DFW Backstage Blog

The Audition

2011-06-27T14:38:00.000-05:00

This is a photo I took at an audition last week for part of the 7 Days project over on Flickr (it's fun! you should play!). Since I knew I had an audition right in the middle of the project, I had this idea for a photo in mind. Think of the end of the opening number of A Chorus Line, when the auditioners line up across the stage, holding their headshots in front of their faces. That's the general idea.

Once I played around with the color a little bit, this was the end result. And I'm kind of obsessed with how it turned out. It's not perfect. I'm in a bathroom, and you can pretty much tell there's a toilet behind me. The centralized color is the best I could do with the free version of Picnik. Ideally, you wouldn't be able to see me holding the camera. But that's okay...because I think all of that is kind of symbolic of an audition.

Rarely is the audition perfect. If you give perfect auditions, please, write a book and make millions sharing your secret with the rest of us goobers who sweat and shake and stammer and do our best to keep from getting cotton mouthed or short of breath right before a high note in a song!

So how did this audition go? I feel like it went really well. I always set personal goals when I go into an audition, and the weight and number of goals varies with each circumstance. Sometimes I know that the audition is purely for audition experience. There may not actually be a viable option for me in a particular production, but I will go....either because I want to try out a new monologue or song, get my face in front of a certain director at a certain theatre, or just to test the fates and make a director say, "Huh...she is not what I had in mind at all for this show, but let's see what she can do."

But I also love this photo because it's a bit symbolic. Ideally, you look very similar in person (aka "in real life") as you do in your headshot, but hopefully your headshot kind of rocks. When you walk out of the room, you want to leave with them a tangible bit of you that reminds them "Hey, I was the short, curvy girl with the hair that you weren't sure was red or blonde or some magical combination of the two!" But really, you're leaving them with just an image. A small piece of who you really are as a performer. You hopefully add to that with your audition, whether it's a monologue or a cold reading or 16 bars (carefully selected to include a slow section, maybe part of the bridge and at least one good money note), but even still...they're only getting a piece of you. It's just up to fate (also known as The Production Team) whether or not what they see is enough to bring you back for more...or offer you a place in the production.

You know? I almost think I'm starting to like the audition process. It's such a personal challenge. You basically get a chance to, for a few minutes, have all eyes on you. It's your chance to sell yourself. That's why I will never understand those who walk into auditions unprepared (not having read the script of the show beforehand, not having a song selection, etc.). YOU control those few precious moments, so do as much as you can with them!

And at a callback or a cold reading? You're getting the opportunity to play this role, even if it's just for a few minutes and a line or two. Make the most of it! Make choices. Look at your scene partner or, if you're alone in the scene/reading, really make strong choices! Even if you're wrong, let the director see that you are making an effort and, if you're cast, he or she will steer you in the right direction during rehearsals. (All of this is expanded upon in a GREAT book called, appropriately enough, Audition, which I highly recommend.)

One thing I also noticed at this last audition...please, for the love of everything good and holy and pure...shut up. Watch what you say in the lobby. Watch your language. Don't analyze every second and every note of your audition loudly so that you ensure everyone around you hears about it. Because frankly? Nobody cares. I know that sounds rude, but it's true. Everyone else is concerned about one person there: their own self and their own audition.

....not sure where I'm going with all of this really. I've just been thinking about auditions a lot lately as the next round or two comes up for me, personally. And I've just been kind of bullet-pointing things that are on my mind about them:

Be confident
Make choices
Think about what you're wearing before going (especially if movement may be involved).
Be nice to your accompanist. Introduce yourself, ask his/her name, THANK them.
Thank everyone, for that matter.
Be pleasant the entire time you're there. You never know who is watching/listening.
Be prepared.

....what would you add to that list?

I (Heart) Denton

2011-06-02T11:19:00.000-05:00

(this post is cross-posted over at Music and Baseball, where I am blogging more often lately)

As I mentioned in yesterday's Life Well Lived post, I had the pleasure of spending a very lovely Thursday evening on the square in my hometown of Denton, Texas last week for Twilight Tunes. I had plans to meet up with Rachel and Brittany and some other friends, but I got there a bit early. I wasn't the only one who wanted to enjoy a beautiful, mild evening with some great music provided by the Andrew Tinker band....

As I sat by myself up near the band (if you look closely, you can see me in the above photo...black shirt, jeans, army green hat...), I started thinking about how lucky I am to live in such a great little city, full of so many artistic outlets and talented people.

All around me, people of all ages were sitting in camping chairs or on blankets or just on the grassy lawn of the courthouse square, grooving and nodding to the incredible music. Children were running around, hoping to get as close as possible to the band before an observant parent came up and grabbed them. People brought picnic dinners, bottles of wine and plastic cups, or take-out boxes from the locally owned restaurants within walking distance.

This was my first experience hearing Andrew Tinker and his band and oh. my. goodness. I've since purchased their album, "It Takes the World," but even as much as I enjoy the CD and have listened to it almost nonstop for the past few days, it's nothing compared to experiencing these musicians LIVE.

I was genuinely impressed. When you live in an artistically thriving area such as the Dallas/Ft. Worth metroplex and in a small town with a nationally-renowned music program, everyone and their mother plays an instrument...is in a band...has a gig...you get the idea. It can be easy to get a bit jaded and wary when someone says "Oh you should come check out my band." But every once in a while, I find myself truly blown away by the talent that I'm surrounded with on a daily basis in this area.

The Andrew Tinker band did just that. Once my friends arrived, obviously my attention was turned to catching up, chatting, and enjoying the music as ambient sound...but for those 30 minutes or so that I was alone, I was able to focus completely on the music being performed in front of me.

It was just a wonderful evening with amazing friends and some kick-ass music. It was refreshing. Lately, I've felt an ache in my heart for the bustling cities of Boston and New York, and I've been feeling very homesick for the northeast.

But that night, I was reminded just how lucky and blessed I am to live in a city like Denton, Texas. At the risk of sounding cheesy and dramatic...it was just a magical evening. I went to bed so very happy and fulfilled that night.

Denton? I heart you. So very much.

*please note that all photos in this post, minus the one directly above this disclaimer, were taken by my friend Jim Wall.*

The World According to Snoopy....is over!

2011-05-05T11:06:00.000-05:00

One of these days, maybe I'll learn how to post blogs in a timely manner...like, before the show opens and then closes before I have a chance to sit down and say a word about it? Hmmm....don't hold your breath. ;)

So, Snoopy!!! has opened and closed. It was a really successful run at the Campus Theatre. We didn't sell out any performances (a first for me on that stage since early 2009, actually!) but our audiences were delighted with the show -- especially the younger members of the audience -- and positively delightful after each show. I have never done a show aimed for younger audiences before, so the whole "going out in costume and signing autographs as my character" thing was brand new to me. The kids were SO sweet, and the parents were so thankful to us for taking the time to pose for pictures and sign autographs for their children! It was a really special experience.

That being said...I think this is probably the first time in my history of doing shows that I have not had the post-show blues immediately after. Maybe it's because over half the cast and production team are already close friends of mine, with whom I already spend lots of time outside rehearsals. Maybe it's because I overlapped this one with The Glass Menagerie and I'm just finally so glad to not be doing a show or rehearsing for the first time since January. All I know is, I'm LOVING being at home and having time to go see other friends' endeavors, reading books, watching the Red Sox play...you name it!

I also must mention how incredibly proud I am of my husband, who made his debut as Musical Director for Snoopy!!! I knew he was brilliant, of course, but he went above and beyond anything I've seen him do. He worked SO hard, and when I heard compliments on the sound and obvious preparation of the ensemble in musical numbers, I couldn't help but be proud wifey. His hard work showed through us, and I'm glad we did him proud!!

Now! Here are some pictures (click on photo for larger image)! As always, a fantastic job by the one and only Lynn Michelle!

FINALLY a Glass Menagerie recap

2011-03-28T17:07:00.000-05:00

I know, I know! I've been a terrible theatre blogger lately. You know why? BECAUSE I HAVE BEEN DOING TOO MUCH THEATRE.

Also more tweeting, more Tumblr-ing (tumbling?) and less full-scale blogging. It's just awfully difficult to sit down and write a full blog sometimes.

But I owe it to you all to have a recap of The Glass Menagerie, because a) I always recap shows and b) it was just so very special to me to perform the role of Laura.

So, the show? Was an amazing experience. It was just so very different for me as a performer to not rely on my singing ability (not meant to sound arrogant, of course, just know where my strong points are) to carry me through a show. And Tennesee Williams is kind of the meat and potatoes of theatre, so I had to really put my Literary Pants on for this one. I really wanted to do it justice, and make Mr. Williams proud as well as do my cast and director a solid and make them glad they cast a newbie in such a heavy show/role.

Every single night, after the show, I would just be exhausted while driving home. Playing Laura was an emotionally draining experience, and I feel like that may be some testament to how much I cared about it and how hard I worked. It certainly wasn't physically demanding. But baring myself emotionally like I tried to do every night was exhausting. Luckily I had an amazing cast around me and one hell of a support system from them, the production team and crew (David, Doug, Faye, Cody, Paul) and all the other LCT Volunteers that just made me feel so welcome (Johnny, Donna, Deborah, Keith...all of you).

Rather than post a million production photos, I decided to make a video slide show. All photos were taken by Deborah Roche, and the music is a song called "Au Milieu" by my friends in the band Manic Bloom:

Now to my cast:

Keegan -- I so much loved meeting you and getting to play your sister. I really feel like we honored the relationship between Tennessee Williams and his sister, and our scenes together were my very favorites in the whole show. I really hope we get to re-create that awesome onstage chemistry together some time soon, and I hope we get to work together LOTS more.

Victoria -- I can't believe it's seriously been 10 years since the one and only other time we worked together, and I am so glad that we got to both put on our Serious Actor Pants again with this beautiful show. I'm still not quite over the post-show blues from this one, and you're a big reason for that. I miss talking to you and sitting next to you getting ready for each show and rolling our eyes at how "stupid" Dave and Keegan are. MUST WORK TOGETHER AGAIN SOON.

Juan -- I am so very proud of the work you did for this show. As the Gentleman Caller, it's probably easy to feel like you're not as important a part of the show, but you allowed me to show a completely different, lit-up and alive side of Laura as that scene grew (before you totally crushed her heart, of course...LOL). Thank you for opening yourself up to some potentially awkward first time stage kisses...I hope they weren't too gross. ;)

Dave -- O Captain, my Captain! Thank you so much for casting me as Laura. I absolutely loved working with LCT, and you were an amazing director. Thanks for trusting all of us so much and letting us explore and then gently and subtly guiding us into the characters you had dreamed of us becoming...and also for trusting us when we maybe caused you to re-think some things. You're amazing, and I can't thank you enough for the opportunity.

That Explains the Fiddle in the Wings

2011-03-04T12:04:00.000-06:00

"In memory, everything seems to happen to music."
— Tennessee Williams (The Glass Menagerie)

Don't you love how sometimes hearing a song will immediately take you back to a particular place and time in your life? Smells can often have the same effect on me, but not quite as much so as music does. Sometimes I'll even swear that hearing a song can trigger memories so strong that I can actually smell smells that are related to those memories. Weird, huh? But it's true.

I realized the other day on the way to a rehearsal that some of the shows that have been the most important to me have songs associated with them. Now, since I've mostly done musicals, one might assume that I mean songs from the production. Not so much. In some cases, it's a song we'll have used for dance warmups from rehearsal #1, so I naturally associate the song with the show. In other instances, however, it's just a song that was really popular during the weeks/months that I am in the rehearsal and production process for a show.

I'll hear one of these particular songs, and I immediately and subconsciously conjure up feelings and memories from that production: the feel of certain costume pieces, the smell of hairspray and stage makeup, and even more intangible things such as the way certain scenes and certain people made me feel.

It's all so vague and cerebral that it's hard for me to put into words....so I'll assume that you know exactly what I mean.

Here are some songs that remind me of particular shows, in no particular order:

1. The Ting Tings' "That's Not My Name"

This song always reminds me of Dirty Rotten Scoundrels. See? Why on EARTH would this song make me think of DRS? Well this is one of the first songs I downloaded into my "workout mix" when I really started trying to lose weight, and Muriel was the first role I got after the Weight Loss Journey began. I learned that one of my songs was to be performed while I was wrapped up in nothing but a bed sheet, so I stepped up the workouts pretty hard core!

2. Cascada "Every Time We Touch"

Oh my gosh I love this song SO MUCH and it still makes me have mini solo dance parties in my car. I absolutely cannot sit still during this song. We used this for our dance warmups during Crazy For You and it also started off the "Sexy Playlist," which we played in the girls' dressing room. The Sexy Playlist was a CD full of songs that the girls in the cast and I put together to get us feeling all sexy and awesome before the show. I still listen to this playlist at least once a week.

3. Flo Rida feat. David Guetta - "Club Can't Handle Me"

This song always makes me think of The Producers last summer. My BFF Shelly and the show's dance captain and fellow cast member, Casey, introduced me to the TV show "So You Think You Can Dance" and we spent an evening catching up on a bunch of back episodes and one of my favorite choreographers was the Tabitha & Napolean couple (aka "NappyTabs"). They choreographed a short combination to this song for Dance Day 2010, and Casey and I decided to learn it. She did a LOT better with it than I did....but it was still fun!

4. Mumford and Sons -- "Sister"

This song will always remind me of my current show, The Glass Menagerie. One of my castmates, Keegan, burned me a copy of the Mumford & Sons CD "Sigh No More," and I absolutely am in love with this band. We also use this song for curtain call for the show, and the lyrics are just kinda, I don't know, PERFECT. So of course I had to download it, too, and I know that every time I listen to it....especially over the next few weeks when I'm dealing with the post-show blues for this one...I'll think of my amazing cast and crew of this show.

Speaking of my current show...

THERE ARE ONLY TWO PERFORMANCES LEFT! Tonight (March 4th) and tomorrow night (March 5th) at 8pm at Lakeside Community Theatre in The Colony, TX. You definitely will feel like a giant tool if you miss this one, because it's awesome. So come see it!

The Play is a Memory

2011-02-21T15:47:00.000-06:00

This weekend was the opening weekend for The Glass Menagerie by Tennessee Williams at Lakeside Community Theatre. AND IT WAS AWESOME. I have just really enjoyed working with this cast and with LCT in general. I said in a previous post that it's been really nice to step outside of my comfort zone both with this material as well as with the venue/company, and really....it's true. My castmates are cramazing (that's crazy + amazing, in case you were wondering):

cast of The Glass Menagerie -- Top: Benjamin Keegan Arnold as Tom Wingfield, Victoria Irvine as Amanda Wingfield; Bottom: Juan Perez as The Gentleman Caller, Mandy Rausch as Laura Wingfield

I haven't even missed singing in this production, and I've loved getting to really sink my teeth into this role and the beauty and depth of Tennessee Williams's writing. In a perfect world, we could do a "talk-back" after one of the productions so that we could talk to the audience about all the beauty and symbolism and autobiographical elements of this play with regards to the author's own life, and then have them watch it AGAIN and really appreciate all those things, just like the cast has come to do. But, even without doing that, I feel like if the cast understands all these things and applies them to their individual performances and really commits to the beauty of the play, then it will be enjoyable to even the audience members who haven't ever read or seen the play.

Another thing I've really enjoyed about this whole process is understanding my own process as an actor a little bit better. If there's one thing that's to be said for having a decent amount of roles under your belt it's that you hopefully learn a little bit about yourself as a performer each time: what memorization technique(s) work best for you, how you research a character/role, and, at least for me with this role in particular, how to really let yourself be vulnerable onstage.

Having done only musicals, and musical comedies at that, I haven't really ever had to expose and bare myself to an audience really before now. I don't want to give away any spoilers (though, if you haven't ever read The Glass Menagerie, I am wondering how you got through your education without being forced to at least once and I worry for you...), but there is a scene where I really just cannot care how bad I look, and just releasing myself to the emotion has been really freeing.

I would REALLY, REALLY like for my friends and family to come see me in this show, if nothing else but to come and see me because you love me and want to see me try something new...but also to see what I feel like is a pretty darn strong production with some fine acting in it.

You have the following remaining opportunities, so DON'T MISS IT:

Friday, February 25th at 8pm
Saturday, February 26th at 3:00pm
Friday, March 4th at 8pm
Saturday, March 5th at 8pm

In the meantime (notice how I didn't say "downtime") between show weekends, I'm starting rehearsals for my next project:

I'll be playing Peppermint Patty in Denton Community Theatre's production of SNOOPY!!! which will run in mid-April. I'm a part of a spectacular cast with a lot of old friends and a couple of new ones, and a really unbelievable production team. Just last night I attended my first rehearsal (they started last week while I was in Hell Week for GM), and it was a 3-hour tap rehearsal! Whew, I am already sore today, but this is going to be a really fun show. So it's back to being busy for Mandy! Let's go!

Show Update and Why I Shouldn't Read on Airplanes

2011-01-31T13:44:00.005-06:00

So remember how in my last post (which was LAST YEAR, YOU GUYS!) I talked about how I had been auditioning for some non-musical plays and didn't want to talk about it because I was supersitious about talking about auditions? Well...I kept going to auditions and ended up getting cast...

...as Laura in Lakeside Community Theatre's production of Tennessee Williams's beautiful play, The Glass Menagerie!

I couldn't be more excited, and for several reasons. For one thing, I'm starting the non-musical part of my "career" with a classic. It's like starting off your musical theatre path with a Rodgers & Hammerstein musical, or even a Sondheim. Basically, it's solid theatre with excellent storytelling in a (generally) clear-cut and traditional setting. Starting with the basics. Secondly, I absolutely love Tennessee Williams. In my undergraduate career, I took a class that was centered on Southern American authors (Williams, Faulkner, Flannery O'Connor, etc.) and I just fell in love with all of them. It's actually a subject that I'd like to do more work/research in if I ever get an inclination to go back to school for a master's degree. And finally, I'm just really excited to be working with a new theatre, in a new space, and with a new group of people. The Campus Theatre and the companies that use that wonderful facility will always hold the key to my theatre-heart, but sometimes it's nice to step out and try something new. It's like....always getting the 7-layer burrito from Taco Bell, but ONE DAY you decide to try a Crunch Wrap Supreme. Something like that.

The cast is small; there are only four of us. So we're really getting a chance to do some cast-bonding and have a great time talking about the play, the themes, and the characters. And what a great group of people LCT has. I don't think this will be my last time working with this group...or at least I hope it's not.

So yeah. We open that show on February 18th, so you should definitely try to come out and see it! Even if it's for no other reason than to come and giggle at me trying to be all serious and "act."

So what else has been going on with me? I'm so glad you asked.

Really, besides GM rehearsals and a VERY busy time at my day job, not a whole heck of a lot...and it's been really nice. I've done a LOT of reading, both of scripts and of library books. Yes! Library books! I finally got myself a Denton Public Library card and I have been a readin' fool ever since the holiday break.

(side note: if you're on Goodreads, check me out and add me as a friend!)

Just this past weekend I took a trip to Nashville, Tennessee to spend the weekend with my very BFF of 20+ years, Shelly, and we saw a FANTASTIC band play while we were there: Manic Bloom.

I went to church with the keyboard player, Jeff, back in high school, and now that I've seen these guys play twice I can tell you two hard and fast FACTS:

1) They are EXCELLENT musicians and they put on an amazing show, and
2) They are a great group of solid, good guys.

Please go check them out, follow them on Twitter, and seriously, go buy their album, In Loving Memory on iTunes. Seriously, it's only $6 so just do it.

Anyway, back to the trip and part of the title of this post....

When I read, I tend to really delve into the storyline of a book. Or at least I will if it's well-written and captivating. The only problem with this is that I truly feel void and strange when I'm taken out of the story, either by having to stop reading for time's sake (meaning I need to get things done and stop reading) or just finishing a book. I literally feel like I've been yanked back into real life, and normally I'm none too happy about this.

Let me tell you, faithful readers, that this is even worse when I finish a book on an airplane. I already feel like a (Wo)Man Without a Country when I'm on an airplane, because I'm not really anywhere when I'm flying...at least not for very long. I'm thousands of feet above the ground and hurtling through the air with a bunch of strangers. Combine that with the aforementioned world I create for myself while reading a good book and my slight anxiety of flying in general...and when I finish a book with time left on my flight...well, I just feel really strange and empty and, to be completely melodramatic...lost. I don't like it. I was very thankful to have my GM script in my carry-on bag to read so that I couldn't get too deep into self-reflection and melancholy for the rest of my flight.

So what does that have to do with theatre? Nothing. It's just the dramatic artist in me, I suppose. I've always got my emotional and artistic antennae up, whether I really want to or not, but I guess I wouldn't have it any other way.

2010- Year in Review

2010-12-31T09:22:00.019-06:00

It's hard to believe that it's the last day of 2010. This has been a wonderful and incredibly challenging year for me as an artist, as a friend, as a wife and as a human being in general. I've learned and experienced a lot and, barring any incidents today/tonight (knock on wood!), it's been a year without loss of anyone in my family! Woo hooo!!!

So, let's recap the year, shall we?? It was a LOT less insane than 2009 was, that's for sure! I don't think I could have handled another year like that, and I certainly would be divorced by now if I'd tried.

January: Show Boat in Concert

Role: Ensemble

Company: Lyric Stage
Read the Review

Read my Recap

May: Dirty Rotten Scoundrels
Role: Muriel Eubanks
Company: Music Theatre of Denton
Read the Review
Read Another Review
Read my Recap

June: Encore III –The Divas!
Role: Director and Performer
Company: Denton Community Theatre
Read my Recap

August: The Producers!
Role: Ulla
Company: Denton Community Theatre
Read the Review
Read my Recap

I'd say that was a much more manageable year, wouldn't you?? I also kept most of my sanity this time and was able to focus on some Very Important Things such as my very best friend in the whole world getting married:

...and walking 60 miles in the Dallas 3-Day Walk for the Cure:

I also wrote the following reviews for John Garica's The Column before I resigned from that post:

Women and Wallace at Sundown Collaborative Theatre

Tuna Does Vegas at Casa Manana

24 Hours of Love at MBS Productions

La Llorona at Amphibian Stage Productions

Getting Sara Married at Runway Theatre

Again, not nearly as busy a year for me. Last year I wrote 11 reviews! So, 2010 was definitely a lot less insane, but because of that, it was also a lot more fulfilling. The projects I did meant so much to me and they are so special to me (not to take anything away from the wonderful experiences I had in 2009 of course) because I was able to take the time over this recent 4 month break and really reflect on them as landmarks in this year. Rather than a blur of images that I have from 2009, each show I did in 2010 stands out clearly.

