James Simon is a New York-based theater producer known for his work on Broadway, Off-Broadway, and in the UK. Born in 1966 in Westchester, New York, he developed a passion for the performing arts early, acting in school plays and playing drums from the age of five. He earned a Bachelor of Science degree from Emerson College in Boston in 1988, where he was active in college radio and began shaping his skills in storytelling and production.
After college, Simon pursued acting, appearing in independent films, Off-Broadway productions, and even making a cameo on Saturday Night Live. Over time, he transitioned into producing, finding a calling behind the scenes. His production credits include the Tony-nominated revival of Bells Are Ringing, the award-winning Off-Broadway production of The Woman In Black, and associate producing Pippin and Play On!.
More recently, Simon co-produced the critically acclaimed Broadway revival of Death of a Salesman (2022–2023) and is currently a co-producer of the Broadway transfer of Operation Mincemeat, which opened in March 2025. He also works in film, serving as executive producer on A Tale of Two Pizzas (2003) and co-producing the upcoming When Reagan Killed Roosevelt.
Simon serves on the board of Untitled Theater Company 61 and contributes to Theater Resources Unlimited. Outside of theater, he is an avid skier, traveler, and music lover. He continues to support emerging artists while developing new and thought-provoking stage productions.
Q&A with James Simon: Defining Success in Theater
Broadway producer James Simon shares his take on what success really means in the world of theater.
What does success mean to you as a producer?
Success, for me, isn’t just about box office numbers or awards. Of course, those things matter in terms of keeping a show running and opening doors for future projects. But real success is when the creative vision comes together and the audience leaves feeling something—moved, provoked, inspired. That’s what sticks with me.
Is there a moment when you felt you had truly “made it”?
I don’t think I’ve ever had a “made it” moment in the traditional sense. The Tony nomination for Bells Are Ringing was a milestone, sure. But I still approach every project with the same uncertainty and drive. This industry has a short memory. You’re only as good as your last production.
How do you measure creative success?
Creative success happens when a team is in sync and the production reflects the soul of the material. Even if the show doesn’t run forever, if we honored the story and took risks that felt true, I call that a win. Sometimes it’s the smaller, quieter productions that resonate most.
How about industry recognition—how important is that?
It helps. Awards and positive press can open doors, but they’re not everything. I’ve seen brilliant shows get overlooked and some very commercial ones get all the buzz. The industry can be unpredictable. You can’t chase validation—you just have to keep your standards high and your circle honest.
And audience engagement?
That’s huge. Theater is a live experience, and every audience reacts differently. When you feel that collective energy—laughter, silence, applause—it’s powerful. You know it’s working when people stop checking their phones and just sit with the moment. That’s rare today, and it’s gold.
What’s one success that surprised you?
There was a show I helped produce in the early ’90s that didn’t last long. It barely broke even. But recently, a UK company revived it in a totally different format—and it’s getting rave reviews. That was surreal. It reminded me that timing is everything, and that good work can have a second life.
Do you think success has changed over time for you?
Absolutely. When I started out, success looked like getting my name in the Playbill. Now, it’s more about longevity and meaningful collaboration. I’m not chasing fame—I’m chasing work that matters. If something I produce still sparks conversation years later, that’s success.
What advice would you give others about defining success?
Don’t let anyone else define it for you. In theater, there’s no formula. Some shows will bomb, others will surprise you. If you’re proud of the work, if you put your whole self into it, that’s enough. And if people connect with it—even just a few—that’s impact.