The iconic Broadway musical Wickedknown for its themes of inclusion and acceptance, is now at the center of a federal lawsuit alleging discriminatory hiring practices. The lawsuit, filed this week in U.S. District Court in Manhattan, claims that the musical’s apprenticeship program excluded a qualified white male musician based on his race and gender.
The plaintiff, Kevin Lyncha 35-year-old theater professional from Rockland County, alleges that he was barred from applying for the Music Director Experience with Wicked because of his immutable characteristics. The lawsuit is also backed by conservative activist Edward Blumpresident of the American Alliance for Equal Rights, who has been instrumental in challenging affirmative action policies.
The Irony of the Lawsuit
The complaint highlights the irony of targeting a musical that tells a story about a witch ostracized for her differences. ‘Broadway is known for breaking rules, suspending reality, and — in the case of the blockbuster musical Wicked — defying gravity,’ the complaint states. ‘But one thing Broadway can’t defy is the law, including the many laws banning status-based discrimination.’
The lawsuit targets Wicked LLC, Maestra Music, Inc., and Arts Ignite Inc. d/b/a Musicians United for Social Equity (MUSE). These organizations are accused of violating federal civil rights laws, the New York State Human Rights Law, and the New York City Human Rights Law by maintaining employment directories that exclude musicians based on race and sex.
The Music Director Experience
The Music Director Experience is a paid, three-week intensive position with Wicked, offering selected participants the opportunity to attend rehearsals and performances, study the musical score, and receive one-on-one instruction from the show’s Music Director. The position was advertised across social media and Broadway trade publications, with applications solicited through a publicly accessible Google form.
However, eligibility for the position was restricted exclusively to members of the Maestra and MUSE directories. Maestra’s directory admits only female and nonbinary musicians, while MUSE’s directory admits only musicians of color. By design, white male musicians could not qualify for either directory, effectively excluding Lynch from participation.
The Broader Context of Diversity in Theater
The lawsuit comes at a time when questions about representation and diversity in the arts have taken center stage. The 2015 debut of Hamilton, which features a predominantly Black, Latino, and Asian American cast portraying the white Founding Fathers of the United States, has upended conventional notions about which actors can play certain roles.
The Asian American Performers Action Coalition (AAPAC) issued a ‘Visibility Report’ on industry hiring during the 2026-22 season, showing that while Black actors hit near-parity with white actors, there were no Asian, Latinx, or MENA actors in leading roles. ‘What this tells us is that there was a very narrow understanding of diversity on Broadway,’ the report stated.
Pun Bandhu, a steering committee member of AAPAC, emphasized that programs like those created by Wicked, MUSE, and Maestra are important pathways aimed at creating equal access to employment opportunities. ‘Eliminating efforts towards inclusion does not create an even playing field,’ Bandhu said.
The Legal Battle Ahead
The lawsuit seeks a permanent injunction barring Maestra and MUSE from classifying people by race or sex in their directories. Edward Blum expressed hope that if they win the case, other organizations with similar programs and policies will follow suit.
As the legal battle unfolds, the lawsuit raises important questions about the balance between promoting diversity and adhering to anti-discrimination laws. The outcome of this case could have significant implications for the theater industry and beyond.