I also went through some very major physical changes this year that have boosted my confidence so much that I enjoyed that time onstage so much more because I felt better about myself and I was able to do more and have more energy than I have in previous shows.

2010 was also the year that I had a spiritual re-awakening that caused me to even question what I should be doing artistically. I still don't know...in case you were wondering.

However, I do know that I've learned a lot about what I need to focus on (God, family, work) and that I am going to be a lot choosier about shows; picking of projects are going to mean the most to me and challenge me as a performer.

I'd really like to work with some different theatre companies in 2010 and add a non-musical or two to my resume. I've been to four non-musical auditions in the past two months (though I sang at 2 of them, funny enough) and I have already learned so much about what I need to do to improve. I haven't been blogging about these auditions because...well, I'm a little superstitious and don't ever want to jinx them and also...because I know that these auditions aren't always going to result in a role and I don't want to just blog about each audition/possible rejection. That's just boring, so I'll just save that kind of talk for my husband and close friends. You're welcome!

Finally...I've been hesitating about writing this next part for a few days now, actually, but I really feel like I want to share the biggest artistic discovery I've made this year. I am well aware that this is my own personal opinion, and you should treat it as such.

It really does not matter "who you know" as much as people think it does. "Networking" will only take you so far if you don't have the talent and the work ethic to back up all your "connections in the business."

No, that doesn't mean that meeting people in the field isn't important. No, that doesn't mean that you can just say or do anything you want because you don't care whom you offend. It's very important to meet other people in the biz because they are your future colleagues. But it's just more important, I feel, to show those colleagues that you deserve to be there because you are talented and you work hard and your behavior is above reproach. I've grown so weary of all the fake friendships and the walking on eggshells that so many people do around people who do not matter in the grand scheme of things.

In a nutshell: Don't burn bridges...but also don't worry about the ones that lead nowhere. Consider if the bridge you're working so hard to build and maintain is worth the effort and energy. Don't spend so much time looking at what's on the other side of that bridge that you are completely disregarding all the awesome things that are right next to you.

Is the bridge metaphor getting confusing? I'll be clearer: don't say no to projects because you're afraid of what other people will think -- if it's going to challenge and fulfill you artistically: do it. Don't spend hours and days and pieces of your soul keeping people happy who wouldn't do the same for you if it were asked of them, and especially don't do that if it means you're missing completely awesome friendships and relationships that are right in front of your face and so much easier to maintain.

Okay, I'm officially getting off my soap box now! Cheers to an incredible 2010, and here's to an amazing 2011!

HAPPY NEW YEAR!!

Letter to a Young Artist

2010-11-03T08:27:00.002-05:00

A friend of mine posted this on her Facebook page the other day. It's very long, but it's really just AWESOME. There are Christian references in there, but it's not written just for Christian artists (which you will notice as you read).

Get a cup of coffee or tea, sit down, and read it -- all you artists, I'm talking to YOU. It's well worth the read. I've gone in and put in bold some of the things that spoke most loudly to me. Enjoy.

Essay originally written by Makoto Fujimura for Michael Card's Scribbling in the Sand: modified October, 2010

Remember your first love-how much you enjoyed creating as a child. If you ever lose that sense of joy, you will need to reflect on why you lost that spark. Of course, the craft of expression takes much "dying to self" and much discipline. A discipline of any form takes perseverance. But when we are going through a period of training, we must remember the reason for our training. Our journey needs to have a specific direction. Our direction need not be toward being successful and being famous. We need to start from your first love; what we cherish, what we are, and what we value. As T.S. Eliot wrote, "our exploring/Will be to arrive where we started/And know the place for the first time."

C. S. Lewis writes about what the Bible calls the "Good News": "God became man to turn creatures into sons: not simply to produce better men of the old kind but to produce a new kind of man. It is not like teaching a horse to jump better and better but like turning a horse into a winged creature" (Mere Christianity, p. 167). The message of Jesus has been distorted in recent times in culture. The gospel of Jesus is not a message that we can be trained to run faster and jump higher in a race of moralism. The historic work of Jesus is still relevant in the Twenty-First Century because, despite the advancement in technology and communication, the distance between us is greater, and the bloodshed of hatred continues to spill, spreading our "Ground Zero" conditions all over the world. We cannot possibly meet God's standard of righteousness and goodness. We do not love each other. We cannot even keep our own promises, let alone God's commands. St. Paul reflects on his own efforts of trying to meet God's standard and confesses: "What a wretched man I am!" (Romans 7:24) And he emphatically states, "But God demonstrates his own love for us in this: While we were still sinners, Christ died for us" (Romans 5:8). Jesus' love for us can only be received as a gift. Only when we rest upon him as a gift, does he give us wings, to hover between heaven and earth. These wings are gifts of grace, aligned to the original intention for our being. Our journey will begin in a Garden and end in a City. We are headed toward the City of God, a reconciled city, humanity, nature and God.

Since I do not assume you to be necessarily religious, let me call this state of flight "future grace." When we focus on future grace, then our current reality of frustration becomes an opportunity, not a set back. We will, no doubt, battle with our pride, our ego, in doing so. We have been taught to be self-sufficient, that the ego is the only source of creativity. Lewis' suggestion is that there is a greater source outside of ourselves to create from. There will be a quiet joy even within that wrestling. In that world to come, you are already famous and successful. You just can't hear the sounds of accolades yet. The creative journey is not an easy one. Lewis continues in the same passage, "But there may be a period, while the wings are just beginning to grow, when it cannot do so...The lumps on the shoulders...may even give it an awkward appearance."

Have you ever felt awkward, and felt the "lumps"? If you are an artist, perhaps you began your journey realizing that you are different from others. We have gotten used to having these "lumps" and accepted the fact that to the world the "lumps" looks strange and unnatural. Your teachers and your friends may not fully understand your intuition to try to fly with your winged "lumps." What started out, at first, as trying to be yourself, may have become an effort to shield and protect your true identity from the world. Perhaps rebellion became the only path you could journey on. Your "lumps" became a defense mechanism, or even a weapon.

What if Lewis is right, and you are destined to "fly"? What if our awkwardness, and our uniqueness points to the potential of the person we are meant to become? In order to learn to fly, you need to be patient, and ready to experience many failures; we need an environment where we can fail often, but you also need opportunities to peer into the wonders and mysteries of the vista of the world to come. Since many, including those in the institutions of the schools or churches, will not understand, you may have to create "fellowship" yourself. Do not be surprised by their rejections.

In Mark chapter 14, there is a story of a woman who broke all the social rules to get to Jesus, in a small room full of his male disciples. Mary brought a jar she had been saving for her wedding, and we are told that the jar of nard cost a person's annual wages. When Mary barged in, broke the jar and poured her expensive perfumed oil upon Jesus' feet, Judas and the other disciples responded, "What a waste!" In the same way the world may see what you do and see what you are doing as wasteful extravagance. The male disciples were shocked because what she did was not only extravagant, but sexual. The only time that aroma of perfume wafts into the air is on wedding nights! But Jesus said to all: "Leave her alone... Why are you bothering her? She has done a beautiful thing to me... I tell you the truth, wherever the gospel is preached throughout the world, what she has done will also be told, in memory of her" (Mark 14:6, 9). What a commendation! Jesus, the ultimate Artist, recognized Mary as an artist, transgressing in love.

Strict moralism has never produced great art. Like Mary's expensive oil, our expression flows out as a response to grace in our lives. Even if you are not cognizant of a grace reality, you can still create in the possibility of future grace. That takes faith to do, but if you can do that, you will be joining so many artists of the past who wrestled deeply with faith, doubt, poverty, rejection, longing and yet chose to create. Know that the author of creativity longs for you to barge in, break open the gift you have been saving; he will not only receive you, he can bring you purpose behind the battle, and rebuke those who reject you. Mary's oil was the only thing Jesus wore to the cross. He was stripped of everything else, but art can sometimes endure even torture. A friend of mine said that in the aroma of Christ, Mary's oil mixed with Christ's blood and sweat, there are da Vincis and Bachs floating about. He will bring your art, music and dance to the darkness of death, and into the resurrection of the third day.

Don't be a critic when you create. You can look at your work later and discern what is good. Your growth as an artist is not in being able to impress others, or even God. Rather, growth comes by understanding how limited you are. Learning to use your wings means learning the discipline as a means to grace. Give yourself boundaries and goals; start with small things, like having a small table dedicated to your poems. Emily Dickinson wrote her poems on a small 18 inch by 18 inch desk in her room in Amherst. Do not put anything other than your poems, though, on that area. Guard against the world invading your boundaries. Learning to paint, play the piano, or dance has much to do with keeping your self-set boundaries, otherwise you will not own your craft. We are each given unique wings with unique particulars of how to use our wings; no one else can fly for you. You have to jump off the edge, and spread your wings.

Pray. Even if you do not regard yourself as religious, pray. As Simone Weil wrote, "Absolutely unmixed attention is prayer." Artists know instinctively the artistry behind the prayer of the faithful. Pray that our imagination be "baptized" by this future grace. Pray through your materials. Go into galleries and museums and pray so that you can learn to "see." Listen to Vivaldi's Four Seasons or Charlie "Bird" Parker's Burnin' Bird and pray that you can "hear" the music behind the music. Go see Our Town and Othello and pray that you can experience the drama pulsing through our lives. May your work become a prayer, an offering.

Saint Paul wrote: "creation waits in eager expectation for the sons of God to be revealed" (Romans 8:19). The whole realm of nature waits for our arrival onto the stage of life. God "frustrates" creation so that the very groaning of life produces expression by children of God. In the theater of life, we see in the darkness and suffering all around us a world that beckons for our arrival. Our creative endeavors are mandated to begin with that understanding of suffering and darkness. Art helps us to confront darkness head-on. For that reason, you must not cease to create, even in the darkest of hours; by creating, you can participate in announcing that great arrival. You can also help your community to articulate their suffering, with a deeper call for community.

Further, by "showing up" on the stage, what we announce to the world may be a key to unlocking someone else's story. The Good Book tells us that we are loved. Because of that love, which exceeds our own love, we can move out to take risks in creativity. Love is the ultimate fruit of the Spirit and our total dependence on the true source of creativity will nurture love. Art, ultimately, is expression of that love. Therefore we cannot create but by sacrificial love. We need to redefine art and its effectiveness by how it helps us to love one another sacrificially. Fear and terror, in any form, will destroy creativity and people. Fear and terror will twist our creativity to expand our "Ground Zeros." Even when we cannot paint or write, love is available to us a creative resource to share with others. Stand on the ashes of your "Ground Zero"; look up and create in love and hope.

Lastly, remember you are not alone. A soliloquy can become a symphony of soliloquies. I look forward to hearing many voices joining, , through the echoes of time, when future grace becomes reality, when mourning is transformed into dancing. Live generatively, taking today's challenges head on, spreading your wings at the precipice of your Ground Zero, daring to leap into the miraculous.

Equal Opportunity Offenders

2010-10-21T09:39:00.002-05:00

As with most of my recent blog posts/notes, I’ve been stewing over this one and whether or not to post it for a few days now. Mostly because I want to make sure it’s as well-thought out as possible and not some ranting, overly emotional (read: whiny, obnoxious) drivel. I won’t lie; it’s also because I’m always a little timid about the response I might get. But I suppose I was not made to live in fear, right?

I wanna talk about Facebook a little bit…well, all social networking sites really. The two I use the most are Facebook and Twitter. I love them. I’m a social butterfly and I always have been, so sites like these are right up my alley. I get teased for it sometimes, but hey, I can own up to the fact that it’s more than a slight addiction. I like being extroverted and involved and, let’s face it, a little bit narcissistic and nosey. Come on, we all are, or else there wouldn’t be 4039815 tagged photos of us, right?

Lately, though, there seems to have been an undercurrent of frustration on my News Feed about what people are seeing on their News Feeds. People don’t want to see anything that disagrees too much with what they believe. Republicans don’t want to read about Obama, Democrats don’t want to hear about Glenn Beck. Athiests don’t want to read about the scriptures I read this morning and Christians don’t want to read an athiest’s post about there “not being any such thing as heaven or hell anyway, so why bother.”

(Station break to identify some irony: one of the pastors I follow on Twitter JUST posted this: “Don't ever get so shallow that everyone IN your life must see everything you DO in life.” Heh. However, I will continue this…)

I will admit that I have gotten extremely frustrated lately because while there is this general outcry of “Respect my beliefs!” I can’t help but think, “Really? But…you don’t respect mine.” That may seem petulant, but I’m serious. I’m asked to respect the beliefs (or in some cases lack of belief in anything) of other people, but I don’t feel like Christianity is respected at all.

I hate the “Grilled Cheezus” status updates, and the parodies of the Lord’s Prayer being used to ask God to please bring the Longhorns/Sooners a win or the Texas Rangers an ALCS Championship pennant. Don’t get me wrong, I’m rooting for the Rangers all the way, but that is called the Lord’s Prayer for a reason. It belongs to Him. It’s maddeningly irreverent. I know people’s intent is harmless, but it just makes me feel uncomfortable.

It seems more to me that what people are saying is “Respect what’s popular to believe,” or even “Respect what won’t rock the boat and cause dissension (read: 35 comments and subsequent notifications that will just annoy me on my Facebook app I have on my phone),” or worse: “Respect what won’t make me mad.”

Here’s the thing, though, that even I must admit: it’s Facebook. It’s a free country. I have the ability to hide or delete people, as they have the ability to hide or delete me. It usually takes a lot for me to hide someone and a lot more for me to go so far as to delete someone, because I can usually take a step back and discern what is just their thoughts/opinions/musings… and what they are saying just to force an opinion upon the world and/or to be blatantly offensive or stir the proverbial pot. It’s a fine, fine line, sure, but most of the people I’m friends with on Facebook are actually my friends in “real life,” too, so I can usually fairly accurately guess their intentions. I ask that they also do the same for me.

I will admit, humbly, that at the end of the day I don’t want people to just respect my beliefs. I genuinely want them to know the Lord and understand the peace I’ve come to find thanks to His grace…but I will never force-feed anyone my beliefs, because I could not do anything more detrimental to my ultimate desires than that. It’s my job and my responsibility to take a minute before I post anything and make sure I consider how my words will be interpreted.

So what is the solution? Well, I suppose that we all just need to take a minute and remember that Facebook and similar social networking sites are equal opportunity offenders. Nobody will ever believe exactly the same as another person, and as long as we have the abilities and the desire to put our thoughts and feelings out onto the World Wide Web, we will likely offend or hurt somebody…even when it is not our intention. Or, we could make individual decisions on what we decide to share, and whether or not the end result is worth our “right” to share it.

An extreme measure would be to just take a Facebook/Twitter hiatus…but I don’t think I quite have the will power to do that…yet. :-)

Anointing vs. Ambition

2010-09-30T11:07:00.001-05:00

Lately I’ve been thinking a lot about anointing, and what God has anointed me to do in this life for His glory. I heard a message about it at Seven about a month ago, and it has sparked a lot of thought and contemplation and reflection. When I say “anointing,” I mean, “what God has blessed me with the talents to do that will bring them closer to Him.”

Upon first hearing that, I automatically think, “Well, God gave me the talent of singing. Maybe that’s what my anointing is, and I’m supposed to use that.” Then the speaker, Tim Ross, said something like “What you are talented at doing is not necessarily what you are anointed to do.” Well. Hmmm. That doesn’t mean that the obvious talents are NOT what God has anointed you with, but it did make me stop and think “Well, maybe I shouldn’t just default to the obvious – my singing abilities – but instead I should look deeper within myself and ask, ‘Is there something else God has anointed me to do?’”

Since I started performing in the community again back in 2009, several of the shows I’ve been a part of have been reviewed by theatre critics. I’ve only received a passing mention, if any, each time, and nothing notable or detailed about my singing. If I’m being honest, I’ve been disappointed each time that I haven’t gotten a more detailed review. I tell people that I’d “even take a bad review, as long as it was something I could use to improve and do better next time,” but I sit here now and wonder if that’s true. I wonder if I’m just disappointed that I’m not getting more critical acclaim.

I even find myself disappointed that I’m never asked to sing at the local weekly cabaret that happens in Dallas, either by someone already on the bill or to be a part of the bill. There’s a part of me that gets suddenly insecure and thinks I’m just not talented enough to hold my own in this town as a singer, but then recently I’ve stopped to reflect on this. I think it goes back to my most recent post about doing it all for my glory. Maybe God has kept me from getting public/published acclaim and praise for my abilities on purpose, so that I can’t just take off with it and forget that my talents are a blessing and not something I deserve. Which begs the question, then…

Is it possible that God’s anointing for me lies somewhere outside the obvious – outside the performing arts? Is it because I am not yet strong enough spiritually to be able to use my talents without going after my own personal glory? If so, is that something I can grow into? Because that’s something else Tim said in that message…sometimes we have to grow into our anointing. Even Jesus didn’t start doing the things God anointed him to do until he was 30 years old.

Having this break from performing lately and having it happen at the very same time that my husband is in rehearsals for another show has given me a LOT of alone time to think and question things. For one thing, I’m struggling with just being BORED and sick of being at my house every night. I don’t know if this is just because I’m unable to rest or if it’s because, thanks to my outgoing personality, I just don’t really thrive on having so much free time to myself. I don’t really like it.

Even though I have the ability and the time to get things done, work out, cook, keep my house clean, and go to bed at a decent hour…I’m actually worse at doing those things now than I am when I’ve got a full schedule. I think I’ve always worked better on a deadline, and part of me likes the stress and slight insanity of having to get things done in an allotted amount of time (within reason). So I have to try to find a balance of not overworking myself and having no time for myself, my husband and God (not in that order) but also not just being restless and stir-crazy with too much free time.

I guess I’m just feeling aimless right now and I’m not sure what’s next and what God has in store for me with my performing career/hobby – if He has anything in store for me there at all. It’s strange to not already have planned out the next several auditions and performance opportunities after such a crazy spring and summer. And if/when I do get into a show next, will I be able to be the kind of Christian example that will inspire people and not turn them away? Will I remember to give Him the glory? Will I sink back into hold habits and behaviors?

I’ve forgotten where I was going with this, and it’s turned into just word vomit. Must stop before it gets worse!

But Not for Me

2010-09-08T10:36:00.003-05:00

A couple of weeks ago when I wrote this post, I mentioned something that has been going on in my life of late thanks to an invitiation to go (back) to Gateway Church with my good pal Tyler. I mentioned that my husband and I have been attending a church together (or listening to some podcasts from the services when we can't actually make it out to church) and that I really felt like it was time to get back on the path of God's obedience.

Why am I writing about this on my theatre blog, you ask? Well that's a good question. I'll do my best to answer it.

Since I made this decision and prayed the prayer that God would grab hold of me and yank me back into a place where I wanted to make Him a priority -- no, THE priority -- in my life, I've been thinking about all the things that happened leading up to that moment:

I did seven -- SEVEN -- shows in 2009. As a result, I put on a lot of weight, was exhausted, and had a strained relationship with my husband because neither of us was ever at home for any long period of time while we were both awake.
I was writing theatre reviews for The Column and spending any free weekends driving out and seeing shows for no pay and for more stress in my life.
I started this blog and started writing reviews and seeing a TON of shows as a way to network and meet people in the D/FW theatre community.
In December of 2009 I decided to change myself physically. Since then I have lost 37 of the 40 pounds I set a goal to lose.
So far, in 2010, I have done only three shows, and it's highly likely that I am done for the year.
I have stopped writing for The Column because I felt a very palpable urge to simplify my life: husband, family/friends, work, and the occasional show.
Possibly as a result of no longer writing for The Column, I have been deleted as a Facebook friend and completely cut off from the publication by its editor and creator with no actual explanation given.
Because of my new shape and resulting confidence level, I waffled and waffled but finally decided to audition for a role in The Producers that, 9 months ago, I never would've auditioned for. I got it.
I learned a big lesson about why I do shows during The Producers process: because I love it and because I meet amazing people. Case in point:
I met several new friends, but one in particular who invited me to church....the type of church I have been quoted as hating on in the past for being "God machines" with thousands and thousands of members and multi-camera praise & worship with stage lighting and rock bands and proudly brewing Starbucks in the lobby....and God spoke to me more loudly and clearly than He has in years. Well...I'm not gonna put that blame on Him....I listened this time. I heard it. Something in me just finally shut up and I listened.
Since then I've been going back...talking to my husband daily about what God is doing, doing a lot more listening with my ears and my heart, and trying to make a daily effort to read my devotional emails and a weekly effort to go to church in some way.

Last night, when I was at Seven with my friend and my sister-in-law, Preston was talking about God's plan and promise for our life. He said something that really struck a chord in me. This may be paraphrased, as I left my notes in my car and it's raining REALLY hard right now so I don't wanna go get it, but it was something like this:

When you are walking in God's promise/plan for your life, He will make it obvious.

I don't have to ask why I got deleted by John Garcia and deleted from receiving the Column.

I don't have to ask why The Producers was the best show experience I've had in a while. I don't have to ask why, of the other thinner girls that were at auditions, I was cast as Ulla. I don't have to ask why Tyler decided to invite me to church one weekend before the show opened.

I don't have to ask why I suddenly am exhausted by the "business," the drama, the fake friendships of the theatre community.

