At Juilliard, John Gore Opens Up About Risk, Storytelling and the Business of Broadway

On September 16, students in the Drama Division at The Juilliard School gathered for a conversation with someone whose name appears on theaters around the world—but who rarely steps into the spotlight. John Gore, the producer and entrepreneur behind some of Broadway’s most successful productions, joined Evan Yionoulis, the Richard Rodgers Dean and Director of the Drama Division, for a wide-ranging, informal talk.

The afternoon carried extra resonance. Beginning in the 2024–25 school year, Gore’s philanthropic support helped Juilliard make its drama program tuition-free—an extraordinary shift already altering access and opportunity for emerging artists. Yionoulis opened by thanking Gore for that support and framing the event as a chance for students to hear from someone who has spent decades navigating the commercial theater landscape.

Gore used the time to look back at his unexpected path to producing. “I was acting in school productions, but I kept finding myself questioning the directors,” he said, smiling. “Eventually I thought, maybe I should try being on the other side of the table.”

That impulse led him to an unlikely early project: a stage adaptation of the 1960s Batman television series, which he also directed. “I just loved the show and wanted to put it onstage,” he recalled. The quirky production caught fire and then caught the attention of Warner Bros., who brought him in to consult on Tim Burton’s first Batman film. The success of that movie kicked off a franchise and signaled Gore’s instinct for adapting beloved properties in fresh ways.

From there, he found success in the U.K. with Thunderbirds F.A.B., a stage version of the cult TV series that premiered in 1989 and became the most revived show in West End history. He followed it with Star Trek: The Lost Voyage of the Enterprise, expanding further into the world of sci-fi theatricality.

Today, Gore is one of the most decorated producers in Broadway history, with 25 Tony Awards as of 2025. His company, the John Gore Organization, has grown into a theatrical powerhouse encompassing Broadway.com, Broadway Across America and a slate of businesses in touring, media, ticketing and production. But at Juilliard, Gore seemed far more interested in process and collaboration than résumé bullet points.

Student questions led to frank talk about Broadway economics, original work and creative longevity. One student mentioned Stereophonic—a critical and commercial hit without stars or recognizable IP. Gore kept his answer simple: “It’s original and it’s good. Sometimes that’s enough.”

He also acknowledged the industry’s tougher commercial realities. “In the West End, a play doesn’t have to be a blockbuster to be considered successful,” he said. “In the U.S., the expectations are different—it has to be a hit.” And even musicals, he noted, demand “material, director and cast all working together. That’s when you have a shot.”

For all the talk of budgets and branding, Gore repeatedly returned to the idea of honesty in storytelling. “Truth on stage, truth in the room, truth on the screen… it all matters,” he said. “Audiences can feel it.”

When asked whether he ever imagined a different path, he answered without hesitation: “Not really. But I do believe your profession should be honored. If you’re going to do this, do it with integrity. That’s the only way it lasts.”

In a room full of artists on the brink of their own careers, that landed with clarity. Instead of advice, Gore offered something quieter and more lasting: perspective.

See Gore’s visit to Juilliard on The Broadway Show below!