The new theatre complex at Cincinnati Playhouse in the Park has opened the door to exciting partnerships, allowing the Playhouse to collaborate with national artists and serve as a launchpad for future Broadway productions. After the recent success of Mythic, we had the chance to sit down with the show’s New York producer, Shoshana Kovac Parets of SHO Productions. Mythic quickly became an audience favorite, drawing crowds with its charming score, vibrant design, and heartfelt storytelling. Shoshana Parets reflects on the creative journey behind the production and what it meant to bring a new musical to life.  

Why did you choose Cincinnati and the Playhouse for the pre-Broadway run of Mythic? 

If we want shows to succeed and have real longevity on Broadway, we have to start by doing things differently from the very beginning. We can’t just go to the same places with the same choices and financial models and expect new results. 

When I heard about Playhouse’s stunning new theatre, I met with their leadership team, and it was clear they understood exactly what we needed to launch Mythic into the Broadway conversation—and that their community would show up for bold, original work.  

I was lucky to have choices when deciding where to go, and I’ve never looked back. One of my favorite moments was standing in the back of the theatre during previews and feeling that shift in the room—the moment when people realized they weren’t just watching another show; they were part of the beginning of something. 

What do you appreciate the most about this partnership? 

The collaboration—100%. The Playhouse team doesn’t just talk about supporting new work; they actually do it. From day one, it felt like a true partnership. They gave us the space and trust to experiment, to try different things, and ultimately, to find the magic. 

The artists, musicians, and the crew were all top tier but completely ego-free. Everyone was there for the work. You could feel it everywhere—from talking to Brandon or Andrea in Stage Management, to Don or Olivia at the box office, or Darren and Kathleen at the bar—everyone was pulling for the same goal: to help Mythic become the best version of itself.  

The cast of Mythic at Cincinnati Playhouse in the Park. Photo by Mikki Schaffner. 

What was the best part about the Cincinnati audience? 

Cincinnati audiences are a producer’s dream. They have the sophistication of a major theatre town and the warmth of people who genuinely love live performance. They’re curious, open, and unafraid to react. There was so much laughter throughout every performance. 

I’ll never forget seeing groups of women come in wearing Greek gold hair accessories, or families bringing multiple generations—moms, daughters, friends, husbands—all together. The enthusiasm was contagious. People came back multiple times, bringing new friends with them each time.  

Standing in the lobby afterward and hearing, “I can’t wait to see this in New York,” or “This has to go to Broadway,” or “I wish this could extend”— that’s the dream. To have an audience in a show’s future right there in the moment is everything.  

What’s next for Mythic? Broadway? 

Ah, the million-dollar question—literally. Let’s just say the gods are smiling. Cincinnati gave Mythic its wings, and now we’re building the runway for what’s next. We’re in active conversations with commercial partners and investors as we chart the path toward New York.  

It’s been especially exciting to see new investors—people who’ve never been involved with Broadway before—step in because they believe in Mythic’s future. This show has been a wonderful entry point for anyone curious about how to be part of the Broadway journey. It’s a fun, electrifying, and accessible way to “dip a toe” into producing while helping bring something original to the stage.  

Just like we engaged a new theatre community, we’re now engaging new investors, fans, and collaborators. We’ve got the right team, the right story, and a score that stays with you. And when Mythic lands in New York, I think it’s going to make the theatre gods—and the audiences—very, very happy.