I don't have to ask why it happened to be now, in a non-crisis-driven moment of my life, that I decided to walk in obedience to the Lord again for the first time -- no lie guys -- since high school.

These things are not a coincidence. He will make it obvious.

All of this happened for one reason and one reason only. I was doing things for MY glory. Not His. I was working for MY benefit...Not His. I wanted to network and meet more people in the theatre community. Why? So I could get cast in shows -- not based on my talent but because of who I know? So I could write theatre reviews and have my name known? So that I might get nominated for and subsequently win a Column award?

Really, Mandy?!

In the past 17 months, I have worked with directory Bill Kirkley on 3 shows. In my life, I have worked with him many other times. Before every show during our cast & crew "circle time," he always says the same thing: "Your talent is your gift from God, and how you use that talent is your gift back to Him."

Have I been using my God-given talents as a gift to Him? Or to me? Have I been using these many opportunities for His glory? Or mine? It's not a fun question to ask because I already know the answer. :-/

You guys, the arts community is a tough place in which to be a Believer. But as a very talented young man I've only (sadly!) met in person ONE TIME, Max Swarner wrote on his blog:

People have challenged me for a long time that I can't be following God's plan by being in this industry. All I can say is those people are wrong! This industry needs Christ just as much as any other industry does, and I want to do my part!

I can do this. I can certainly still be a part of the theatre community. But I need to be doing it for the right reasons and never let it consume my life and become all about my glory and recognition again.

It's not going to be easy. I may lose friends, networked contacts I've made, Facebook friends, Twitter followers....but there is no loss that will be greater than the ultimate gain I will receive by putting the Lord and His glory first so that I can walk in His path and promise for my life.

Even now...I'm afraid of hitting "publish." This blog directly posts to my Facebook notes. I'll be afraid of what happens when I share it on Twitter. But I have to. This is what I need to do to show people that this is really who I am.

Here we go!

Sappy Re-Cappy Time

2010-08-24T15:04:00.000-05:00

Another show is in the byukes...I mean, the books...

...a show that may have just topped all other show experiences I've had so far.

...the material was priceless.

...the cast was gorgeous, amazing, hysterical, talented, fun...

....the audiences LOVED it, and there isn't much better than playing for a crowd roaring with laughter.

...I learned some amazing things about myself and my confidence, and have so much gratitude for the supportive and edifying cast I was surrounded by.

...new and lasting friendships were created, and current friendships were strengthened.

...once again I was blessed with an absolutely DARLING co-star who is talented, funny, giving, and an absolute dream to work with.

....how often do you get to wear THESE kinds of costumes?

There's a part of me that genuinely wants to send a thank you note to every audience member – whether they be friend, family member or stranger – who came to see this show and helped make this ~~one of~~ my favorite show to date.

I know. I say that about all of them, right? Well, in my defense, it's not once been a lie.

If the shows I do and the casts I'm lucky enough to be onstage with keep one-upping each other like this, I don't think I'll be able to handle much more. My heart will just explode. Melodramatic? Maybe. But consider the source. :)

I honestly don't even know what to say....the words just aren't enough to explain what this was like. The book and the music that Mel Brooks came up with for this show are just SO freaking funny, and it was so invigorating to get to perform it onstage every night and have to just stand there and wait to say the next line while the audience doubled over laughing.

Working with tremendously talented and funny people...the ones who can stand there and look at you straight-faced while you try not to crack up onstage...is one of the best, most fun feelings in the world.

Hearing the audience crack up even more when you can't keep a straight face comes in as a close second.

I wish I could write something special to each and every cast member as well....because there wasn't ONE of them that didn't lift me up in one way or another every single night with kind words, a smack on the ass, a hug, making me laugh, etc. That's not an exaggeration, either.

After our last performance this past Sunday, I couldn't stop crying. It's not unusual for me to cry on the last day of a production's run. Of course I'm sad to see it end. I HATE striking the set immediately and systematically tearing down all of the physical aspects of the production so quickly. I both love and dread the cast dinner afterwards, because I know that I won't for sure see everyone again the next Thursday in preparation for another weekend of shows.

However, this was a whole new emotional level for me. Playing Ulla....wow. What a fun character that Swedish gal is. I had a few people who know the show well tell me that I "made her a different character" than they had seen previously, and that they liked the choices I made.

I feel like, since I am not the stereotypical Ulla, I was given the opportunity to tear down some pre-existing notions of what she should be like and how she should be played, and bring her down to earth (though still floating somewhere up in the air, I mean....she's not a rocket scientist) and make my own character. Our lone review of the show called her "the adorable blonde bombshell next door," which just made me feel good all over.

Yes, I had one minor meltdown when buying all the spandex accoutrements necessary for Ulla, but after that? Forget it. I got out there every night and sang "When You've Got it, Flaunt it!" and I meant every word of it. I felt good. I felt strong and sexy and better than I can remember feeling about myself in years.

I cried on Sunday because of how far I've come. I never would've played Ulla six months ago. Hell, I may never play her again. But I did it. I earned it. I busted my butt, I sweated in the gym, I did the lunges and lifted the weights and cursed at the elliptical machine, and I did it.

The reward has been incredible. Something I can't even describe because it's so personal to me. That feeling is such a high that I was heartbroken to say goodbye to Ulla. But a part of her will always be inside me, and as long as I keep working hard and reaching towards my goal, she'll always be there as a reminder of the rewards of my hard work.

Also....I learned a lot and remembered a lot of things about myself in this process. I was reminded, thanks to a completely drama-free cast, that we do theatre because we love it. Not because we get some stupid Column award nominations or reviews or critical acclaim. But because we love being onstage and creating something that others can enjoy and escape into for a few hours in a dark theatre. A place where people can laugh until they cry, and where we can use the talents we've been so blessed with.

I've also...and this will be the subject of another blog for another day, I think, thanks to the length of this one...started going back to church with my husband, thanks to an invitation weeks ago from my dear "Leo." My heart has been so full ever since we've been going, and I just didn't even realize how much I've missed that as a part of my life until we went back. I've been given a very large and very important reminder that all things do happen for a reason, and I wouldn't (and shouldn't) be doing any of this if not for the grace of God.

As our director reminded us each evening, "Your talent is your gift from God, and how you use that talent is your gift back to Him."

I'm tired of all the "business" of this business, and I'm tired of caring what the theatre community at-large may or may not think. I do this for the love of it and for the relationships that I am blessed with as a result of each show, and to use the gifts that I've been given.

The post-show blues for this one are deep, but it's the best kind of blues I think I could ever have. Because these people aren't going anywhere. They're my friends. They are a part of my family....an ever-growing family of crazies that all do this and get exhausted and spend night after night at late rehearsals and long dance calls. Family who understands that complaining about it doesn't mean we hate it --- but just the opposite. There's no people like show people, and I love them! :)

And until our reunion(s) -- because if I know this group, we won't be able to stay away from each other for long -- I'll miss you all terribly!

I Wanna Be a Producer

2010-07-30T13:37:00.004-05:00

The marquee at the Campus Theatre

It's almost that time again! One week from today, I'll open the next show...the hilarious Mel Brooks musical The Producers.

Tyler Lohr as Leo Bloom, Mandy Rausch as Ulla

This show will go down in my own personal history as a really big step in my progress towards becoming a healthier, more fit ME and as a result, a more confident person as a whole.

6 months and 30 pounds ago, I never would've gotten this role. I'm still battling the "old Mandy" inside my head as I go to costume fittings and step onto the stage and put on the persona of a character who causes every (straight) male character's jaws to drop to the floor.

I'm not gonna lie...this process has been one mental struggle after another. My biggest enemy has been myself, and I can be a stubborn pain in the ass. ;) The thing that's really interesting about this whole process has been that I've noticed myself NOT promoting the show as much as I normally would to my friends and family. When friends asked me what I'm rehearsing for, I would quickly answer "Producers" and then change the subject because I genuinely feared the reaction I would get when I answered the inevitable next question of "Which role are you?" If I wasn't able to avoid the question, I'd mumble "....Ulla" rather than stepping up and OWNING that shit.

Then came the inevitable meltdown when "old Mandy" took over in the poorly lit dressing room of a dance store where I went to buy my tights and leotard and VERY SHORT black shorts for the show. I felt sick to my stomach and embarrassed at myself for even auditioning. It was not a good night.

The next day, I emailed one of my best friends and just spilled my guts out to her and said everything you're not supposed to say because it's obnoxious and sounds like you're fishing for compliments. But that's what friends are for, right? She pointed out some things to me that I knew, but needed to be reminded of:

* I have come a LONG way. No matter what, I need to remember that and be proud of the body I have now. It's not perfect, and who the hell knows what a "perfect" body is anyway?

* NOWHERE in the script does it say that Ulla needs to be "tall" or "thin." The only thing it says in the script description of her is that she is "Swedish" and "very beautiful." Well, beauty is in the eye of the beholder, but I think I can pull off "Swedish and beautiful" with the right wig and makeup. ;)

* I am working with an incredible cast, and as long as I sell it and Max and Leo sell it (and Sean and Tyler are just making me feel like a million bucks every night), the audience will buy it.

So I got over myself (mostly) and started thinking, "You know what? I will own this. I'll probably never play this role again in my life, but that's what's so great about doing community theatre sometimes. Because of the limitations and the crappy pay (haha), we get LOTS of opportunities to play roles we may never get in the 'real theatre world.'"

Ulla's song is called "When You've Got it, Flaunt it." I may not have what everyone else thinks, but does that really matter?? No. It's my job to take what I do have, and flaunt the HELL out of it. And I damn sure will do that.

Divas: Directorial Post-Mortem

2010-06-29T14:33:00.005-05:00

The Divas singing their fabulous hearts out on "I'm a Woman" - the opening number!

Director Diva with her music and Blackberry saying "Can we get a follow spot here?"

Last weekend, I made my directorial debut. No, I didn't premiere a huge tap musical to sold out audiences for a four-week run. It was a much smaller scale than that, but still a very worthwhile experience from which I learned a lot.

Every summer, Denton Community Theatre puts on a summer fundraiser. For the past six years-ish, it's been a musical revue of sorts. For three years, it was called Bravo for Broadway, and it was an invitation-only concert of new and old Broadway songs performed by some of the local favorites. The next three years (including this year), it was called Encore! and featured local actors reprising songs they sang within the context of the shows when they were performed as mainstage productions.

For the summer 2010 version of Encore, we decided to celebrate all of the gloriously talented women our little town has had to offer over the past decades. I was asked to come on board for two reasons. One was because I'd had an idea to do a similar One for Mahler performance as a fundraiser for Anna's and my Susan G. Komen 3-Day minimum fundraising goal, so the seeds of a "divas" concert were already growing in my head. Secondly, the managing director of DCT was asked to direct it, and he had also never directed a show before. Apparently he valued my opinions and knowledge enough to ask me to come on board and head up this process (as well as perform in the production) and, after some thought, I graciously accepted.

We met a few times, compiled a list of women we'd love to see come and perform, sent out the emails, gathered up all the "yes!" answers, found a production team, and Encore III: The Divas! was born. Act I was to be comprised of songs from any show that DCT has produced in it's 40-year history, as well as a song from each of the 3 musicals in it's upcoming 41st season (in order to keep up the "encore" theme), performed by ladies in the cast. Act II was when we let the Divas pick their own song...something they could really cut loose and wail on.

The thing about the summer fundraiser that makes it so difficult is that there is very little preparation time. Mike and I, along with our musical and technical design team, met several times in the months leading up to June 21st, but we only had one week of actual rehearsal in the performance space to put together a beautiful, seamless production.

At the end of the day, we definitely succeeded. I am still getting emails and Facebook messages about how much people enjoyed watching, performing in, and working backstage for this production. I know I enjoyed being a part of the ROCKING group number to start each show ("I'm a Woman" from Smokey Joe's Café) as well as singing my two solos ("Moonfall" from The Mystery of Edwin Drood in Act I and "Spark of Creation" from Children of Eden in Act II) and working with some incredibly talented women.

However, I won't be lining up to direct a show again any time soon, I don't think.

At the risk of sounding incredibly arrogant, I will say that I think I did a pretty bang-up job, overall. I had some good ideas, learned how to wrangle a group of people and face LOTS of different ideas, opinions, attitudes, and the ever-present "too many cooks" problem with grace and professionalism...mostly. Okay, I did lose my temper once, but nobody's perfect, right? RIGHT?! :) I was treated with respect by people who suddenly had to have me as a director when they were a peer/castmate only weeks before. I was humbled by the gratitude and sweetness of the performers, overall. It was in no way a negative experience.

I am very tired now, though, and just ready for a great big vacation from the theatre. Having to balance all the production emails, cast member emails, organization and planning with the responsibilities of my day job, learn my OWN music/lyrics, and still remember that as soon as it was over I had to go back to another rehearsal process for my next project was just too much. Being at the theatre until 1am and back up at 7:30 for work the next day. Having to eat a quick, unhealthy dinner (or no dinner sometimes) and skip the gym so I could be at the theatre to run through some logistics before the actors arrived. Too. Much.

I've started to associate the theatre -- my second home, the place I love and the venue in which I can express myself artistically on a fairly regular basis -- with stress and exhaustion. Booo. I'm fairly sure that this is going to be VERY short-lived, but it definitely could not have come at a better time. Next week I will be on vacation from all things work and rehearsal, and I think I desperately need it.

I feel like this is coming across as negative and/or ungrateful for the opportunity, and that is VERY MUCH NOT the case at all. I had a really great experience, and I gained a lot of respect for my past and current directors, musical directors, vocal coaches, and designers since I had to fill all of those shoes in at least a tiny way throughout this process. That knowledge and respect of what all they do is invaluable to me now, and will change the way I behave and act as a performer from now on. I also got to sing some KICK. ASS. SONGS with some incredibly talented women.

But for now? Just give me my blocking and my notes and I'll quietly write them in my script and say "thank you." :) I'm ready to go back to just being a performer!

Dirty Rotten Recap and "When You Got it..."

2010-06-01T12:49:00.005-05:00

Well another show, Dirty Rotten Scoundrels has been put on the shelf. Due to my ridiculously busy schedule at work (the spring months are when all of our biggest deadlines are, and adding a show to that damn near killed me this time around), I didn't blog NEARLY as much as I wanted to about the rehearsal and production process of this amazing show.

I enjoy every show that I do and I always bond with cast members and find a way to love the role I'm playing...but only once in a blue moon do I get truly sad to close one. The last one was Crazy for You, which just happens to have been exactly one year ago. For that one and for DRS, the Monday after closing was just a dreadfully depressing day. I hated knowing I wouldn't do it all over again in a few days, and even listening to the cast recording when it happens upon my iPod shuffle makes me a little blue. It always passes, and I always keep in touch with the people from the cast, but the first few days are a little rough.

This show was particularly special to me for a couple of reasons. The first is indicated in the pictures heading up this blog post (all above). Kenny Fudge, who was the Andre to my Muriel, made this show so special for me. He has been on my theatre "wish list" ever since I saw him act when I worked backstage last summer for Don't Dress for Dinner, and I am so fortunate to have been cast opposite him.

The roles of Andre and Muriel in Dirty Rotten Scoundrels are an absolute trip. They may be secondary plot characters, but they have the ability to steal the show with their fabulous, cheesy (and sometimes dirty!) one-liners, the adorable song and dance number "Like Zis, Like Zat," and possibly the only real moments in an otherwise cartoony show. Muriel is also a very isolated character...all of her stuff is with Andre after a certain point, so I got to spend lots of stage time with this brilliant actor. And I think I fell a little bit in love with both Kenny and his Andre! I am so honored to have been cast opposite him. Kenny is absolutely no-drama, which I love, and his work ethic is incredible. Any time we had down time, we were running lines or talking about why scenes still felt a little off and figuring out how to fix it.

ON the stage, I have never worked with a more giving actor than Kenny. As someone who fancies herself more of a singer than an actress, I can't even say how much I appreciated working with such an amazing actor. His dedication onstage and the way HIS actions brought Muriel out of ME was amazing. I'm so grateful for it, and I think I'll ONLY do shows with Kenny from now on. :)

The SECOND reason this show was so special to me is why I can also post this on my weight loss blog. This show very much felt like a coming out party for me. I haven't been onstage in a lead or supporting role ever since The Reckoning. The last show I did was Chicago, which is when I was at my heaviest. So, some of the audiences have not seen me since I lost the 30lbs (!!!) I've lost since December.

I have to tell you....as much as I love and appreciate every compliment I got on my acting and singing in this show -- probably the most I've gotten yet on my actual performance of a show to date -- I NEVER once got tired of hearing, "Oh my GOD you look AMAZING!" when I'd greet friends, family and strangers after each performance. And honestly? I felt amazing. I felt lighter, my breath support during dancing and singing was better and easier to handle, and I loved all my costumes. I loved how they looked and I loved how I felt in them.

Below is a couple of pictures just to illustrate some of the awesomeness of weight loss. The first one is a picture of my friend Olivia, who was in the show with me (and was also in Crazy For You). Olivia has been on a very similar weight loss journey with me over the past 6 months or more. She has, to date, lost over 55lbs. Since I have lost 30, I felt it necessary to document in a photograph the AWESOME-ness that is 85lbs lost combined:

This picture is just one I threw together when I was scrolling through old Facebook photos last week. The picture on the left is a picture of me after a performance of Chicago, and the picture on the right was taken during the rehearsal process for DRS. I feel like I look SO different (besides the lighter hair color, obviously) in the two pictures. I look YOUNGER in the picture on the right, so I guess it's true what they say, that losing weight can make you look (and feel) younger!

So, speaking of weight loss...I feel like it's time to make the announcement of the next project I'll be working on. I'll just go ahead and come right out and say it and THEN tell the story of how this came to be:

I will be playing Ulla in Denton Community Theatre's production of The Producers this August.

I know, this is VERY unlikely. For several reasons. One, I'm 5'3. Two, I'm not tall and thin with legs that go for days. Three...I'm not a skinny girl.

But, it happened. I'll never play the role again, so I'm going to take my chance since I have it. I need you to know, blog readers, how much I AGONIZED over auditioning for this.

I talked to two very honest, to-the-point friends of mine, who are also directors. I asked them, "If you were directing this show and I auditioned for this role, would you smile politely and then write "fat chance, sister!" on my audition form?" Both of them were honest and direct in their responses and both said something similar to "No, but we'd put you in the maybe file and hope and pray that a tall, leggy Amazon showed up to rehearsals." Okay, so at least I knew I wasn't being completely delusional with the audition. So I went, and I did my best.

Then came the agony of "What happens if I DO get cast? Are people going to see the cast list and scoff? Laugh at the fact that a 5'3", size 10-12 girl is playing Ulla? What are people goign to say to me? How am I going to prove myself? Can I lose another 20 lbs by August if I'm cast?"

Then I got offered the role. And I almost puked. People keep asking me, "Are you so excited?!" The answer deep down is yes...but I have found myself TERRIFIED of what people are going to say/think about this.

I was vague-tweeting about this on Twitter before I was offered the role, and another local actor who is also a fitness coach, Jimmy Hays Nelson, tweeted back to me, "Don't let someone else's opinion of you become YOUR reality." Boom, reality check. Why am I SO concerned about what other people are thinking?

Honestly I could go on and on about this...but I'll save that for another blog. Right now I'm just going to re-focus on making HEALTHY changes in my life, start religiously counting calories again (had a leeeeeeetle too much indulgence over the holiday weekend), and up the ante on my workouts. Not so that I can prove to anyone else that I deserve to play this role, but so that, just like I did in Dirty Rotten Scoundrels, I can walk off that stage every night feeling amazing and confident because I know I have worked hard.

As Ulla says, "If you got it -- FLAUNT it." Bring it on.

A Dirty Rotten Update

2010-04-22T11:03:00.003-05:00

Remember when I actually used to keep up with this theatre blog? Unfortunately, work (!!!) has been completely insane during the months of March and April due to looming deadlines, and will continue to be pretty busy throughout mid-May or so. I still need to post a blog with my pictures from The Column Awards and a post about our upcoming One for Mahler performance, but, first things first...

I'm in a show. Did I mention I'm in a show? I'm sure I mentioned I'm in a show.

I'm currently in rehearsals for Music Theatre of Denton's production of Dirty Rotten Scoundrels as Muriel Eubanks (the role Joanna Gleason created in the original Broadway cast). This cast is honestly (no, really) one of the best casts I have ever worked with in Denton. It contains some of my closest and dearest friends, and we are having the time of our lives.

The show runs May 14-16 and 21-23 at the Campus Theatre in Denton. Friday and Saturday evening performances are at 7:30pm and Sunday matinees are at 2pm. More information can be found here.

This is really going to be a fun (and SO FUNNY) show, so try not to miss it. Here's a quick little video I made of our leads, Kelsey Macke (as Christine Colgate) and Justin Harmon (as Freddy Benson) and the ensemble rehearsing "Love is my Legs," one of my personal favorite songs in the show:

The cast will also be performing four songs this Saturday (April 24th) at 2:00pm on the Festival Stage at the Denton Arts & Jazz Festival, so that'll be a good time, too!

In the meantime, while you're waiting on pins and needles for OUR show to open, I encourage you to trek on down to the Kalita Humphreys theatre to see the Uptown Players' production of Dirty Rotten Scoundrels as well! There are some incredibly talented people in that cast, and I am personally super proud to go see one of Denton's own (Miss Whitney Hennen) dance in the ensemble. I'm going to see the preview tonight, and I can't wait to see what they're doing with the show!

It'd be easy to get intimidated by a larger theatre with, let's face it, more money and resources, doing the same show you're working on and running right up against yours (we share one weekend—our opening weekend is their closing weekend).

However, I'm just excited that the D/FW theatre community gets TWO opportunities to catch this show the first time it's done in the area (other than a tour). So get out there and see both!

Headshots Recap!

2010-03-31T16:46:00.001-05:00

I am THRILLED to report that I have officially met my minimum fundraising goal for the 3-Day walk. Each walker had to raise a minimum of $2,300 in order to participate and, thanks to generous donations from friends and family and a hugely successful fundraiser, I am currently sitting at $2,330 raised! So remember when I talked about Headshots for the Cure?

