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Producer James Simon's introduction to theater began in front of an audience, not behind a desk. As a child, he acted in school and camp productions, discovering early how performance can shape identity and community. That enthusiasm led him through a range of creative experiences, from high school stages to college life and work in radio; yet the spark of live performance never faded. Over time, Producer James Simon realized that his most straightforward path in the arts would come not only from performing, but from stewarding the whole enterprise. Today, he is a Broadway producer with two Tony Award nominations and a résumé that spans Manhattan, London’s West End, and international festivals.

Raised in Bronxville, New York, James studied communications at Emerson College in Boston. After graduating, he began a career in radio before relocating to New York City in the early 1990s to pursue acting professionally. Like many emerging artists, he held multiple jobs to support himself. One of those roles became pivotal: while working on the revival of Damn Yankees, he got his first hands-on look at Broadway’s inner mechanics. The experience revealed the scale of coordination and care required to shepherd a show from the rehearsal room to the curtain call, and it reshaped his ambitions.

That backstage vantage point revealed a creative aptitude beyond performance. James developed a producer’s eye for material and a practical sense of how to assemble the right teams. He learned to balance artistic ambition with timelines, budgets, and market realities. As “James L. Simon, Producer” emerged, he gravitated to projects where he could pair story-first instincts with sound business judgment. The combination of creative vision grounded in pragmatism has guided a steady career, with credits that reflect both range and consistency.

James’s work has been recognized across primary stages. He has earned two Tony Award nominations: Bells Are Ringing for Best Revival of a Musical and Operation Mincemeat for Best New Musical. His producing slate off-Broadway has also garnered acclaim; he co-produced The Woman in Black, which received the Off-Broadway Alliance award for Best Play Revival. Beyond New York, Producer James Simon has contributed to productions in the West End and supported shows at international festivals, building a transatlantic profile while remaining deeply engaged with New York's theater scene.

To James, producing is a combination of art, management, and service. It means choosing the right story at the right time, assembling collaborators who elevate the work, and developing a plan that protects the production’s integrity. The day-to-day reality includes budget oversight, contract negotiations, creative problem-solving, and logistics that often change without notice. He values the unglamorous tasks — phone calls, spreadsheets, and last-minute backstage fixes — because they protect the conditions for artistry. James prioritizes respectful rehearsal rooms, clear communication, and a professional environment that enables artists to do their best work.

James stays in the theater because he believes stories have consequences. He often speaks about the power of storytelling to connect people across backgrounds and how vital it is to make that experience accessible. While proud of the large-scale productions he has helped launch, he champions the quieter pieces that might not command headlines but can leave a lasting impression on audiences. He has also highlighted the challenges faced by emerging artists, including the need for mentorship, early credits, and financial support. In that spirit, he serves on the board of Untitled Theater Company No. 61 and has supported organizations such as Artists Relief and Donors Choose, helping to widen pathways for new voices.

James’s commitment to community extends outside the theater. He has volunteered with the New York Food Bank and Habitat for Humanity, underscoring a belief that civic engagement should accompany cultural work. He is a regular blood donor through the New York Blood Bank and contributes to groups including the Legal Aid Society. These efforts reflect a broader ethic: productions may close, but the responsibility to serve the community is ongoing.

Looking ahead, Producer James Simon is preparing for the 2025 Edinburgh Fringe Festival, where he will bring The Marriage of Alice B. Toklas by Gertrude Stein. This critically regarded play pairs literary wit with theatrical invention. He is also co-producing a national tour of Dungeons & Dragons: Twenty Sided Tavern, an audience-interactive piece that blends live gaming with immersive theater, in the United States. The two projects illustrate his range: one rooted in language and history, the other in participatory performance and contemporary fandom, both aligned with his belief in story-driven work that invites audiences in.

In an industry often drawn to novelty and spectacle, James favors substance and durability. He evaluates projects for the honesty of their voice and the sustainability of their process, rather than short-term buzz. Colleagues describe him as steady, pragmatic, and attentive to the details that keep a production healthy. Whether stewarding an international tour or nurturing a small downtown piece, he brings the same focus: protect the story, respect the artists, and ensure the operation runs cleanly.

Producer James Simon continues to build a body of work that values craft over noise. His path from early performances to a producer’s chair has been shaped by curiosity, discipline, and an abiding respect for the collaborative nature of theater. As long as there are new stories to stage, he intends to help them find their audience quietly, carefully, and with the conviction that well-told stories remain one of the most meaningful ways we connect.