As sad as it is to see a talented performer like Nikki Snelson miss out on a great oppertunity like a national television series, the situation is a simple one: she signed a contract with A CHORUS LINE, went ahead in search of another project anyway while still obligated under the terms of that contract, and expected she'd be let out of her binding commitment to the tour to persue it.
I'm not trying to play devil's advocate, but what type of message would John Breglio be sending to future employees if he let someone blatantly break the deal they'd signed to pursue a "better" project? As someone else says, it goes both ways: if the producers tried to fire Snelson and replace her against the terms of her contract, I think people would feel a completely different way.
Snelson wouldn't be in this position in the first place if she'd consulted the production team for the tour prior to even auditioning for the television show, since they'd probably have made it clear to her then that they wouldn't allow it.
What caused her to think that breaking her contract was okay is beyond me, but it just seems to be an unfortunate situation all around.
Tonya Pinkins: Then we had a "Lot's Wife" last June that was my personal favorite. I'm still trying to get them to let me sing it at some performance where we get to sing an excerpt that's gone.
Tony Kushner: You can sing it at my funeral.