Well that event was this past Sunday, March 28th, and it was a lot of fun and a HUGE success.

I won't bore you with a lot of words, but I will say that I absolutely couldn't have pulled it off without the generous, talented photographers of Fresh Focus Point, with whom I am pictured here:

....as well as makeup artists Cassie Cole from Blue Issue and Jerry Rogers from The Clutts Agency (pictured further down, hard at work).

I arrived early that day to help set up, test lighting, blow up pink balloons, anything I could do, and had a wonderful surprise when my best friend and teammate Anna showed up with her beautiful daughter Bridget (also known as Queen B). Bridget was very happy to be there:

Then the clients started arriving, and I'm happy to show off some of my favorites of everyone's headshots:

Me -- the "brains" behind the event (ha).

My handsome and talented husband, Michael Rausch! Perfect shot for opera auditions, yes?

Steven Young

Amber Guest

Whitney Dewell

Valerie Rowekamp

Tad Hopp

Shannon Jones

Rebecca Iverson

Leslie Standlee

Joshua Diaz

John Norine

Jessica Cope

Heidi Lewis

Clyde Berry

Bianca Sias

Andrew Bryan

Allison Wing

Ashley White

There was also a self-shooting station and some fun, pink (naturally) props to play with while everyone was waiting to be shot or to get their discs printed. I LOVE that everyone had fun with it:

The following photos were taken by Andy Post as he walked around during the day:

Overall it was just a really amazing (not to mention exhausting) day. Everyone had a great time and everyone left happy with their photos. AND all the proceeds went to such a wonderful cause and helped me to reach my goal. MAJOR thanks to everyone and every dollar contributed. I plan to keep fundraising, but it's such a relief and a blessing to know that the minimum goal has been met.

Actors Giving Back

2010-03-25T13:05:00.003-05:00

Click on the image to see a larger version.

In a few days, I will be participating in something very exciting. As some of you who are close to me and talk to me on a daily basis may already know, I'm participating in the Susan G. Komen 3-Day Walk for the Cure in Dallas this November. Each individual walker must commit to raising $2,300 in order to participate.

For a still newly wed gal on a budget, that number was incredibly daunting. But, this cause is incredibly important to me, so I didn't let the fear or awkwardness of asking for money slow me down.

I had to stop and think, and ask myself some questions. What are my assets? What are my strong points? How can I use these things to aid my fundraising efforts? Thus, Headshots for the Cure was born.

Here's the official blurb:

“Headshots for the Cure is a fundraising event that was created by Mandy Rausch, an individual participant in the 2010 Susan G. Komen 3-Day Walk for the Cure (Dallas, TX) in collaboration with the photographers of Fresh Focus Point, a Dallas-based photographer collective. The event is being created in order to provide high-quality, professional headshots for actors, performers and/or corporate individuals with all proceeds from the event going directly towards Ms. Rausch’s fundraising goals for the Susan G. Komen Foundation. The Komen foundation is the global leader of the breast cancer movement in its goals to increase awareness; empower patients, survivors and family members; and ultimately help find a cure.”

The photographers of Fresh Focus Point have agreed to take a Sunday afternoon out of their already busy schedules and offer headshots to actors at an incredibly low price. For only $75, these folks will get 3 high-res, professional images for their personal and professional use. This is a steal, with most headshot packages going for upwards of $150-175.

Since the event was made public here on Facebook, my friends in the theatre community have really come out of the woodwork and helped me to raise....

*drumroll*

$1,275

In addition to the generous donations of other friends and family, this makes my total fundraising amount to date $2,255.

I am incredibly overwhelmed by the generosity and enthusiasm of my friends in the D/FW theatre community for supporting me and the cause I care so much about.

If you're interested in getting some headshots for yourself, please let me know. There are still plenty of slots available! Visit the Facebook event for more information.

Last but not least, I want to say a HUGE thank you to the participating photographers and the makeup agencies that will be on hand making this happen:

Lynn Michelle Photography

Engaged Studio

Simple Moments Photography

Wheelhouse of a Dream

2010-03-03T08:40:00.004-06:00

Thanks to Jack Sutter for the photo. Pictured: Jack Sutter (L) and Buster Maloney in the title role of Denton Community Theatre's Cyrano de Bergerac (R)

My husband, the brilliant opera singer I married, said something recently that really stuck in my mind with regards to performing and performers. He's currently rehearsing for Music Theatre of Denton's middle show of it's 2009/2010 season, Pirates of Penzance (which opens this Friday, by the way!). He's playing the role of Frederic, naturally, and when we were talking about how rehearsals were going one night, he said the following:

"It's going really, really well. This is the kind of singing I really should be doing. It just sits right in my wheelhouse."

I must have looked at him a bit funny, because he continued, "It just feels right in my voice. This is the kind of [non-operatic] musical theatre where I really can show what I've got. I don't really have to struggle."

Now, I may be a bit biased when it comes to him, but I tend to think he's been pretty dadgum awesome in other roles (most recently: Billy Flynn in Chicago, Paul in Company, Hysterium in A Funny....Forum, and Cliff in Cabaret to name a few), but I know exactly what he's saying.

Because I'm a total nerd, I looked up the word wheelhouse on Dictionary.com after that day. It was defined as "an enclosed structure on the deck of a ship from which it can be navigated."

Huh.

So what he was telling me was that he is essentially owning this role, and he feels like he is in control, at least vocally. This is where he's most confident, and where he feels that he can make decisions more easily within the role because he's not struggling to make it work within his voice or his range. To keep the ship captain analogy, it means that he knows his surroundings and is comfortable, as opposed to say, putting a deckhand in the wheelhouse of a ship and telling him to steer it. Eventually the deckhand will figure it out – probably because he has to. It would be, quite literally, a "sink or swim" situation.

How often do we feel that confident in a role? If we're lucky, it happens a couple of times. We'll walk into an audition, nail it, and get cast in a role that fits us like a glove. But let's be honest – more often than not (especially in community theatre where the human resources are much more limited) we feel more like the deckhand in that wheelhouse rather than the captain. For one reason or another we won't be cast in the role that we could sing or act the crap out of easily, and we have to work (sometimes really hard) to get it into our muscle memory and perform it to our fullest potential. The results when we do work that hard can be really rewarding, even if the process is exhausting and/or emotional.

Does this mean that it's any less rewarding to play a role that sits right in our wheelhouse? Absolutely not – at least, I don't think so. When a role fits you like a second skin, whether because you can sing it effortlessly or because you can just really identify with the character, it allows for all that much more exploration and delving within the subtext and intricacies of the script and/or score.

It's also a helluva lot of fun to watch an actor perform a role that sits right in his or her own wheelhouse!

Recently, my husband and I went to see our local theatre's production of Cyrano de Bergerac because our good friend Buster (pictured above) was playing the title role. Now, we've both had the pleasure of working with Buster on several different occasions, and the man always nails the roles he is cast in. I've seen him as Pseudolus (alongside my husband's Hysterium) in Forum, performed with him in Company (where he played Harry) and watched him backstage every night as Thurston Wheelis, et al in A Tuna Christmas. Each time, I was impressed by his performance.

To see him as Cyrano, though, was far and away the most impressed by him (and proud to call him friend!) I have ever been. He expertly navigated the poetry of the flowerly language effortlessly and made the character just as heartbreaking and funny as he should have been. He smoothly glided over the waters of a difficult (for modern audiences and mostly untrained actors) script. It was easy to tell that this more classical acting style was where Buster felt the most comfortable. This was what he trained and studied to do. He was right in his wheelhouse, and what fun it was to watch him.

I'm still figuring out what exactly makes up my own wheelhouse. I have a feeling I'll know it when it happens, and I look forward to that moment and the rehearsal process and performances of a role that I can navigate and steer along easily – and I hope that audiences will enjoy watching it as much as I'll enjoy doing it.

2010 Column Nominations!

2010-02-15T14:19:00.003-06:00

I know I'm a little late in posting these, but when I was looking at my Google Analytics report for this blog, I noticed that a lot of traffic comes from keyword searches similar to "column awards" or "2010 column nominations," so I figured I'd do the folks a favor and post them HERE. The full list with pictures can be found here.

So without further ado...here they are! Winners will be announced at the 11th Annual Column Awards on March 8, 2010. :)

Best Musical (Equity)
SWEENEY TODD - Casa Manana
RUTHLESS! THE MUSICAL - Flower Mound Performing Arts Theatre
FUNNY GIRL - Lyric Stage
THE KING AND I - Lyric Stage
THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE - Theatre Three
GREY GARDENS - WaterTower Theatre

-----------------------------------

Best Musical (Non Equity)
WEST SIDE STORY - Artisan Center Theater
EVIL DEAD THE MUSICAL - Level Ground Arts
MAN OF LA MANCHA - OnStage in Bedford
AIDA - Plaza Theatre Company
INTO THE WOODS - Richardson Theatre Centre
ALTAR BOYZ - Uptown Players, Inc

-----------------------------------

Best Play (Equity)
A MIDSUMMER NIGHT'S DREAM - Dallas Theater Center
GREATER TUNA - Flower Mound Performing Arts Theatre
VINCENT RIVER - Theatre Britain
DON'T DRESS FOR DINNER - Theatre Three
THE HISTORY BOYS - Uptown Players, Inc
THE TRIALS AND TRIBULATIONS OF A TRAILER TRASH HOUSEWIFE
- Uptown Players, Inc

-----------------------------------

Best Play (Non Equity)
HELLO HUMAN FEMALE - Audacity Theatre Lab
ONE FLEW OVER THE CUCKOO'S NEST - OnStage in Bedford
CASH ON DELIVERY - Plaza Theatre Company
THE HOUSE OF BLUE LEAVES - Theatre Arlington
TALK RADIO BY ERIC BOGOSIAN - Upstart Productions
MOMMIE QUEEREST - Uptown Players, Inc

-----------------------------------

Steve Lovett Original New Playwright Award
Matt Lyle - HELLO HUMAN FEMALE - Audacity Theatre Lab
Gary Moody; Gary Taylor - A LONESTAR CHRISTMAS CAROL - Circle Theatre
M. Shane Hurst - PRIDE AND PREJUDICE - Greater Lewisville Community Theatre
Bill Fountain - CRUSHING GRAIN - Level Ground Arts
Alejandro de la Costa - ADAM AND EVE IN THE GARDEN OF DELIGHTS OR LOVE
- MBS Productions
Scott A Eckert - DEATH - THE MUSICAL - Pocket Sandwich Theatre

-----------------------------------

Best Director of a Musical (Equity)
Chris Robinson - RUTHLESS! THE MUSICAL - Flower Mound Performing Arts Theatre
Cheryl Denson - FUNNY GIRL - Lyric Stage
Jerry Russell - THE SPITFIRE GRILL - Stage West
Jac Alder - LOST IN THE STARS - Theatre Three
Bruce R. Coleman - THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE - Theatre Three
Terry Martin - GREY GARDENS - WaterTower Theatre

-----------------------------------

Best Director of a Musical (Non Equity)
Dennis Canright - WEST SIDE STORY - Artisan Center Theater
Bill Fountain; Zac Ramsey - EVIL DEAD THE MUSICAL - Level Ground Arts
Dennis Yslas - MAN OF LA MANCHA - OnStage in Bedford
JaceSon And Tina Barrus - AIDA - Plaza Theatre Company
Jeff Kinman - INTO THE WOODS - Richardson Theatre Centre
Cheryl Denson - ALTAR BOYZ - Uptown Players, Inc

-----------------------------------

Best Director of a Play (Equity)
Kevin Moriarty - A MIDSUMMER NIGHT'S DREAM - Dallas Theater Center
Ryan Roach;Chris Robinson - GREATER TUNA - Flower Mound Performing Arts Theatre
Michael Serrecchia - ALMOST, MAINE - Theatre Arlington
Robin Armstrong - VINCENT RIVER - Theatre Britain
Bruce R. Coleman - THE HISTORY BOYS - Uptown Players, Inc
Cheryl Denson - THE TRIALS AND TRIBULATIONS OF A TRAILER TRASH HOUSEWIFE - Uptown Players, Inc

-----------------------------------

Best Director of a Play (Non Equity)
Taffy Geisel - THE LION, THE WITCH AND THE WARDROBE - Artisan Center Theater
Bill Fountain; Lisa Long - ONE FLEW OVER THE CUCKOO'S NEST - OnStage in Bedford
Danielle Beacham - CASH ON DELIVERY - Plaza Theatre Company
B.J. Cleveland - THE HOUSE OF BLUE LEAVES - Theatre Arlington
Regan Adair - TALK RADIO BY ERIC BOGOSIAN - Upstart Productions
Andi Allen - MOMMIE QUEEREST - Uptown Players, Inc

-----------------------------------

Best Music Direcor of a Musical (Equity)
Adam C. Wright - RUTHLESS! THE MUSICAL - Flower Mound Performing Arts Theatre
Jay Dias - FUNNY GIRL - Lyric Stage
Terry Dobson - THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE - Theatre Three
Scott A. Eckert - BREATHE - Uptown Players, Inc
Mark Mullino - FOREVER PLAID: PLAID TIDINGS - WaterTower Theatre
James McQuillen - GREY GARDENS - WaterTower Theatre

-----------------------------------

Best Music Direcor of a Musical (Non Equity)
Jeff Crouse - MAME - Garland Summer Musicals
M. Shane Hurst - EVIL DEAD THE MUSICAL - Level Ground Arts
Richard Gwozdz - THE BEST LITTLE WHOREHOUSE IN TEXAS - OnStage in Bedford
Dick Helmcamp - AIDA - Plaza Theatre Company
Adam C. Wright - INTO THE WOODS - Richardson Theatre Centre
Adam C. Wright - ALTAR BOYZ - Uptown Players, Inc

-----------------------------------

Best Scenic Design of a Musical (Equity)
Amanda Foust - SWEENEY TODD - Casa Manana
Bryan Wofford - FUNNY GIRL - Lyric Stage
Michael Anania - THE KING AND I - Lyric Stage
Jeffrey Schmidt - THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE - Theatre Three
Andy Redmon - BREATHE - Uptown Players, Inc
Christopher Pickart - GREY GARDENS - WaterTower Theatre

-----------------------------------

Best Scenic Design of a Musical (Non Equity)
Dennis Canright; Jason Leyva - WEST SIDE STORY - Artisan Center Theater
Ken Long - EVIL DEAD THE MUSICAL - Level Ground Arts
Charlotte Newman; Robert Dennard - MAN OF LA MANCHA - OnStage in Bedford
JaceSon Barrus - AIDA - Plaza Theatre Company
Steven Wright - INTO THE WOODS - Richardson Theatre Centre
Clare Floyd DeVries - ALTAR BOYZ - Uptown Players, Inc

-----------------------------------

Best Scenic Design of a Play (Equity)
Beowulf Boritt - A MIDSUMMER NIGHT'S DREAM - Dallas Theater Center
Scott Kirkham - GREATER TUNA - Flower Mound Performing Arts Theatre
Darryl Clement - PUSS IN BOOTS - Theatre Britain
Jac Alder; David Walsh - DON'T DRESS FOR DINNER - Theatre Three
Bruce R. Coleman - THE HISTORY BOYS - Uptown Players, Inc
Clare Floyd DeVries - THE TRIALS AND TRIBULATIONS OF A TRAILER TRASH HOUSEWIFE - Uptown Players, Inc

-----------------------------------

Best Scenic Design of a Play (Non Equity)
Jason Leyva - THE LION, THE WITCH AND THE WARDROBE - Artisan Center Theater
Wade Giampa - ALL MY SONS - ICT MainStage
Ellen Mizener - DUCKHUNTER SHOOTS ANGEL - OnStage in Bedford
Charlotte Newman - FOOTLIGHT FRENZY - OnStage in Bedford
JaceSon Barrus - BEAU JEST - Plaza Theatre Company
JaceSon Barrus - CASH ON DELIVERY - Plaza Theatre Company

-----------------------------------

Best Lighting Design of a Musical (Equity)
John Bartenstein - SWEENEY TODD - Casa Manana
Julie Moroney - FUNNY GIRL - Lyric Stage
Julie Moroney - THE KING AND I - Lyric Stage
Amanda West - THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE - Theatre Three
Jason Foster - BREATHE - Uptown Players, Inc
Susan A. White - GREY GARDENS - WaterTower Theatre

-----------------------------------

Best Lighting Design of a Musical (Non Equity)
Natalie Berry - WEST SIDE STORY - Artisan Center Theater
Sam Nance - EVIL DEAD THE MUSICAL - Level Ground Arts
Robert Dennard - MAN OF LA MANCHA - OnStage in Bedford
JaceSon Barrus - AIDA - Plaza Theatre Company
Tony Adams; Lynn Johnson - INTO THE WOODS - Richardson Theatre Centre
Julie Moroney - ALTAR BOYZ - Uptown Players, Inc

-----------------------------------

Best Lighting Design of a Play (Equity)
Tyler Micoleau - A MIDSUMMER NIGHT'S DREAM - Dallas Theater Center
Scott Kirkham - GREATER TUNA - Flower Mound Performing Arts Theatre
Michael Winters - HARVEY - Theatre Arlington
Amanda West - DON'T DRESS FOR DINNER - Theatre Three
Amanda West - THE HISTORY BOYS - Uptown Players, Inc
Jason Foster - THE TRIALS AND TRIBULATIONS OF A TRAILER TRASH HOUSEWIFE - Uptown Players, Inc

-----------------------------------

Best Lighting Design of a Play (Non Equity)
Jason Leyva - THE LION, THE WITCH AND THE WARDROBE - Artisan Center Theater
Sam Nance - ALL MY SONS - ICT MainStage
Michael Campbell - HEAVEN CAN WAIT - ICT MainStage
Michael Winters - FOOTLIGHT FRENZY - OnStage in Bedford
Cameron Barrus - CASH ON DELIVERY - Plaza Theatre Company
JaceSon Barrus - DON'T DRINK THE WATER - Plaza Theatre Company

-----------------------------------

Best Sound Design of a Musical (Equity)
Justin Stasiw - SWEENEY TODD - Casa Manana
Bill Eickenloff - FUNNY GIRL - Lyric Stage
Bill Eickenloff - THE KING AND I - Lyric Stage
Mark C. Guerra - LOST IN THE STARS - Theatre Three
Virgil Justice And Bill Eickenloff - BREATHE - Uptown Players, Inc
Curtis Craig - GREY GARDENS - WaterTower Theatre

-----------------------------------

Best Sound Design of a Musical (Non Equity)
Jason Walker; Evan Ramos - WEST SIDE STORY - Artisan Center Theater
M. Shane Hurst - EVIL DEAD THE MUSICAL - Level Ground Arts
John Sanchez - THE BEST LITTLE WHOREHOUSE IN TEXAS - OnStage in Bedford
G. Aaron Siler - AIDA - Plaza Theatre Company
David H. H. Lambert - DEATH - THE MUSICAL - Pocket Sandwich Theatre
Virgil Justice - ALTAR BOYZ - Uptown Players, Inc

-----------------------------------

Best Sound Design of a Play (Equity)
David H. M. Lambert - INCORRUPTIBLE - Circle Theatre
The Broken Chord Collective - A MIDSUMMER NIGHT'S DREAM - Dallas Theater Center
Scott Kirkham - GREATER TUNA - Flower Mound Performing Arts Theatre
Cathy O'Neal - HARVEY - Theatre Arlington
Andi Allen - THE HISTORY BOYS - Uptown Players, Inc
Virgil Justice - THE TRIALS AND TRIBULATIONS OF A TRAILER TRASH HOUSEWIFE - Uptown Players, Inc

-----------------------------------

Best Sound Design of a Play (Non Equity)
Joey Geisel - THE LION, THE WITCH AND THE WARDROBE - Artisan Center Theater
Bill Fountain - ONE FLEW OVER THE CUCKOO'S NEST - OnStage in Bedford
G. Aaron Siler - BEAU JEST - Plaza Theatre Company
G. Aaron Siler - CASH ON DELIVERY - Plaza Theatre Company
Mason York - TALK RADIO BY ERIC BOGOSIAN - Upstart Productions
Andi Allen And Jamie Morris - MOMMIE QUEEREST - Uptown Players, Inc

-----------------------------------

Best Costume Design of a Musical (Equity)
Ann M. Bruskiewitz - SWEENEY TODD - Casa Manana
Susan Doke - RUTHLESS! THE MUSICAL - Flower Mound Performing Arts Theatre
Drenda Lewis - FUNNY GIRL - Lyric Stage
Bruce R. Coleman - THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE - Theatre Three
Suzi Cranford - BREATHE - Uptown Players, Inc
Aaron Patrick Turner - GREY GARDENS - WaterTower Theatre

-----------------------------------

Best Costume Design of a Musical (Non Equity)
Darius Robinson - WEST SIDE STORY - Artisan Center Theater
Jessica Stevens - EVIL DEAD THE MUSICAL - Level Ground Arts
Ryan Matthieu Smith; Sharon Wiltshire - MAN OF LA MANCHA - OnStage in Bedford
Tina Barrus - AIDA - Plaza Theatre Company
Suzi Cranford - INTO THE WOODS - Richardson Theatre Centre
Suzi Cranford - ALTAR BOYZ - Uptown Players, Inc

-----------------------------------

Best Costume Design of a Play (Equity)
Claudia Stephens - A MIDSUMMER NIGHT'S DREAM - Dallas Theater Center
Ryan Matthieu Smith - GREATER TUNA - Flower Mound Performing Arts Theatre
Bruce R. Coleman - DON'T DRESS FOR DINNER - Theatre Three
Bruce R. Coleman - MURDER ON THE NILE - Theatre Three
Suzi Cranford - THE HISTORY BOYS - Uptown Players, Inc
Suzi Cranford - THE TRIALS AND TRIBULATIONS OF A TRAILER TRASH HOUSEWIFE - Uptown Players, Inc

