and be a part of.

**SMITH:** I think Broadway needs us to make what we want to see, not what we think others want to see. More authentic risks. Tell stories we care about. Make Broadway cool again.

**KURTZ:** I hope we get more original, raw, boundary-pushing stories from this up and coming generation. More diversity, more women's stories. I work with a lot of high schoolers and it makes me so excited for the future of Broadway. They're so talented and passionate, and it warms my heart to see.

**ANIAN:** Trans...parency. Anything from why a show is closing to how companies are paid. Let's demystify the role of a producer.... And cast more transgender people.

**CLOSE:** Savviness, I think. The economy is making expenses like theater more inaccessible. So until greater economic forces like wealth concentration and disparity can be solved on a greater scale, this generation of Broadway perhaps needs to understand how to market, diversify, and adapt itself. How can we cultivate icons out of creatives? How can we foster urgent voices that audiences will return project after project for? How can we go beyond trends and create something new? How can we divert money to these things — marking, diversity, and adaptation? This is truly my best guess. I know I just got here and have a lot to learn.

**Finish this sentence: "The next thing I'm ready to break open is…"**

**CLOSE:** The screen.

**LEAVITT:** The scripted and unscripted treasures we have cooking up at Leavitt Media House.

**RUNYONLAND:** My 32nd Poppi of the day. And then the Broadway Briefing to read about all the wonderful Drama Desk Award winners from last night.

**SHANE:** Traditional media.

**ANANIA:** A cherry coke.

**KURTZ:** A bottle of champagne after the Tonys.

**SMITH:** The *Cursed Child* Broadway Softball team. We've got a losing streak I'm eager to break.

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Source: “EW Theater”