There’s tumult behind the scenes this week at “Be More Chill,” the social media phenomenon that’s become a Broadway musical.

Concerned that their show isn’t gaining traction in the Tony sweepstakes, the producers fired press agent Keith Sherman.

To the cynical Broadway crowd, it looks like panic is setting in. “Be More Chill,” which opened to mixed reviews, is doing well at the box office, grossing more than $700,000 a week. But as pundits — and for what it’s worth, I’m one of them — start gaming the Tonys, “Be More Chill” is not bubbling in the stew with “The Prom,” “Hadestown,” “Tootsie” and “Ain’t Too Proud.”

Lead producer Jerry Goehring says the change is just part of the evolution of a show that started in a small theater in New Jersey before riding a swell of teenage social media love to become a $9 million production at the Lyceum Theatre.

Goehring replaced Sherman with veteran press agent Chris Boneau, who, with business partner Adrian Bryan-Brown, is credited with winning his clients 222 Tony Awards.

“We love Keith dearly, but we’re riding a bucking bronco here, and we needed to make a change,” Goehring says.

“It is not the job of a press agent to rein in a bucking bronco,” Sherman tells me. “It is our job to create a public profile and deliver results . . . We are extremely proud of the first-rate publicity we generated locally and nationally.”

In fact, Sherman’s firm tirelessly promoted “Be More Chill” since its off-Broadway run last summer. But sources say he was frustrated that many of its young and unknown cast members have since hired personal publicists. They’re all trying to raise their profiles in a bid for Tony nominations while Sherman tried to develop an overall strategy for the show.

“It’s a bit of a viper’s nest backstage,” says a source.

Goehring says his cast is “young and excited,” but they aren’t divas — “not yet, anyway,” he says, with a laugh. They’re an ensemble — nobody gets above-the-title billing — and the challenge, Goehring says, is to keep that “ensemble vibe” onstage.

‘It is not the job of a press agent to rein in a bucking bronco.’

Personal publicists are sprouting all over Broadway these days, like mushrooms in a forest. Nathan Lane, Hugh Jackman, Bette Midler and many other big stars have them to handle the steady stream of interview requests they get, whether they’re in a show or not. But is Vanity Fair begging for that cover story on the kids in “Be More Chill”?

Seasoned Broadway publicists are of two minds about personal publicists. On the one hand, they say they get in the way of a show’s overall strategy, which requires the skillful deployment of actors to keep egos in check.

“You don’t want somebody getting more press than somebody else, because sooner or later it makes for an unhappy family,” one press agent says.

On the other hand, some young actors these days want to be stars overnight, and a show’s publicist can’t attend to their every need.

“Let the personal publicist handle some kid whose career’s going to be a flash in the pan anyway,” says a longtime press agent. “My client is the producer who’s given me many shows and who hopefully will give me many more.”

Personal publicists tend to go away once the bills start coming in. Jackman can afford it. But a kid making around $3,000 a week on Broadway will soon feel the bite. Besides, theater critics and reporters don’t need goosing: They usually know before anyone else who’s going places — and who isn’t.

You can hear Michael Riedel weekdays on “Len Berman and Michael Riedel in the Morning” on WOR radio 710.