-----------------------------------

Best Costume Design of a Play (Non Equity)
Judy Wenslow; Caroline May - THE LION, THE WITCH AND THE WARDROBE - Artisan Center Theater
Celeste Rogers - MARY STUART - Garland Civic Theatre
Ande Bewley - PLAN NINE FROM OUTER SPACE - Level Ground Arts
Sharon Wiltshire - FOOTLIGHT FRENZY - OnStage in Bedford
Tina Barrus - DON'T DRINK THE WATER - Plaza Theatre Company
Suzi Cranford - MOMMIE QUEEREST - Uptown Players, Inc

-----------------------------------

Best Choreography of a Musical (Equity)
Eddie Floresca - A LONESTAR CHRISTMAS CAROL - Circle Theatre
Doug Miller - CLICK, CLACK, MOO: COWS THAT TYPE - Dallas Children's Theater
Tracy Jordan - FUNNY GIRL - Lyric Stage
Ann Nieman - THE KING AND I - Lyric Stage
Kelly McCain - BREATHE - Uptown Players, Inc
C. Nicholas Morris - GREY GARDENS - WaterTower Theatre

-----------------------------------

Best Choreography of a Musical (Non Equity)
Eddie Floresca - WEST SIDE STORY - Artisan Center Theater
Carlos Gomez - MAME - Garland Summer Musicals
Brittany Levraea - EVIL DEAD THE MUSICAL - Level Ground Arts
Eddie Floresca - THE BEST LITTLE WHOREHOUSE IN TEXAS - OnStage in Bedford
Feleceia Benton - AIDA - Plaza Theatre Company
John De Los Santos - ALTAR BOYZ - Uptown Players, Inc

-----------------------------------

Best Stage Management of a Musical (Equity)
Margaret J. Soch - FUNNY GIRL - Lyric Stage
Margaret J. Soch - THE KING AND I - Lyric Stage
Bruce R. Coleman - LOST IN THE STARS - Theatre Three
Doug Miller - THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE - Theatre Three
Jose Solivan - BREATHE - Uptown Players, Inc
Heidi Shen - GREY GARDENS - WaterTower Theatre

-----------------------------------

Best Stage Management of a Musical (Non Equity)
Lindsay Hardisty - WEST SIDE STORY - Artisan Center Theater
Monica Yvette Meadows - EVIL DEAD THE MUSICAL - Level Ground Arts
Anna Oltmanns - MAN OF LA MANCHA - OnStage in Bedford
Stefanie Glenn; Monica Glenn; Karen Trahan - AIDA - Plaza Theatre Company
Tommy Looney - OLIVER - Richardson Theatre Centre
Cory Boulieris - ALTAR BOYZ - Uptown Players, Inc

-----------------------------------

Best Stage Management of a Play (Equity)
Leslie S. Allen - AND THEN THEY CAME FOR ME: REMEMBERING THE WORLD OF ANNE FRANK - Dallas Children's Theater
Melissa Daroff - A MIDSUMMER NIGHT'S DREAM - Dallas Theater Center
Scott Kirkham - GREATER TUNA - Flower Mound Performing Arts Theatre
John Harvey; Hana Goff - VINCENT RIVER - Theatre Britain
Terry Vandivort - MURDER ON THE NILE - Theatre Three
Amy Fisher Hughes - THE HISTORY BOYS - Uptown Players, Inc

-----------------------------------

Best Stage Management of a Play (Non Equity)
Lindsay Hardisty - THE LION, THE WITCH AND THE WARDROBE - Artisan Center Theater
Tom Ortiz - ALL MY SONS - ICT MainStage
Evelyn G. Hall - DON'T DRESS FOR DINNER - ICT MainStage
Anna Oltmanns, Shojin Bateman - FOOTLIGHT FRENZY - OnStage in Bedford
Monica Yvette Meadows - ONE FLEW OVER THE CUCKOO'S NEST - OnStage in Bedford
Analaura Keith - CASH ON DELIVERY - Plaza Theatre Company

-----------------------------------

Best Actor in a Musical (Equity)
Dennis Canright (Sylvia St. Croix) - RUTHLESS! THE MUSICAL - Flower Mound Performing Arts Theatre
Jeremy Dumont (Eddie Ryan) - FUNNY GIRL - Lyric Stage
Joe Nemmers (The King) - THE KING AND I - Lyric Stage
Cedric Neal (Absolom Kumalo) - LOST IN THE STARS - Theatre Three
Paul J. Williams (Douglas Panch) - THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE - Theatre Three
Willie Welch (Ensemble) - WOODY GUTHRIE'S AMERICAN SONG - Theatre Too

-----------------------------------

Best Actor in a Musical (Non Equity)
Stan Graner (Henry Higgins) - MY FAIR LADY - Artisan Center Theater
Evan Ramos (Tony) - WEST SIDE STORY - Artisan Center Theater
Tom DeWester (Cervantes, Et Al.) - MAN OF LA MANCHA - OnStage in Bedford
Shane Strawbridge (Jack) - INTO THE WOODS - Richardson Theatre Centre
Alexander Ross (Matthew) - ALTAR BOYZ - Uptown Players, Inc
Drew Kelly (Mark) - ALTAR BOYZ - Uptown Players, Inc

-----------------------------------

Best Actor in a Play (Equity)
Cedric Neal (Puck) - A MIDSUMMER NIGHT'S DREAM - Dallas Theater Center
Chris Robinson (Arles Struvie, Et Al.) - GREATER TUNA - Flower Mound Performing Arts Theatre
B.J. Cleveland (Elwood P. Dowd) - HARVEY - Theatre Arlington
James Chandler (Davey) - VINCENT RIVER - Theatre Britain
Ashley Wood (Robert) - DON'T DRESS FOR DINNER - Theatre Three
Bradley Campbell (Hector) - THE HISTORY BOYS - Uptown Players, Inc

-----------------------------------

Best Actor in a Play (Non Equity)
Jeff Swearingen (Blork) - HELLO HUMAN FEMALE - Audacity Theatre Lab
Jordan Willis (Chris Keller) - ALL MY SONS - ICT MainStage
G. Aaron Siler (Norman McDonald) - CASH ON DELIVERY - Plaza Theatre Company
Aaron Lett (Eric Swan) - CASH ON DELIVERY - Plaza Theatre Company
Elias Taylorson (Barry Champlain) - TALK RADIO BY ERIC BOGOSIAN - Upstart Productions
Coy Covington (Joan Crawford) - MOMMIE QUEEREST - Uptown Players, Inc

-----------------------------------

Best Actress in a Musical (Equity)
Kristin Dausch (Fanny Brice) - FUNNY GIRL - Lyric Stage
Shelbie Mac (Percy Talbott) - THE SPITFIRE GRILL - Stage West
Liz Mikel (Linda Et Al) - LOST IN THE STARS - Theatre Three
Ariana Movassagh (Olive Ostrovsky) - THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE - Theatre Three
Stephanie Hall (Woman #1) - BREATHE - Uptown Players, Inc
Diana Sheehan ("Little" Edie Beale/Edith Bouvier Beale) - GREY GARDENS - WaterTower Theatre

-----------------------------------

Best Actress in a Musical (Non Equity)
Christina Atwell (Eliza Doolittle) - MY FAIR LADY - Artisan Center Theater
Sarah Dickerson (Maria) - WEST SIDE STORY - Artisan Center Theater
Sherry Etzel (Patsy Cline) - ALWAYS... PATSY CLINE - Greater Lewisville Community Theatre Emily Antrainer (Aldonza) - MAN OF LA MANCHA - OnStage in Bedford
Lana K. Hoover (Mona Stangley) - THE BEST LITTLE WHOREHOUSE IN TEXAS - OnStage in Bedford
Feleceia Benton (Aida) - AIDA - Plaza Theatre Company
Ashlie Kirkpatrick (Baker's Wife) - INTO THE WOODS - Richardson Theatre Centre

-----------------------------------

Best Actress in a Play (Equity)
Irma P. Hall (Lena Younger) - A RAISIN IN THE SUN - African American Repertory Theater
Liz Mikel (Titania) - A MIDSUMMER NIGHT'S DREAM - Dallas Theater Center
Sue Roberts-Birch (Anita) - VINCENT RIVER - Theatre Britain
Danielle Pickard (Jacqueline De Severac) - MURDER ON THE NILE - Theatre Three
Morgana Shaw (Julie) - THE ROYAL FAMILY - Theatre Three
Cindee Mayfield (Willadean Winkler) - THE TRIALS AND TRIBULATIONS OF A TRAILER TRASH HOUSEWIFE - Uptown Players, Inc

-----------------------------------

Best Actress in a Play (Non Equity)
Arianna Movassagh (Tamela) - HELLO HUMAN FEMALE - Audacity Theatre Lab
Andi Allen (Tanna - Et Al) - PLAN NINE FROM OUTER SPACE - Level Ground Arts
Angela Allen (Laura Becker) - FOOTLIGHT FRENZY - OnStage in Bedford
Desiree Fultz (Nurse Ratched) - ONE FLEW OVER THE CUCKOO'S NEST - OnStage in Bedford Camille Shaw (Sarah Goldman) - BEAU JEST - Plaza Theatre Company
Marianne Galloway (Sylvia) - SYLVIA - Theatre Coppell

-----------------------------------

Supporting Actor in a Musical (Equity)
Babakayode Ipaye (John) - FUNNY GIRL - Lyric Stage
Darius-Anthony Robinson (Mitch Mahoney) - THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE - Theatre Three
B.J. Cleveland (Chip Tolentino) - THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE - Theatre Three
Chad Peterson (Leaf Coneybear) - THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE - Theatre Three
Alex Ross (Ensemble) - WOODY GUTHRIE'S AMERICAN SONG - Theatre Too
Gary Floyd (George Gould Strong) - GREY GARDENS - WaterTower Theatre

-----------------------------------

Supporting Actor in a Musical (Non Equity)
Andrew McGlothen (Riff) - WEST SIDE STORY - Artisan Center Theater
Shane Strawbridge (Jake) - EVIL DEAD THE MUSICAL - Level Ground Arts
David Cook (Padre) - MAN OF LA MANCHA - OnStage in Bedford
Tom DeWester (Melvin P. Thorpe) - THE BEST LITTLE WHOREHOUSE IN TEXAS - OnStage in Bedford
Angel Velasco (Juan) - ALTAR BOYZ - Uptown Players, Inc
Michael Tuck (Abraham) - ALTAR BOYZ - Uptown Players, Inc

-----------------------------------

Supporting Actor in a Play (Equity)
David H. M. Lambert (Martin) - INCORRUPTIBLE - Circle Theatre
Shane Strawbridge (Olf) - INCORRUPTIBLE - Circle Theatre
Dan Nolen, Jr. (Judge Omar Gaffney) - HARVEY - Theatre Arlington
Jordan Willis (Smith) - MURDER ON THE NILE - Theatre Three
Corey Cleary-Stoner (Posner) - THE HISTORY BOYS - Uptown Players, Inc
Alexander Ross (Scripps) - THE HISTORY BOYS - Uptown Players, Inc

-----------------------------------

Supporting Actor in a Play (Non Equity)
Jason Leyva (Mr. Beaver) - THE LION, THE WITCH AND THE WARDROBE - Artisan Center Theater
Joey Geisel (Mr. Tumnus) - THE LION, THE WITCH AND THE WARDROBE - Artisan Center Theater
Brad Stephens (George Deever) - ALL MY SONS - ICT MainStage
Jay Cornils (Abe Goldman) - BEAU JEST - Plaza Theatre Company
Paul J Williams (Carol Ann) - MOMMIE QUEEREST - Uptown Players, Inc
Chad Peterson (Christina Crawford/LB Mayer) - MOMMIE QUEEREST - Uptown Players, Inc

-----------------------------------

Supporting Actress in a Musical (Equity)
Andi Allen (Lita Encore) - RUTHLESS! THE MUSICAL - Flower Mound Performing Arts Theatre
Connie Coit (Mrs. Strakosh) - FUNNY GIRL - Lyric Stage
Jilian Brown (Mimsey, Ziegfeld Showgirl) - FUNNY GIRL - Lyric Stage
Megan Kelly Bates (Logainne Schwartzandgrubenierre) - THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE - Theatre Three
Sherry Etzel (Ensemble) - WOODY GUTHRIE'S AMERICAN SONG - Theatre Too
Kimberly Whalen (Young "Little" Edie Beale) - GREY GARDENS - WaterTower Theatre

-----------------------------------

Supporting Actress in a Musical (Non Equity)
Gina Gwozdz (Anita) - WEST SIDE STORY - Artisan Center Theater
Natalie Berry (Anita) - WEST SIDE STORY - Artisan Center Theater
Stephanie Felton (Cheryl) - EVIL DEAD THE MUSICAL - Level Ground Arts
Courtney Sikora (Amneris) - AIDA - Plaza Theatre Company
Daron Cockerell (Ziegfeld's Favorite) - THE WILL ROGERS FOLLIES - Plaza Theatre Company Sara Shelby-Martin (Vivian/Olivia) - DEATH - THE MUSICAL - Pocket Sandwich Theatre

-----------------------------------

Supporting Actress in a Play (Equity)
Cathy Pritchett (Betty Chumley) - HARVEY - Theatre Arlington
Marla Jo Kelly (Princess Alice) - PUSS IN BOOTS - Theatre Britain
Tricia Ponsford (Suzanne) - DON'T DRESS FOR DINNER - Theatre Three
Wendy Welch (Mrs. Lintott) - THE HISTORY BOYS - Uptown Players, Inc
Melissa Jobe (Rayleen Hobbs) - THE TRIALS AND TRIBULATIONS OF A TRAILER TRASH HOUSEWIFE - Uptown Players, Inc
Laura Warner (La Sonia Robinson) - THE TRIALS AND TRIBULATIONS OF A TRAILER TRASH HOUSEWIFE - Uptown Players, Inc

-----------------------------------

Supporting Actress in a Play (Non Equity)
Becca Shivers (Timmy) - HELLO HUMAN FEMALE - Audacity Theatre Lab
Jill Ethridge (Debbie Turner) - FOOTLIGHT FRENZY - OnStage in Bedford
Emily Kate Hardy (Candy Starr) - ONE FLEW OVER THE CUCKOO'S NEST - OnStage in Bedford
Darcy Farrington (Miriam Goldman) - BEAU JEST - Plaza Theatre Company
Dana Harrison (Clairee) - STEEL MAGNOLIAS - Richardson Theatre Centre
Meridith Morton (Linda MacArthur) - TALK RADIO BY ERIC BOGOSIAN - Upstart Productions

-----------------------------------

Featured Actor in a Musical (Equity)
Mikey Abrams (Ziegfeld Dancer, Choreographer) - FUNNY GIRL - Lyric Stage
Lon D. Barrera (Mr. Renaldi) - FUNNY GIRL - Lyric Stage
Alexander Ross (Ziegfeld Tenor) - FUNNY GIRL - Lyric Stage
Mark Oristano (Florenz Ziegfeld, Jr.) - FUNNY GIRL - Lyric Stage
Chamblee Ferguson (Sir Edward Ramsay) - THE KING AND I - Lyric Stage
Markus Lloyd (Flick) - VIOLET - WaterTower Theatre

-----------------------------------

Featured Actor in a Musical (Non Equity)
Michael Pandolfo (Baby John) - WEST SIDE STORY - Artisan Center Theater
Doug Fowler (Mr. Upson) - MAME - Garland Summer Musicals
Alex Rodriguez (Fred Casley) - CHICAGO - Music Theatre of Denton
Curt Mega (Gaspard De La Nuit) - SINGIN' IN THE RAIN - Plaza Theatre Company
Jared Brewer (Steward) - INTO THE WOODS - Richardson Theatre Centre
Jerome Stein (Cinderella's Father) - INTO THE WOODS - Richardson Theatre Centre

-----------------------------------

Featured Actor in a Play (Equity)
Cedric Neal (Ensemble) - IN THE BEGINNING - Dallas Theater Center
Chamblee Ferguson (Ensemble) - IN THE BEGINNING - Dallas Theater Center
Drew Wall (Peter Simple) - THE MERRY WIVES OF WINDSOR, TX - Shakespeare Dallas
Alex Hardaway (E.J. Lofgren) - HARVEY - Theatre Arlington
Mark C. Guerra (Steward) - MURDER ON THE NILE - Theatre Three
John Venable (Gilbert Marshall) - THE ROYAL FAMILY - Theatre Three

-----------------------------------

Featured Actor in a Play (Non Equity)
Jeremy Whitiker (Mother) - HELLO HUMAN FEMALE - Audacity Theatre Lab
Bill Fountain (Bela - Et Al) - PLAN NINE FROM OUTER SPACE - Level Ground Arts
Zac Ramsey (Aide Williams) - ONE FLEW OVER THE CUCKOO'S NEST - OnStage in Bedford
JaceSon Barrus (Ms. Cowper) - CASH ON DELIVERY - Plaza Theatre Company
Greg Kozakis (Raynerd Chisum) - SOUTHERN HOSPITALITY - Runway Theatre
Kevin Moore (Greg/Christopher Crawford) - MOMMIE QUEEREST - Uptown Players, Inc

-----------------------------------

Featured Actress in a Musical (Equity)
Carleen Kirksey (Emma) - FUNNY GIRL - Lyric Stage
Jane Willingham (Mrs. O'Malley) - FUNNY GIRL - Lyric Stage
Mary McElree (Topsy; Attendant) - THE KING AND I - Lyric Stage
Katharine Gentsch (Royal Dancer; Court Dancer) - THE KING AND I - Lyric Stage
Delynda Johnson Moravec (Governess) - LOST IN THE STARS - Theatre Three
Pam Dougherty (Edith Bouvier Beale) - GREY GARDENS - WaterTower Theatre

-----------------------------------

Featured Actress in a Musical (Non Equity)
Samantha Padilla (Consuela) - WEST SIDE STORY - Artisan Center Theater
Jad B. Saxton (Trixie) - THE ROCKY HORROR SHOW - Greater Lewisville Community Theatre
Stacie Cleland (Deadite Sophie) - EVIL DEAD THE MUSICAL - Level Ground Arts
Angela Allen (Ginger) - THE BEST LITTLE WHOREHOUSE IN TEXAS - OnStage in Bedford
Emily Hardy (Linda Lou Et Al) - THE BEST LITTLE WHOREHOUSE IN TEXAS - OnStage in Bedford
Crystal Hires (Nehebka) - AIDA - Plaza Theatre Company

-----------------------------------

Featured Actress in a Play (Equity)
Drenda Lewis (Agatha) - INCORRUPTIBLE - Circle Theatre
Carrie Slaughter (Candy Starr) - ONE FLEW OVER THE CUCKOO'S NEST - Contemporary Theatre of Dallas
Liz Mikel (Ensemble) - IN THE BEGINNING - Dallas Theater Center
Maxey Whitehead (Biondello) - THE TAMING OF THE SHREW - Shakespeare Dallas
Vandi Clark (Mrs. Ethel Chauvenet) - HARVEY - Theatre Arlington
Crystal Ramon (Blues Singer) - THE TRIALS AND TRIBULATIONS OF A TRAILER TRASH HOUSEWIFE - Uptown Players, Inc

-----------------------------------

Featured Actress in a Play (Non Equity)
Grisel Cambiasso (Teiresias, Et Al) - OEDIPUS REX - MBS Productions
Jill Ethridge (Kansas) - DUCKHUNTER SHOOTS ANGEL - OnStage in Bedford
Claire Buckholz (Miss Dixon) - CASH ON DELIVERY - Plaza Theatre Company
Jocelyn Everett (Mittens Et Al) - CAPTAIN PHANTASM VS. THE NEFARIOUS DR. NOIR! - Pocket Sandwich Theatre
Melissa Hartman (Belinda) - NOISES OFF - Repertory Company Theatre
Lulu Ward (Dr. Susan Fleming Et Al) - TALK RADIO BY ERIC BOGOSIAN - Upstart Productions

-----------------------------------

Chita Rivera Dance Award (Female)
Gina Gwozdz (Anita) - WEST SIDE STORY - Artisan Center Theater
Hannah Guillory (Velma Kelly) - CHICAGO - Greater Lewisville Community Theatre
Emily Hardy (Linda Lou Et Al) - THE BEST LITTLE WHOREHOUSE IN TEXAS - OnStage in Bedford
Christine Atwell (Belle) - DISNEY'S BEAUTY AND THE BEAST - The Greater Cleburne Carnegie Players
Stephanie Hall (Woman #1) - BREATHE - Uptown Players, Inc
Katharine Gentsch (Ensemble) - BREATHE - Uptown Players, Inc

-----------------------------------

Chita Rivera Dance Award (Male)
Michael Sylvester (Chino) - WEST SIDE STORY - Artisan Center Theater
Jeremy Dumont (Eddie Ryan) - FUNNY GIRL - Lyric Stage
Alex Rodriguez (Custas) - CRAZY FOR YOU - Music Theatre of Denton
Chris Edwards (Aggie Et Al) - THE BEST LITTLE WHOREHOUSE IN TEXAS - OnStage in Bedford
Erich De La Torre (Rod) - SINGIN' IN THE RAIN - Plaza Theatre Company
Angel Velasco (Juan) - ALTAR BOYZ - Uptown Players, Inc

Musings on Show Boat, 1.0 and 2.0

2010-02-09T11:03:00.009-06:00

"Beneath this mirthful mask burns a soul that has plumbed the depths!" Mandy Rausch as Ellie May Chipley (favorite costume and picture of me ever, by the way) - Show Boat 2004

"Life Upon the Wicked Stage" - Mandy Rausch as Ellie May Chipley, Show Boat 2004

The first time I did Show Boat was in the spring of 2004 with Denton Community Theatre. I was originally cast as Kim Ravenal and the understudy for Ellie May Chipley. Because of this, I was required at every rehearsal so that I could learn Ellie's role, but the directors didn't want me in ANY scenes until the very last one as Kim. Needless to say, this was a frustrating rehearsal process. My time was used very inefficiently, and it was one of the longest rehearsal processes known to community theatre (about 8 weeks).

Due to and in spite of a series of unfortunate events too melodramatic to go into here (ah, how young and self-righteous I was back then), I learned that I was to play Ellie...with about three weeks left until we opened the show. It was my first ever truly featured/supporting role in a show, and I was terrified. I had to make sure I had done my job well as an understudy and step in as off-book as possible, go to endless fittings at the costume shop to see which of the costumes pulled/built for the other actress would work for me, and cram my brain with lines and choreography.

It ended up being a pretty great experience...and definitely a memorable one if nothing else. It was one of my first shows with my husband (then boyfriend of course), who was playing Gaylord Ravenal. Yeah...originally I was cast as his daughter. Say it with me: Ew. It was my first time to meet and be in a show with some lovely and talented people who are still some of my favorite people in the entire world, as well.

Until recently, I had never done a show more than one time. My husband has had a couple of repeats (same role AND same show): Cabaret and Once Upon a Mattress. If you'd asked me which show would be the first I would repeat, I don't think my first guess would have been Show Boat.

If you'll recall, when I auditioned for the concert version at Lyric Stage, I wasn't too hopeful that I would get cast. Well, that's not the right word. Of course I was hopeful. I wasn't too confident. But, I suppose that Jay and Ann saw something or heard something they liked, and I was invited to be a part of this magical production.

In case you're wondering, I do realize how naive and goober-ish I sound when I gush about how glad I am to have gotten a toe into the door at Lyric Stage and work with some of DFW's finest singers and actors. Whatever; judge me if you want to. But I don't take things like this for granted. As much as it wore me (and my carpool buddies) out to go back and forth between Denton and Irving seven days a week for three weeks...I wouldn't trade it for anything. I had ab blast riding to and from the rehearsals and performances with Tyler and Heidi (there were some very interesting and very silly conversations on those drives...what do you expect after a 14-hour day of work and rehearsal?) and I met some wonderful people.

Car pool buddies, L-R: Tyler Donahue, Mandy Rausch (me!) and Heidi Lewis

The amazingly talented Keron Jackson (Joe) and me backstage. This man has a true gift from God in that booming bass voice of his, and he's such a gracious and unpretentious soul.

It was a beautiful production (photos below taken by Steven Jones...one is slightly edited by me...see if you can see what I did!):

One night, during a particularly grueling musical cue-to-cue rehearsal, and while we were still allowed objects onstage to entertain us (iPhones, books, etc.), I wrote the following:

Sitting in Carpenter Hall at a musical cue-to-cue for Show Boat - still so amazed that I'm even here. Will anybody who doesn't already know me remember me when they leave? Maybe not. But will I remember this production? For the rest of my life, surely!

I know it sounds corny as hell, but it's true. This is my first time to ever pe a paid musical theatre performer. I announced this in the dressing room to two friends tonight , and they were very sweet in their surprise at this news. But, it's true. And I don't care if my check for such an occasion is $10 or $1,000 (ha!), I know I'll always remember it as being special because it was the first.

Surrounding me right now on this stage are some of the most talented actors in the DFW theatre community, and sometimes I feel like there was some mistake made and I don't deserve to be here. Thankfully, everyone I've met has been very gracious and kind and fun to be around. I know this isn't always the case, so I'm not taking it for granted. At. All. The talent level in this 68-member ensemble is truly tremendous. During the last week of rehearsals I was, quite unfortunately, recovering from an upper respiratory infection and completely unable to sing. Even so, there was a special silver lining during these rehearsals because all I could do was listen to the singing around me -- and that was just the ensemble. I'm fairly certain that everyone here has played lead or supporting roles before, and it shows in the dedication, quick learning and retention, and professionalism.

The leading principal characters are being sung by some of the biggest and purest voices I've had the pleasure of hearing -- and I married into an operatic community! It's like taking a voice lesson every night. Once I snapped out of the daze of just listening to the voices of people like Cecily [Ellis-Bills], Marty [Fox] and Laurie [Bulaoro], I started watching them. I watch their breath support and how their bodies handle such demanding roles night. after. night. It's also like an acting lesson. Andy [Baldwin] and Megan [Woodall] are so hysterical as Frank and Ellie, and you never know what they're going to do next. David [Coffee] and Lois [Sonnier Hart] as Cap'n Andy and Parthy -- I don't even know what to say about them except that they're amazing. I'm never all that confident in my abilities as an actress, so to watch such pros is a blessing to me.

....and that's when I got cut off. Rehearsal ended or I was needed to sing.

I'm so glad that I don't have to count on these experiences to make my living. As much as it exhausts me to have a full-time day job on top of my volunteer (or not!) theatre experiences, I think I enjoy these theatrical experiences so much more because I don't have to stress if I don't get into one in time to make rent or pay bills. I still enjoy going to the theatre to see productions I'm not in; it's not an extension of my work or my job like it probably gets to be for some.

Anyway...all that just to say that:

I had a great time and a wonderful learning experience,
I got a great opportunity to network and make some new friends, and
it was a great show for my first repeat, especially because it was so very different.

Women and Wallace

2010-02-09T10:54:00.002-06:00

Women and Wallace at Sundown Collaborative Theatre, my latest review for John Garcia's The Column -- published on Friday, February 5th, 2010 in The Column and on PegasusNews.com:

John Garcia's THE COLUMN- Friday February 5, 2010

www.thecolumnonline.com
www.thecolumnawards.org
http://www.facebook.com/profile.php?id=504595304
www.talkinbroadway.com
www.pegasusnews.com

THE COLUMN STAFF:

CHIEF SENIOR THEATER CRITIC: John Garcia

ASSOCIATE THEATER CRITICS:

Clyde Berry
Mary Clark
Cheryl Cory
Esther Coughey
Ray Gestaut
Richard Goulde
Lyle Huchton
Laurie Lindemeier
Samantha McChensney Franks
Mandy Rausch
Mark-Brian Sonna

*THE COLUMN: READ BY OVER 15,150 SUBSCRIBERS WORLDWIDE!*

WOMEN AND WALLACE-A play by Jonathan Marc Sherman
Sundown Collaborative Theatre

*REVIEWED 02-04-10 PERFORMANCE

REVIEWED BY Mandy Rausch
ASSOCIATE THEATER CRITIC for John Garcia's THE COLUMN

Directed by Cody Lucas
Assistant Director Morgan Hillan
Costume/Makeup Design by Candace Cockerham
Props Design by Cody Lucas and Tiffany Hillan
Scenic Artist Andrew K. Currey

CAST:

Wallace Kirkman…….....….Travis Stuebing
Mother/Psychiatrist….…..Samantha Labrada
Grandmother…………........…Whitnie Wood
Victoria/Wendy……......……Jenna Holley
Sarah/Lily………….......…….Danielle Trudeau
Nina…………………..........…..Vera Brumley

WOMEN AND WALLACE
REVIEWED BY Mandy Rausch
ASSOCIATE THEATER CRITIC for John Garcia's THE COLUMN

As we enter into the month of February, we find ourselves bombarded with accoutrements of "love" everywhere we look. "Show your love by buying her ______," the radio and television commercials tell us. Stores have set up blinding pink and red displays as you walk in, so as to make sure you can't miss the giant stuffed pink gorilla wearing a t-shirt that says "Wild Thing." It's enough to make a person sick.

Leave it to the innovative and edgy Sundown Collaborative Theatre, a grass-roots theatre company picking up a lot of steam in Denton, Texas, to take the cheesy Nicholas Sparks version of love and give it a swift kick in the rump. Love, ladies and gentleman, is nothing like The Notebook, and Sundown's first show of 2010, WOMEN AND WALLACE by Jonathan Marc Sherman, is here to show us just how difficult, heartbreaking, and sometimes agonizing finding love can be. But if you think this play is anti-love – think again.

With the clever use of a handful of set pieces (boxes and columns painted black) in the sparse, black box setting (the upstairs of a coffee shop); creative use of props and staging; a soundtrack of carefully picked tunes; and a great cast who isn't afraid of anything, WOMEN AND WALLACE shows us that, while the path towards finding love can be ugly and sometimes make us crazy, in the end the ugly and crazy journey can help us appreciate the destination so much more.

The story revolves around Wallace Kirkman at various stages of his life from second grade up until his college years. At six years old, Wallace comes home from school one day to find his mother has committed suicide. Because of this obviously traumatic incident, his relationships with women going forward are awkward, strained and usually doomed from the start. These relationships are presented in the form of vignettes, often narrated by Wallace himself through the use of his journal entries.

Travis Stuebing as Wallace gives a truly remarkable performance. He never leaves the stage, which is a feat in itself with this script. All his costume changes are done off to the side or as part of the action between scenes, and even at these times he remains in character and never loses focus. An actor could easily turn Wallace into an over the top and one-dimensional "traumatized male now hates women and is angry at the world" character, but Stuebing finds and presents all the layers of Wallace's personality and bares them to the audience with heart-breaking and poignant reality.

In one moment, Wallace has the audience laughing (albeit a bit uncomfortably) in the reenactment of a dream, and in the very next moment he is poised at the edge of the stage (and likely at the edge of his own reason) pitifully crying out for want of his mother there with him. His facial expressions and total commitment to the character help him to take the audience along on Wallace's roller coaster ride through relationships. You'll laugh, you'll cry…and you'll probably cringe more than a few times. I cannot say enough good things about Travis Stuebing.

The women of Wallace's life are played by Samantha Labrada, Whitnie Wood, Jenna Holley and Danielle Trudeau. Labrada's characters have the fewest lines, but she still manages to say a lot as Wallace's mother and psychiatrist. Wood gets several laughs as the grandmother who seems to have a morbid obsession with framed photographs of people days before their deaths.

Holley and Trudeau each play two different love interests of Wallace's at various stages in his journey. Each relationship fails, but each also reinforces Wallace's idea that all women will eventually desert him. In addition to their named roles, this talented quartet acts as both a run crew changing around set pieces and handing Wallace his props as needed, as well as a miniature Greek chorus, aiding Wallace in the vignettes of his life and the transitions in between.

Vera Brumley plays Nina; the one woman who challenges all of Wallace's preconceived notions about women. It is entirely necessary that the character of Nina should stand out from the rest of the women in Wallace's life, so Brumley is dressed differently from the other girls in a very obvious way, and does not participate in any of the aforementioned action of the other four women. She gives a solid, mature performance, and it is no wonder that Wallace should eventually be stopped in his tracks by her.

One of the reasons (besides the talent of the actors of course) that this production is so effective is the script itself. It is funny and poignant without being pretentious at all. Any of the obvious references and symbols one might draw from the content are put into the script itself and addressed (i.e. Freud, Oedipus complexes, etc.) candidly.

The other reason is the team behind this production. Director Cody Lucas deserves high praise for his unique and fun (and often funny) staging and use of the female ensemble and the boxy set pieces.

There is constant action and entertainment even during the
scene changes and, while nobody is credited for the sound
design, I'm willing to venture a guess that he had a lot to
do with the soundtrack to this production, which I enjoyed very much.

In his Director's Notes, Lucas mentions that he felt an instant connection with Sherman's script the first time he read it. Lucas's understanding of the material is very clear in his directorial choices. Everything has a purpose, the action is fast-paced and energetic, and there seems to be symbolism ingrained in every piece of staging, every song choice, every movement made onstage.

The themes created and chosen by Lucas are carried throughout the design elements of the show. The oversized and cartoonish props made out of cardboard (designed by Tiffany Hillan and Lucas) seem indicative of the child in Wallace that remains prevalent in the years following his mother's death.

The costume and makeup design by Candace Cockerham is simple and effective: the members of the female ensemble wear all black when they are not playing a specific character, and pieces are added to these basic costumes as they take on the roles of specific women.

Nina's character, by contrast, is dressed primarily in white. She does wear black leggings, tying her in with the female ensemble, but with pink accessories that accentuate her sweetness and set her apart from all the rest. Wallace is dressed in jeans, but changes shirts to indicate the progression through his life and his mental state at the time – from cartoony pajamas at age six to a bare chest and jeans when he is at his most vulnerable.

Perhaps my very favorite element of the production, however, is the scenic artistry of Andrew K. Currey. I mentioned before that the set pieces are utilitarian blocks and columns painted black, but this is only upon first glance. As the vignettes of Wallace's life are presented and the scenery is shifted for each, snippets of color and bits of phrases are shown as these set pieces are turned at different times. One might think that these little bits of color and words shown in specific scenes are arbitrary, but I would put money on there being a purpose and reason for each piece shown at any given time. Lucas doesn't appear to have done anything accidentally in this production.

I won't give away the final statement and picture shown (it is much better in person anyway), but it truly is a beautiful piece of art punctuating Wallace's final realization in the last scene of the play.

I give major kudos to Sundown Collaborative Theatre for being, in this critic's opinion, the epitome of what an upstart theatre company should be. They choose edgy and thought-provoking material and present it in a creative and compelling manner on a low budget. This company knows exactly who they are and what they want to accomplish, and it seems they are doing just that.

So, instead of going to see your run-of-the-mill, sappy romantic movie for Valentine's Day, take a walk on the cynical and realistic side and go see WOMEN AND WALLACE while you still can.

REVIEWED by Mandy Rausch
ASSOCIATE THEATRE CRITIC for John Garcia's THE COLUMN

___________________________________________
WOMEN AND WALLACE, February 4, 5, 6, 11, 12, 13 and 14
at the Hydrant Café, 208 W. Oak Street, Denton TX 76201.

Ticket prices $8-10; www.sundowntheatre.org for more info.

I Feel Pretty

2010-01-26T14:43:00.001-06:00

The theatre world is filled with some of the most insecure people I have ever met in my life. It doesn’t make sense, does it? These people go out in front of anywhere from dozens to thousands of strangers and bare their souls and talents on a stage! But it’s true, at least in my limited experience.

Some people are obvious about it, and in an obnoxious way. I swear if I hear one more 5’9” dancer who weighs 110 lbs soaking wet say, “God my thighs are huge,” while standing in front of the mirror, I will take off my one of my character shoes and aim it forcefully at her protruding rib cage. Others aren’t quite as obvious about their insecurities, but that doesn’t mean they don’t exist – it just means they’ve learned to hide them or, at the very least, shut up about them in social settings.

Why, as performers, do we do this? Do we honestly just need the constant validation from others? Is it because the industry really is that cutthroat and we feel like we need reassurance or, in worst cases, to go to extreme measures to ensure future casting and hiring? Or have we just gotten into the habit of obnoxiously fishing out compliments and waving away the ones that are volunteered with a sarcastic or self-deprecating comment?

I was speaking with a friend today (we’ll call her Josephine to protect the innocence) about upcoming auditions and what we hope to do this spring and summer. We marveled at our completely opposite audition fears: she quakes at the singing part and flies through cold-readings with ease; I will sing my heart out confidently, but I break into hives at the thought of cold readings.

Then the conversation took a turn when Josephine said, “You know what’s sad? I’d audition for a lot more if I weren’t so insecure. For example, I almost auditioned for _______, but the most age-appropriate character’s description said: ‘a beautiful woman.’ So I didn’t go.” Of course, as her friend, I chided her and told her she’s nuts. But the truth is I’m just as guilty of doing the same type of thing.

No matter what my talent level is, no matter how interesting or lovely the timbre of my singing voice, no matter how energetic I feel my stage presence may be, the reality is the same: I am a dime a dozen in the theatre world, and I’m very aware of it. It’s my job to find a certain something about myself that will make me stand out at a cattle call or open audition, yes, but sometimes the director wants a certain look/height/type/voice/weight. Or the script just calls for it and that’s just the way it is. Let me give an example.

(Okay, so this blog ended up going in a totally different direction than what I originally intended, but I’m okay with that. I’m just gonna go with it.)

Recently I was in a production of Chicago, and I played Matron “Mama” Morton. Any female who auditions for that show will naturally want to play Roxie, Velma, or one of the six Merry Murderesses. At first glance, they’re the obvious choices. They’re lead or featured roles, and they get to dance their butts off and have a lot of fun, right? Of course! However, the reality is, if you line up ten equally talented singers and actresses and dancers, eventually you have to narrow it down and be true to the style of the piece and the nature of beast that is Fosse choreography. Even if I can do some fierce [insert difficult dance move here], if I’m 5’3” and weigh….what I weigh…I’m not going to be chosen for one of these roles.

I actually spoke to my director of Chicago about this on a break one evening during rehearsal. There was a very large (no pun intended) turnout at auditions for this production. It turns out that many women turned down callbacks or roles offered because they only wanted to play one of the two leads. I asked him how they narrowed it down, and he was kind enough to be completely honest with me. He said something akin to (and I’m paraphrasing), “As someone who has struggled with weight issues, I would never automatically rule out a talented woman based on her size. However. The Fosse style of dance requires certain lines and angles of the body can only be affectively achieved by certain body types.” There you go. Like it or not, sometimes body type is a major factor.

Sometimes it’s not only about weight. If I’m 5’3” and can belt my face off or float a soaring high B-flat with ease and the director thinks I’m adorable? Great! But…none of that will matter if the very best option for a leading man is 6’3”, and that role carries the weight of the show (again…no pun intended).

What I’m trying to say is this: while I know there are exceptions all over the place to this rule, the fact of the matter is that not being hired or cast is not a reflection of your talent, or lack thereof. It’s a sad truth that looks do matter, but does that mean you should stop auditioning? No, of course not. It just means that you have to find your strengths, broaden your horizons, and stretch your abilities. But for Pete’s sake (and the sake of others around you), stop complaining or making excuses or fishing for compliments when things aren’t going the way you want them to.

Also, learn to find the fun in featured roles. I played three in 2009, and they were more fun than any leading role I’ve had. Stop thinking that you only matter if you’re playing a leading role.

Finally, whatever you do, do not change yourself for auditions by losing or gaining drastic amounts of weight, dyeing or cutting your hair, etc. in the hopes that this will increase your chances of being cast. Be you and go into the audition room as yourself. Trust that, if you come prepared, your abilities will shine and the director or choreographer or producer will be able to see what he or she needs to see. Trust that the production team knows what is best for the production, and don’t be so sensitive or blame “theatre politics” if that doesn’t include you this time.

Back in (Concert) Style

2010-01-21T10:27:00.004-06:00

Hello out there! I'll jump right in with what's going on...

For about a week and a half now, I've been involved in rehearsals for Lyric Stage of Irving's production of the original 1927 Show Boat in concert style. "What the heck does 'concert style' mean?" you may be asking. Well...I'll tell you.

Basically, what we're doing is having a very large ensemble of singers (who are all incredibly talented, might I add. It's amazing to be in a group of about 60 people or more and efficiently learn a TON of music in about 4 days. And learn it well. No plunking out the alto part 17 times in this group. But, I digress...) onstage at all times, which creates an INCREDIBLE sound. The principle actors are also onstage at all times, and we're all seated. There is staging, yes, but at most times it's only the principles or actors with lines who leave our seated areas (so far....we're still staging). We're not in costumes, there are no big sets (only props and a few pieces here and there....again, so far...), etc. It's very minimalistic, but the message, in my opinion, of the show and the music is even stronger as a result.

I can't even tell you how much I am loving this experience...and I still kind of shake my head and laugh at the surreality of the fact that I'm getting paid to do this. I honestly am in awe of all the people around me and the situation itself. I feel so grateful that I was asked to be a part of this production. I've met a lot of really great people, and I cannot wait to see what the next week and a half brings.

Did I mention it opens a week from today?? Yes, that will have made less than 3 weeks of rehearsal...by FAR the most quick and efficient rehearsal process I have ever been a part of....well, aside from learning the role for Chicago in 3 days, but that was a whole separate issue of course!

I think, right now, I am most looking forward to hearing the 40-piece orchestra that the brilliant Jay Dias is putting together for this production. I may die a little just listening to the overture. After doing a show last year that was performed to "canned" music, I almost feel like God is rewarding me with this. :)

There are only FOUR performances of Show Boat, and I hear they are selling out quickly, so get your tickets soon! http://www.lyricstage.org/2010_showboat.shtml

2009 - Year in Review

2010-01-08T16:05:00.025-06:00

This is a little bit late, but here it is anyway. 2009: A Year in Review (and in pictures)!

January -March: COMPANY

Role: Amy

Company: Music Theatre of Denton

March - May: CRAZY FOR YOU

Role: Irene Roth

Company: Music Theatre of Denton

June: DON'T DRESS FOR DINNER

Role: Assistant Stage Manager

Company: Denton Community Theatre

June: ENCORE II: CALLBACKS
Role: Performer
Company: Denton Community Theatre

June - August: SEVEN BRIDES FOR SEVEN BROTHERS
Role: Milly
Company: Denton Community Theatre

Let's not forget Pottygate 2009:

In October, I trashed my wedding dress with my wedding photographer, Lynn Michelle, and we ended up on a nationally televised segment of The Today Show:

Screen shots:

Video on YouTube of segment:

Photo Evidence:

October: CHICAGO
Role: Matron "Mama" Morton
Company: Music Theatre of Denton

October-November: TALKING OF MICHELANGELO
Role: Dayna
Company: Fight Boy Theatre

December: A TUNA CHRISTMAS
Role: Assistant Stage Manager
Company: Denton Community Theatre

December: One for Mahler (a musical cabaret)
Role: Founder and Performer
TWITA (This Week in the Arts) Podcast & Interview Here

I also wrote the following reviews for John Garcia's THE COLUMN:

Oliver! (Theatre Coppell)

The Spitfire Grill (Stage West)

Man of La Mancha (OnStage in Bedford)

My Way: A Musical Tribute to Frank Sinatra (Rover Dramawerks)

Funny Girl (Lyric Stage)

Christmas My Way (Garland Civic Theatre)

A Christmas Survival Guide (Runway Theatre)

I unofficially wrote my thoughts on these shows, as well:

Carousel (Denton Community Theatre)

A Feminine Ending (Water Tower Theatre)

Evil Dead: The Musical (Level Ground Arts)

Crushing Grain (Level Ground Arts)

*****

Whew!! No wonder I was so exhausted at the end of 2009! But what an AMAZING and successful year! Here's to even more fun in 2010! Happy New Year!

Haul out the Holly...

2009-12-15T10:03:00.002-06:00

HOLY MOLY has it been a busy couple of weeks since my last post! Thanksgiving came and went, and I just seemed to completely lose track of the blog. I haven't forgotten you, though! Lots to talk about...

First of all, some of you may have read my last post in which I (unoficially) reviewed Level Ground Arts' production of Crushing Grain. It seems that the Higher Powers that Be needed me to see that show and find a catharsis I didn't know I so desperately needed. If you'll recall, the show dealt on one level with the JFK assassination, but was mostly about cancer. A little over a week after I saw this play and just wept from the pure emotion it brought out in me, my brave and wonderful aunt passed away from lung cancer. I feel certain that, had I not seen this play and gotten out a lot of the emotion I had been storing up inside, that weekend would have been much harder for me to handle. So...my family is strong in their faith and has banded together during this holiday time (now missing so many loved ones), but that has been one reason for my lack of blogging.

I've written a couple of reviews for The Column lately as well, which can be found online at PegasusNews.com here and here.

Also -- I have been a busy little Christmas bee working backstage on the HILARIOUSLY funny production of A Tuna Christmas at Denton Community Theatre. The two brilliantly talented men in this show, Justin Harmon and Buster Maloney, are both actors with whom I have had the pleasure to share the stage this year (in Crazy For You and Company, respectively). The show has been selling out, and there is one more weekend of holiday hijinks in Tuna, Texas before it closes. I suggest you try to get your tickets ASAP before you miss it!

Also Also -- Did I mention that I've been cast in Show Boat at Lyric Stage in Irving, Texas?? Yep, remember when I blogged about auditioning for that way back here? Well a few weeks ago, I finally got a call that I've been invited to be part of the cast. It's looking like a stellar cast of people, and I cannot wait to perform this beautiful music next month on that gorgeous stage with a 40-piece orchestra under the baton of Jay Dias!

Finally -- You guys? The FIRST EVER PERFORMANCE of One for Mahler is TOMORROW NIGHT! I am really ridiculously excited about this. We've gotten a lot of unexpected publicity, including an interview on a recent This Week in the Arts podcast! (The interview begins around the 30-minute mark.) The singers are myself, Tyler Donahue, Aaron White, Shane Strawbridge, and Stephanie Felton, and we are accompanied by Aaron Albin on piano. There are 19 SONGS on the program, including favorites such as "For Good" from Wicked, "Always a Bridesmaid" from I Love You, You're Perfect, Now Change, "Adolpho" from The Drowsy Chaperone, and MANY MORE.

Please plan to come out to Art Six Coffee House (located at 424 Bryan Street in Denton, TX) tomorrow night (Wednesday, December 16th, 2009) from 9pm—11pm and hear some great tunes & drink some great coffee!

That's it (I think!) for now! Happy Holidays to you all!

Crushing Grain; Living Strong

2009-11-29T02:18:00.006-06:00

DISCLAIMER, BLAH BLAH BLAH: This is not an official review, nor was it solicited by any news outlet or anyone associated with the production.

Dallas, Texas is famous for many reasons: its football team (and said team's cheerleaders), killer barbecue, an excellent local music scene...heck, there was even a television show named for it. However, one of the most important events that helped put "Big D" on the map happened 46 years ago this month: the assassination of President John F. Kennedy.

This historic event and the man held responsible for it, Lee Harvey Oswald, have been the subject of conspiracy theories, books written, movies and television shows produced...you name it. It also appears to be the main plot line in the play Crushing Grain, written, directed and produced by Level Ground Arts founder Bill Fountain. The production is currently playing at the Dallas Hub Theatre in Deep Ellum, a mere stone's throw away from the location of the events of that horrible day in 1963.

As the audience seats itself in the Hub's small, intimate black box setting, a man in white pajamas is laying facedown on the stage. This man might be Lee Harvey Oswald, and he might be Alec Hidell. He may be in a psychiatric hospital in Russia or he may be in a movie theatre in Oak Cliff. The doctors, the other patients, all others he encounters...they may be real or they may be all in his head. The audience must watch as Oswald/Hidell struggles to desperately uncover the past (or is it the future?) and answer the questions that those in power are trying to torture out of him — or is he just torturing himself?

But wait. Is this play really about Oswald or the Kennedy assassination at all? Why are the actors suddenly breaking the fourth wall to talk about watching a husband, a father, a brother...dying of cancer? Because the truth is, that's really what this play is about. It is about the suspension of reality by those dealing with cancer in their personal lives, whether directly or indirectly. The monologues are heartbreakingly real. As the granddaughter of a wonderful man lost to cancer and the niece of a brave woman losing to cancer, I found these moments in the play almost unbearable.

In a recent interview with Elaine Liner of Theater Jones, playwright Fountain is quoted as saying, "[the play is] about what was happening to my life as my dad started to slip away from me." The Oswald/Hidell storyline really appears to function as a vehicle through which a cancer patient attempts to make his own stamp on history before leaving this earth. Historical reality becomes obsolete as personal validation and the desperate need to have mattered somehow gives way to surreality.

Admittedly, this may not be as obvious or clear to those lucky enough to have never been affected by the evil "c-word." Perhaps director's notes in the program may have helped those in the audience who came in to see a play about Oswald, lone gunman/conspiracy theories, and the infamous event that put our fair city in the public eye on that fateful day.

Either way, the play is wonderfully written and earnestly performed by a group of dedicated actors led by Nick Jones as Oswald/Hidell. Jones, who eerily resembles Lee Harvey Oswald, carries the show on his fully capable shoulders. He conveys the arrogance of Oswald but his frustration as Hidell is palpable as he desperately claws his way towards the answers his torturers/doctors demand. He borders on shrill at times, which makes his lines a bit difficult to understand, but he never relaxes for one second. It is both thrilling and exhausting to watch.

Ken Long as The General and one of Hidell's "roomates" has an incredible presence onstage, and one can't help but be drawn to him and hang upon his every word. Daylon Walton gets awkward laughs (the good kind) as The Soldier, and Robert G. Shores as The Leader is compelling, even as an "audience member" to the action onstage. The spot-on accent he uses provides an ominous foreshadowing of what will happen to his character, and it's hard not to keep him in the corner of your eye at all times. Fountain himself makes a cameo as The Agent, and provides the stuff of nightmares during the waterboard torture scene.

The rest of the cast is equally talented; there are no weak links. Even actors who never say a word create very strong presences as silent torturers, special agents, et al.

There are only two opportunties left to see this play (December 4th and 5th), so do yourself a favor and reserve your tickets. It's not often enough that original works are performed and heavily publicized, so take this opportunity to witness something that is real and that meant (and still means) something to someone. Seize the chance to be a part of something new being premiered. Support the local playwrights that pour their hearts out and bare their souls to the public in such a way. If nothing else, attend just to see how such a cataclysmic event in our city and our nation's history can be used as the basis for something surreal and outside its usual box. You won't be sorry.

REMAINING SHOW TIMES: Friday, December 4th and Saturday, December 5th at 8pm

PLACE: Dallas Hub Theatre 2809 Canton St. (Deep Ellum) Dallas, TX 75226

COST: $15 - $20 General Seating, doors open half-hour prior to performance

TELEPHONE: 214-749- 7010 or 877-238-5596 for reservations

Christmastime is Here. It is. It is, It is.

2009-11-23T16:08:00.006-06:00

Pictured: Justin Harmon (L) and Buster Maloney (R). Photo by Eagleton Photography

Meet Charlene and Bertha Bumiller, mother and daughter residents of Tuna, Texas!

I have the pleasure of working backstage for Denton Community Theatre's upcoming holiday production of A Tuna Christmas with some very good friends and two extremely funny and talented actors (pictured above).

I'll be working backstage as an Assistant Stage Manager and probably more often than not moving Christmas trees and helping one of these men in and out of different shoes, wigs and dresses as they each play 11 different characters.

I attended a rehearsal recently just to familiarize myself with the show and get to know some of the very interesting residents of Tuna, Texas, and boy I tell you what....this show is going to have people in stitches! I laughed so hard I cried more than once.

Don't find yourself in an overheated, downhill wreck because the shows sold out -- Get your tickets now to see this show!

I'll Drink to That

2009-11-23T15:53:00.005-06:00

Remember in this post when I talked about how I was brainstorming with friends about how to start up a cabaret for singers in Denton?

Ladies and gentlemen, I present to you One for Mahler, the latest and greatest thing to hit the North Texas (or at least Denton) music scene!

Our first performance will be on Wednesday, December 16th from 9pm—11pm at Art Six Coffee House, located at 424 Bryan St. in Denton, Texas.

Here is the awesome lineup of singers, including myself, Stephanie Felton, Tyler Donahue, Shane Strawbridge, and Aaron White!

Come on out and start off your holiday season with a bang!

Evil Dead the Musical - My Thoughts

2009-11-09T12:11:00.010-06:00

Photo by Daylon Walton. Originally Uploaded to LevelGroundFilms.com

DISCLAIMER TO KEEP PANTIES OUT OF WADS: This is not an official review, nor was it solicited by any news outlet or anyone associated with the production. This is just your everyday blog post containing my thoughts about a show I saw this past weekend. However, I did type out all my thoughts and I'd be happy to share if you'll just email me.

What do you get when you mix all the campy greatness of cheesy slasher flicks with doo-wop music, horrible one-liners, and rocking band of the undead? The answer: Level Ground Arts' recent production of Evil Dead the Musical.

Boy, was I glad when I found out that this production was extended into the first weekend of November! Due to a RIDICULOUS October schedule that I have already mentioned, I was incredibly bummed out to think that I might miss this gory, zombie-riffic production that received rave reviews from Elaine Liner of the Dallas Observer and TheaterJones.com, Mark Lowry of TheatreJones.com and Christopher Soden of the Dallas Examiner. But, thankfully the stars aligned and I was able to catch the penultimate performance!

I had one very good friend in the production, one Stephanie Felton, playing the role of Cheryl. I've known Stephanie for a very long time and I felt like a proud Mama watching her -- or at least a proud aunt or cousin, since her actual Mama was in the audience, bravely seated in the Splatter Zone! She belted her sassy behind off, and I was floored by the way she went balls-to-the-wall in her vocal performance, both in singing and in gravelly zombie-speak! It would be very easy to just throw caution to the wind in a show like this, and the result would be vocal chords shredded to ribbons after a six week run. However, Stephanie once again impressed me with her level of professionalism as a singer and an actress/comedienne!

Several other performers have been my "Facebook friends" for months now, and this show provided an opportunity for me to see them perform and meet them "in real life" for the first time. I was not disappointed on either front. Shane Strawbridge as Jake had us all (especially our friend Justin) in stitches with his hillbilly accent, awkward hip thrusting and, most memorably, a particular string of profanities as he walked offstage that still makes me laugh whenever I think about it. Liz Woodcock as girlfriend Linda was especially funny with her high-pitched giggle and headless antics, and Clayton Younkin made a big impression -- even though his character, Ed, could barely get a word in edgewise, I couldn't help but be drawn to him every time he was onstage.

The "Band of the Dead," lead by M. Shane Hurst, was flawless, if not a bit loud at times. The guitar solo by Alex Atchley towards the end of the second act was actually one of my favorite moments of the entire evening!

So, despite a few minor frustrations and distractions such as the inability to decipher lines/lyrics at times and the fact that, on this particular night, the show was being filmed and one of the videographers and cameramen kept walking in front of our seats and blocking our view, I highly enjoyed this production and I give a standing ovation to Bill Fountain and Level Ground Arts and the immensely talented production team, cast and crew of Evil Dead the Musical. Should this show ever come 'round again, I will be first in line to audition and/or buy tickets!

Now what?

2009-11-03T15:25:00.002-06:00

Each of those posters, which are lining the wall above the top shelf in my office, represents a show with which I have been involved in 2009. There is just the perfect amount of space left for just one more, which I intend to fill with a poster for A Tuna Christmas in just a few short weeks. Thankfully, I will be working backstage for that one (with perhaps the most amazing backstage crew the Campus Theatre has ever seen, I might add) rather than onstage, but it will still be a rocking good time and an amazing show, starring two men I have already worked with in separate shows this year: Buster Maloney (Harry in Company) and Justin Harmon (Bobby Child in Crazy for You). You definitely will not want to miss this one!

So, yes, Talking of Michelangelo closed on Sunday. We had a FANTASTIC weekend of shows with some great audiences (minus the lack of an audience on Thursday, which we won't count because the rest of the run went off so successfully) and some even better cast parties. Wow...this cast certainly knows how to have a party! Two nights in a row of getting home after 3:30am took its toll on this old fart, though, and I was pretty exhausted come Monday morning! I miss everyone already, though, and am looking forward to a get-together soon for karaoke at Mable Peabody's! :)

In other theatre news (no, the theatre world as it pertains to my life still doesn't slow down even when I'm not actually in rehearsals for a show...what can I say? I can't sit still), I have a few other things coming down the pipe that I am very excited about:

* On Friday night I will be going, along with my husband Michael and our good friend Justin to see the critically acclaimed Evil Dead: The Musical produced by Level Ground Arts and directed by the one and only Bill Fountain. I had the pleasure of meeting Bill when he came to see Chicago with my dear friend (and Zombie-convert Cheryl in Evil Dead for that matter) Stephanie Felton. Some other online-only-via-Facebook-and/or-Twitter friends are in the cast, and I can't wait to meet them IRL* as well.

(*IRL = in real life)

* I hope to get back to reviewing shows for The Column VERY soon. I miss going to see theatre and writing the reviews! Since the last review and the feedback from it left a rather, well, bad taste in my mouth, I'm looking forward to seeing more local theatre and putting my Critic hat back on.

* Forever Plaid opens at Denton Community Theatre in a couple of weeks, and I am quite excited to see this one. It's a wonderful, feel-good musical, and I'm looking forward to seeing it also just out of sheer curiosity. This may be the first show I've seen in a while with a cast containing not one single person that I know or, at the very least, know of. I don't even know the director! It will be refreshing to see some of the new(er) talent that Denton has to offer in such a great musical....which is a nice segue into telling you about my newest project I'm trying to get off the ground....

* For those of you who are Facebook friends with me, you will have likely already gotten an invitation to join the group Denton "Cabaret" Brainstorm. No, this is not a brainstorm on how to produce the Kander & Ebb musical Cabaret. Instead, it is something I've been thinking about for a while. Denton boasts so many talented people of all ages, but there is not always a venue in which to showcase the different facets of the talented community. So, I am trying to create a musical showcase that will occur (hopefully) weekly in order to feature the myriad talented singers in our fair city and in the surrounding areas. I'm currently working on securing a venue for at least one show before 2009 ends, coming up with a name and writing a mission statement, so stay tuned for exciting news regarding the cabaret! If you have any ideas or just want to stay informed of what we're doing, PLEASE join our Facebook group or comment here and join the discussion!

That's it for today! Now that I will have evenings free and a bit more of a relaxed schedule, I hope to be a bit more attentive to this site. Thanks, as always, for reading.

Talking of...the Light at the End of the Tunnel

2009-10-27T13:52:00.002-05:00

Yes, there is in fact a light at the end of the tunnel I so gladly stepped into on January 5th, 2009 at our first Company rehearsal! Tomorrow night (Wednesday, October 28th) marks the first of the final five performances of Fight Boy Theatre's production of Talking of Michelangelo. Which also means I'm just that much closer to taking a break from theatre for a while. Yes, I have agreed to help out DCT's production of A Tuna Christmas, but that will be in the role of Assistant Stage Manager, and my duties will not begin until November 30th. I will have four whole weeks off! Amazing. I honestly think that will have been my longest break since the beginning of the year.

And what a great experience it all has been! Every director has been different and amazing in his or her own way, each cast has taught me something new about myself as a person and as a performer, and each script and/or score has been a challenge in its own way.

I've also started and - for the most part - maintained this blog and become a theatre critic for The Column. All in all, I'd say a VERY artistically successful 11 months once it's all said and done. No wonder I'm exhausted, though!

So, back to the current production. I have to say, I definitely had reservations and trepidation about stepping outside my comfort zone and into the world of guerilla theatre. However, this experience has been no less rewarding than any other I have had this year! The cast, the script, the director, the...ahem...weather we have had to deal with...all have been amazing. Plus, I've discovered a new love for Art Six Coffee House, the venue at which we perform each night. The space is absolutely beautiful (a restored house with a spooooooky story attached), the coffee is delicious (I need to set up an IV of the toasted coconut blend), and the staff is amazing. Imagine my surprise when I realized that two figures from my brief foray into the UNT Theatre Dept., Olivia and Tommy, run the place!

It has truly been my pleasure to encourage people to support both an indie theatre group as well as my friends' establishment. In case you'd like to check us out (bring weather-appropriate items, dress in layers, etc....some nights are chilly!), we have five more performances: Weds (Oct 28th) through Sun (Nov 1st) all at 8pm! Tickets are $10 for adults and $8 for students, and Halloween night (Sat) is a pay-what-you-can.

Enjoy some photos below that I took at one of our dress rehearsals! Pictured: the muy caliente Kristina Lujan and the man your mother warned you about: Kevin Wickersham.

Hope to see you there!

CHICAGO - Backstage: A Picture Essay

2009-10-16T14:53:00.007-05:00

Since this blog is entitled "DFW Backstage," I thought I ought to do my part in making the name logical and take some backstage photos at last night's pick-up rehearsal/benefit performance! Enjoy!

My dressing room spot! Makeup and hair are done, I'm just killing time before they call "Places!" which is when I put on my microphone, costume, and lipstick. (Don't worry, I don't go onstage for a good 15 minutes or so after the show begins!)

Our wonderful dance captain, Whitney, leading warmups! This is a very dance-heavy show, so we spend quite a while warming up.

No final weekend of performances is complete without a cast party! Two of our cast members made flyers with all the pertinent information, and we made sure to let our orchestra members know the deets, too!

Three members of our OUTSTANDING orchestra always arrive early and get set up, go over some tricky passages, and generally heckle us as we warm up. :)

A great photo of "They Both Reached for the Gun" from my spectacular vantage point in the wings!

Very blue shot of one of our prop tables, and the fans used in "All I Care About is Love."

Very green shot of two of our sexy ensemble members, as well as all the spreadsheets with set change assignments, etc. on the wall in the stage left wings.

Assistant stage manager SarahAnn Sutter on headset Stage Left! She's amazing!

The other fabulous ASM, Olivia Norine on Stage Right headset!

Going over my lines and blocking again before I go onstage!! I'm terrified not to do this, because I've had very little time to let this show saturate my brain!

Who's that sexy "Mama?" It's me! I'm ready to go onstage!

This is the final weekend of performances, and it has been such a rockin' good time! I'm going to miss it, but I'll have Talking of Michelangelo to keep me busy for the two weeks after this show closes, so I'm never facing an excess of spare time, that's for sure!

OH and did I mention that Chicago is SOLD OUT? Well, it is! Wahoo! And you can read the review in The Column by clicking here or by clicking on the show poster in my sidebar ------->

Razzle Dazzle 'em

2009-10-09T09:45:00.004-05:00

(photo by Khai Ha, NT Daily staff photographer, originally uploaded to NTDaily.com)

Another openin', another show...

Yes, tonight is OPENING NIGHT for Music Theatre of Denton's first show of it's 25th season - Chicago. You may be wondering why I didn't mention that I was a part of this show back when I was talking about auditions and such, or perhaps you remember this post in which I discussed my husband being in the show and me enjoying my nights off.

Well, it's been a bit of a whirlwind three days.

Due to reasons I will not disclose so don't even bother asking me, the original Matron "Mama" Morton in this production needed to step away from the production, and I was asked to fill in—with about 3 days before opening night (tonight).

As you can probably imagine, it's a delicate and potentially awkward situation, but I am good friends with this actress and respect her tremendously as a colleague and as an amazing woman. I am doing my best to fill her shoes and to rise up to the caliber of talent in this outstanding cast while at the same time trying to remember all my lines, blocking, lyrics/notes and trying to match the style of the show and find my inner Mama.

What has impressed and humbled me, though, has been the incredible support I have been shown in the past three days! The cast and crew and production team of Chicago has been welcoming and helpful, and I find myself being hugged backstage, slapped on the butt a few times (ahem, Tyler), and even gently nudged or guided (discreetly, of course) onstage. Talk about making a scary situation easy on a girl!

Beyond that, even, the cast and production team of my other current show, Talking with Michelangelo has also been incredible and supportive. The director is being supportive and accommodating to my suddenly crazy schedule, and he and our leading actress have even offered to meet with me at odd times to work on individual scenes so that I can stay up to speed on that production as well.

Finally, I have been ridiculously impressed with the way the two directors of these two vastly different companies have helped one another out, making absolutely sure that neither show gets slighted in any way, but that each production is promoted and rehearsed to its full potential. That, my loyal readers, is what I think that theatre—especially community theatre—should be all about. This situation, which could have been much stickier, has been not only smooth and pleasant, but incredibly rewarding and uplifting.

So? Here we go. Off to OPENING NIGHT tonight (aka my 4th rehearsal) and kicking off what I hope will be a fantastic and successful run of one helluva show.

Here's a bit of press about Chicago, for your viewing/reading pleasure:

Murder, Fame and All That Jazz - NT Daily Article (10/9/09)
Chicago - NT Daily video (10/9/09)
All That Jazz - Denton Record Chronicle's "Denton Time" (10/8/09)

Outside the Box

2009-09-21T15:50:00.004-05:00

"Talking of Michelangelo" image (originally uploaded to FightBoy Theatre)

Due to the recent surge in some of my closest friends and colleagues encouraging me to step outside the box, leave my comfort zone, try something new, etc., last week I went to two auditions that pretty much scared the hell out of me. But, due to the strong desire to have something other than the two (wonderful!) Denton musical theatre companies on my resumé, I swallowed my fear and got my audition materials ready for the week.

The first audition was for a concert version of Show Boat at Lyric Stage in Irving, TX, which will not even begin rehearsals until January of 2010. Lyric is a highly respected company in this area, due to their diligence in producing beautiful productions with full, lush orchestras. The thought of working with a theatre of this caliber, especially after performing my last role to a recorded orchestra, was too wonderful to pass up. I don't have high expectations for this one, especially due to it being my first audition outside of community theatre, well,....ever. I just wanted to feel as though I did my best and gave a good audition. I think that I achieved that. The jury is still out on casting, as far as I know, but overall I'm pleased with the experience and am very glad that I got my first audition for an equity theatre out of the way. It will only get easier, right?

The second audition was for a straight play, which I have not done since high school. I won't even tell you how many years ago that was, but suffice it to say, I'm a little rusty and anxious when there is no big musical number (or several) for me to fall back on! The play is called Talking of Michelangelo, and it is an original work by FightBoy Theatre founder (and friend of mine) Joshua Scott Hancock. This audition was so much more intense - but relaxed at the same time - than most musical theatre auditions, and I really had to step outside my comfort zone a few times. It was incredibly fun - and liberating! - and the eclectic group of talented people that showed up to auditions made me feel very comfortable, and not quite as vulnerable as I was afraid of feeling.

I ended up getting cast as an ensemble role in the play, and our first rehearsal/read-through is this evening. This will be a very short and intense rehearsal process - the show opens on October 21st - and I'm very much looking forward to it.

Finally, I'd like to say congratulations to another of Denton's indie theatre companies, Sundown Collaborative Theatre. They opened Nina Raine's Rabbit this past weekend and have been receiving great reviews so far, both from my colleague Gina Robertson of The Column as well as Mark Lowry from Theater Jones. I hope to catch a performance this weekend, and I encourage you to do the same and support the indie theatres!

The Answer to a Repeated Question

2009-09-15T15:24:00.004-05:00

After a relatively short (for me anyway) hiatus from ~~all~~ most things theatre, things have been picking up a bit more momentum lately. I reviewed two shows last week, and the reviews are up online: My Way can be found here, and Funny Girl here. I also have two auditions this week that could not be more different from one another–one is for a musical at an equity theatre (my first audition for equity…aaaaaaand vomit) and the other is for an original play (yes! Play!) written and directed by a good friend.

When I was talking to someone about my busy recent schedule, that person asked me, “How long do you think you’ll be able to perform and be a critic?” I believe my response was a shrug and, “Dunno. As long as I can do both, I guess.”

Here’s the thing–I love doing both. I love being onstage and performing, and I honestly cannot go to a musical performance without aching a little bit on the inside as I sit in the audience thinking “When, DEAR GOD WHEN, can I do this again?” Those of you who are also performers know exactly what I’m talking about. It’s intangible, really. I can’t answer why I love doing it, just like I can’t answer why I continue to do it even when I’m exhausted, frustrated, stressed, etc. It’s just…because.

And on the other hand, I love being, even in my very small, insignificant way, a theatre resource for people. If a review I write convinces someone to go see the show, even just out of curiosity or to see if what I said about the sets/costumes/actors’ performances is really true, that’s fantastic. If one of my Facebook friends clicks on a link to an article or a link to a YouTube performance of something particularly fierce, that’s excellent! If six people read and enjoy this blog, that’s great, too! It also broadens my own horizons. Reviewing gives me an opportunity despite the financial limitations of being…ahem…a twenty-something newlywed to go see shows all over the Metroplex and, who knows, maybe even farther some day. Plus, as someone who has always enjoyed writing and blogging, I’m getting the added professional benefit of having my reviews published in such widely read online publications such as The Column and PegasusNews.com.

However, I know what this person meant by asking me that question. Eventually, despite my intentions and my desire to write with tact and objectivity, I’m bound to someday get on the wrong side of an actor, a director, a choreographer, a producer…you get the idea…and it could very well affect whether or not I’m cast in some places. And that’s fair – it’s their prerogative! My career aspirations are not to make a living on the stage; if they were, I’d stop reviewing now and focus on performing only. My goals are to just keep doing what I’m doing for as long as someone lets me do it. I want to perform as often as my schedule, my day job, my home life will allow – and not necessarily in that order. And I want to continue seeing the myriad high-quality theatrical productions that Dallas/Fort Worth and its surrounding suburbs have to offer.

I also want a million dollars, a new car, and maybe just one pair of Jimmy Choo mary janes…so if someone could get on that for me, I’d be much obliged. :-)

Quick Update

2009-09-09T09:46:00.007-05:00

I logged into Blogger this morning and found that I have more followers of this blog now for a grand total of ::drumroll, please::.......SIX! Woo hoo! Hey, you've got to start somewhere, right? I'm just thrilled that anyone stops by here, adds me to their Google Reader, etc. Welcome!

So, I'm enjoying my time without a show right now, believe it or not! I've had time to make dinner plans with friends, catch up on my poor, desperately neglected house, spend time with the puppy, do some leisure reading (in the past couple of weeks I've finished The Time Traveler's Wife and Son of a Witch), and think about upcoming auditions/projects with a much clearer head than I do while in the prep for another show.

My husband is working very hard preparing the role of Billy Flynn with MTD's Chicago, which I hope you will all try to see. Click here for more information on that one. You can safely assume you'll see me, no matter which evening you decide to attend!

"My Way" cast, L-R Brynne Huffman, R. Bradford Smith, Claire Moore, Silas Moores. Photo by Jan Toms, originally uploaded to Pegausnews.com

Kristin Dausch will play Fanny Brice in Lyric Stage's Funny Girl. Picture originally uploaded to Pegasusnews.com

In reviewing news, I have a couple coming up this week...back-to-back, actually, so it will be a weekend of writing for me! The first one is on Thursday night (tomorrow!), and it's a musical tribute to Frank Sinatra entitled My Way. The second is on Friday night, when I will be reviewing Lyric Stage's production of Funny Girl. I am very much looking forward to both of these productions!

Other than that (oh, is that all??), there are a few auditions coming down the pipe that I've got my eyes on, including a straight play (gasp!), and potentially becoming a Local Correspondent for a fantastic new web site that is getting the finishing touches put on it this month called The Opera Insider. Kala and her mom, Carol, started the web site together, and this is a quick excerpt from their "Why We Are" page:

Now, through The Opera Insider, there exists a virtual venue for a local,regional, and international, cutting-edge, focused,intimate,opera-loving, opera-perpetuating community. We don’t and won’t compete with anyone. Opera company websites, sites that provide performance information, even websites that do some of what we do exist; we know that. We invite them to grow and thrive with us, link to us, work with us, and we’ll work with them. Opera bloggers, critics, patrons, singers, technicians, everyone from in front of and behind the curtain, we invite you to join us to create something unique, supportive, and inspiring. We invite you to join with us and become an opera insider.

Cool, huh?? Kala contacted me through Twitter (if you're not following me, start now!) and I'm very excited for what this web site will do for the operatic community - both on and offstage.

So that's it! That's what's been going on around my life lately. I'm really trying to increase following on this blog, so let me know what you'd like to see on this blog, topics you find interesting (related to the performance arts, preferably), etc. Thanks!

Theatre Wish List

2009-09-01T12:13:00.002-05:00

I just did one of those theatre survey things on Facebook, and one of the questions was, “What is your dream role?” Wow. That’s a question not easily answered. I’m sure there are tons of roles I’d love to play some day, and some of them are qualified with “…but only if I can sing it with and/or play opposite __________.”

So then, I started thinking about other “dream” situations. Which director(s) would I LOVE to work with? Which local or regional actor/actress? Which roles would I love to sing even though I’m not right for it because of age/gender/ethnicity?

I decided to make my own quiz. Here it is, with my answers, in no particular order and by FAR not complete. Also, by "regional" I mean in the D/FW area and by "local" I mostly mean Denton. Feel free to copy/paste and repost. I’m limiting each to 5 with one alternate…just because I hate choosing only 5 (hey, it’s my survey and I can do what I want!).

Dream Roles – Musical Theatre
1. Aldonza/Dulcinea in MAN OF LA MANCHA
2. Clara in THE LIGHT IN THE PIAZZA
3. Fanny Brice in FUNNY GIRL
4. Dot in SUNDAY IN THE PARK WITH GEORGE
5. Eliza Dolittle in MY FAIR LADY
ALTERNATE: Annie Oakley in ANNIE, GET YOUR GUN

Dream Roles – Plays
1. Amanda in A FEMININE ENDING
2. Jacqueline in DON’T DRESS FOR DINNER
3. Corie in BAREFOOT IN THE PARK
4. Harper in ANGELS IN AMERICA: MILLENIUM APPROACHES
5. Catherine in PROOF
ALTERNATE: Maggie in CAT ON A HOT TIN ROOF

Directors I’d Love to Work With (mine are all local/regional)
1. Terry Martin
2. Emily Scott Banks
3. Bonnie McCormick (again)
4. Tashina Richardson
5. Dennis Sloan
ALTERNATE: Bill Kirkley (on a play this time)

Local Actors I’d Love to Work With
1. Kenny Fudge
2. Kevin Wickersham
3. Justin Harmon (again)
4. Tyler Donahue (again)
5. Joseph Montgomery Brown
ALTERNATE: Buster Maloney

Regional Actors I’d Love to Work With
1. Regan Adair (who intimidates the hell out of me because he’s so good)
2. Tom DeWester
3. Donald Fowler (I’d be rendered speechless in front of him, though, so not likely)
4. Christopher Deaton
5. Dan Forsythe
ALTERNATE: Keith Warren

Local Actresses I’d Love to Work With
1. Stephanie Felton
2. Erin Turek
3. Jeannene Abney
4. Jennifer Ehrhart
5. Olivia (DeGuzman) Emile
ALTERNATE: Sharon Barnhill

Regional Actresses I’d Love to Work With
1. Jessica Wiggers
2. Delynda Johnson-Moravec
3. Sara Shelby Martin (I never know where the hyphen goes)
4. Stephanie Hall
5. Marianne Galloway
ALTERNATE: Kayla Carlyle

Songs I’ll Never Sing (within the show)
1. “Wheels of a Dream” – RAGTIME
2. “A Call to the Vatican” – NINE
3. “Tonight” – WEST SIDE STORY
4. “Maybe This Time” – CABARET
5. “Being Alive” – COMPANY
ALTERNATE: “Man of La Mancha” – MAN OF LA MANCHA

Now…what are yours??

Now - read it like a one-eyed monkey in a blizzard.

2009-08-21T11:38:00.003-05:00

A college friend of mine posted the above YouTube clip on her Facebook page today, and it's definitely worth a watch. Kate Winslet, on an episode of "Inside the Actor's Studio," was asked by an audience member to recall a time in which she had to improvise. Her story is pretty entertaining and of course, she's adorable in her re-telling.

As primarily a singer, cold readings at auditions simply terrify me. Whenever possible, I try to have read the script beforehand so I at least have an idea of the story, the characters, and possibly even my own ideas of things to try should I be asked to read for certain characters. However, that's not always possible, nor is it helpful once the director starts asking you for other things.

Don't get me wrong -- I very much appreciate being given direction in an audition during the reading portion. It's just that my lack of experience in reading auditions or - god forbid - just plain old improvisation/movement auditions simply renders me terrified. Usually, I try to just swallow my fears of inadequacy or looking foolish and give it the ol' college try (with varied results).

I'm curious, though -- what is the strangest thing you've ever been asked to do at an audition, whether it be to read the side again in a different way, to improvise, etc?

Seven Brides - A Recap and a Tribute

2009-08-17T10:56:00.010-05:00

An original publicity shot

Our version!

Another original publicity shot...

...and our version!

Singing "Wonderful, wonderful day!"
(L-R: Hannah Lane as Ruth, Alyssa McClendon as Sarah, Mandy Rausch as Milly)

7 sold out shows of Seven Brides for Seven Brothers!

Cool shot of the marquee at night

Dorcas and Milly (SarahAnn Sutter and Mandy Rausch) in the dressing room. Perfume, Starbucks and Hairspray: essentials for any good show!

This photo speaks for itself for those who know the inside joke!

It's been a week since the epic adventure that Seven Brides for Seven Brothers was closed at DCT. What a long week it has been, too! Post-show depression and malaise (plus a week of auditions and callbacks, which I'll delve more into at the end*) is always hard, but rest assured a reunion is already being discussed and the first stirrings of planning are happening!

This show was, quite possibly, one of the most challenging and subsequently most rewarding experiences I have ever had in my ten years of doing theatre. I know, I said that about Crazy For You, too, but I'm not lying about either one! Each show I have done this year has been such a blessing in that it has provided not only a tremendous learning experience for me, but also an arsenal of new friends, new inside jokes (quite possibly the best part -- second to the friends of course), an addition to my resumé, and a tremendous feeling of accomplishment.

Seven Brides had some unique challenges for me. First off, it is by far the largest role I have ever been offered. When I went through and started highlighting my lines and songs, I started to hyperventilate a bit, especially since I missed the first two weeks of rehearsal due to a previous show commitment and an unexpected trip due to a death in the familiy. Secondly, we learned early on that we would be using a recorded, MIDI orchestra for rehearsals and performances. I won't waste time going into the challenges that provided, because I've already written about that once here. Then, there is the fact that the show is a beast to put together. Quick changes, giant (but absolutely beautiful) sets, you name it -- we faced it and whipped it's butt.

But the reward? Seven sold out performances. Yes, seven. MTD and DCT shows normally only produce 6 performances per production (how's that for alliteration?), but because this one sold out in presales, another performance was added. Approximately 2100 gracious and complimentary audience members. A great review in The Column. Relationships formed with the cast that will last a lifetime.

During one of the more stressful weeks pre-production, I was complaining to my mother about how tired I was. She asked me, "Why do you keep doing it then?" I had no answer for her. The answer is intangible to anyone who hasn't experienced what we experience when we do this. We just do.

So, this is the part of the show where I thank my fellow cast members and production team - aka the moment where you should stop reading if you don't care! If I left anyone out it's not because you didn't make an impact on me; it's just because I'm forgetful and scatterbrained at times. Don't be offended!

Bonnie, Liz, Gerald, Cindy, Betty Ann and Christopher- thank you for trusting me with this role, and thank you for being so patient with me as we figured out the whole process. I tried to keep my Inner Diva in check, but I'm very aware that she made an appearance at some of my more exhausted and/or insecure moments. I loved discovering Milly and bringing her to life onstage, and I couldn't have done that without all of you.

Nick - well all we heard when you were cast was "he loves the movie and he's driving all the way from Wichita Falls every day!" We all thought you had to be a little nuts to put up with that kind of commute for a community theatre show, but you totally pulled through and were a trooper. We all watched you progress throughout the rehearsal process, and by the end, nobody could have guessed that this was your first leading role. Keep it up, my friend -- keep broadening your theatre horizons and you'll do very well!

Sarah"Tran" Sutter - Sarah, what a joy it has been to do two shows back-to-back with you, and have them both end up being at the top of our lists of "great theatrical experiences in Denton!" While I will take some of the blame (though I still place the majority upon Abby's pretty head) for corrupting your vocabulary with words such as "tranny" and "bajankity," I also love how much I've seen you come out of your shell - onstage AND off - and become one of my favorite people in the world. P.S. - You're not allowed to leave Denton. P.P.S. - Don't worry. If you do, it's not like I'll come into your bedroom at night and kill you with a knife or anything.....or will I?

Alyssa - You and Boomer provided so much of my entertainment through out this process and I love you for it. You are such a beautiful girl with such a giant talent - my hope and prayer is that some day you believe that as much as the rest of us do! Your humility is so endearing, and you have such a sweet spirit while at the same time being able to catch my eye in the mirror and just raise your eyebrows and it makes me crack up laughing -- because I know what you're thinking! I'm so glad to have also been able to inject "Tranny" into your vocabulary.

Hannah - From one redhead to another, believe me, you'll come to embrace the word "sassy!" It's definitely a good thing! Your voice and your talent blows me away, and I'm just glad I'm so much older than you are so that I won't have to compete with you when you start getting leads left and right!

Heidi - You have such a wonderful heart and great attitude, and I'm so blessed to have you in my life now as a result of this show. Your love for Jesus is evident in everything you do, and your positive vibe always lifted me up, even when I was feeling so exhausted and tired and stressed out that I didn't think I'd make it through the night.

Jessica - Oh, Jessica. You do know we were always laughing with you right? :) From forgetting the correct undergarments to almost going onstage every night with something wrong (a curler still in your hair, a forgotten hat), you always always made me smile.

Ellen - Thanks for being our translator in the dressing room during show weekends! I'm saying this so often that it's starting to sound trite, but seriously, you had such a wonderful, positive attitude. It was truly a joy to have our few moments in the dressing room each night to chat before everyone else started arriving, and I truly enjoyed your Ferrett Commentary every evening.

Donna - Thank you for being such a positive Christian influence over all of us with your presence and your constant encouragement. Your support and love for your children is incredible, and I very much enjoyed the "Lornce" stories every night. Thank you for always being around to help me with a costume malfunction as well!

CiCi - I'm so glad that you were in this production with your amazingly talented children! Thank you also for being the sweetest sleepover hostess/Mom to a bunch of "Crazy" girls! Your scones are to die for. :) Thank you also for your positive attitude and influence in our dressing room and all over that theatre every night!

To my "Brothers" - I know, I did the girls individually, but when you spend that much time in a dressing room together, you just can't help but bond! You guys made this show for me -- no questions asked. Every time I was onstage with you, I forgot that I was onstage because I was wrapped up so much in the action of the scene -- thanks to you all. You gave me so much to work with emotionally and physically (hey-o!), that I truly believe Milly came to life the moment she met the Pontipee boys. Mike Strecher - your Benjamin was adorable, and every night it got harder and harder not to laugh at your meeting with Dorcas at the social. Mike Schafer - sweaty hands and all - your physicality and fun that you gave Caleb was evident in all the pictures, and even though I had a recurring bruise from you pulling me down from the stool every night, it was worth it! Jaime - nobody could ever guess this was the first show you've done in years. You jumped in headfirst and made the Ephraim/Daniel combination my favorite of all the brothers. Plus, you introduced us all to the wonder that is the Special K and Wine Diet. Best of luck in Chicago - you're going to love it! Michael Alonzo - oh, my Ephraim. You are so talented I can't even stand it!! I had so much fun dancing with you and having our "special time" every night before the lullaby! ;) You are also, quite possibly, the most mature 17-year-old I have ever encountered. Thank you for trusting me enough to talk to me about things that are important to you. I love you! Wes - it took you a while to come out of your shell, but once you did, I was so glad! You made such a wonderful Frankincense, and I'm so proud of the way you grew during the rehearsal process. You have an absolutely beautiful singing voice, and I am looking forward to hearing it as you mature and fine-tune it. Kurt - oh, Kurt, how I enjoyed working with you! You made an absolutely wonderful, sweet and endearing Gideon, and I don't know a soul who could have played the part better! I look forward to seeing MUCH more of you onstage -- though it's unlikely that I really could see much more of any of you boys, after seeing you in those quilts!!! ;)

To the Suitors - you guys turned what could easily have been minor roles into some of the most fun characters on that stage every night. It was one of my favorite moments ontsage each night to stand behind the traveling curtain and listen to your "Suitors' Lament," as it got more and more raucous and over-the-top. Joe - I am so glad you ended up doing this show! Thanks for not man-handling me too much in the restaurant scene every night, and thanks for always giving me my "pre-lullaby hug" backstage each night! Michael Wolfe - you were also a quiet one at first!! Once you opened up, though, I discovered what a sweet spirit you have, and I consider myself lucky to have found out! Best of luck at TCU, and make sure you come back and visit LOTS. Jackson - I didn't even know Mike had a son until you came around. ;) I enjoyed getting to see the "real" Jackson (both behind the scenes with your weird frog puppet and via Amanda Leavell's facebooks status updates -- what's this about a WWII veteran??), and I look forward to seeing you more onstage! Riley - I'm glad to know that you actually DO give a sh*t, and that that expression of yours is just a facade. ;) Haha! Boomer - you crack me up SO much. I'm so glad that I got to hang out with you before rehearsals/performances when you'd show up early and sit in the dressing roomw ith Ellen and me and tell me about your trantastic day. Come visit me this semester! Cody - Cody, I knew you were a doll and had some good raisin' (your mom RULES, btw), but you impressed me so much with your behavior during the Pottygate '09 scandal. You also always made my day with a hug or a compliment when I came offstage. Thank you for that!

To the Town Chorus and Lumberjacks - you guys were super troopers (not to be confused with Super Troupers or Super Troopers) during this process, and I hope I speak for the entire cast when I say thank you for never complaining (out loud) about not having enough to do. You all gave 100% when you were onstage and it made the town scenes so much more fun -- or at least so I heard through the monitors and saw out of the corners of my eyes onstage during the Social Dance! I can't wait to watch the DVD and see all of your little intricacies I missed every night. Lane, you especially cracked me up every night as I wondered just what would come out of your mouth after the social dance. Geoffrey and Paul - oh how I wish I could have caught you guys passing that bottle back and forth onstage! Andrew, Michael, Noah, Jillian, Sycada, Laiken and Amanda - I had such a great time interacting with all of you onstage every night during the Social Dance! I especially loved my hugs from my girls, and watching Jillian steal that pie every night!

To our amazing backstage crew and props mistresses - Honestly, could not have done this without you. Thank you for always being on the ball when I would run offstage and all but push you out of the way for a drink of water, or "yell" in a frantic whisper "where's my quilt?? where's the slab of meat I NEED THE SLAB OF MEAT RIGHT NOW!" This show went off smoothly and beautifully because of you.

I think that's it! Again, if I left you out, please do not be offended! I promise I love every one of you and am so glad to have had this experience with you!

As SOON as we know anything about a reunion, you'll hear from (at the very least) me and SarahAnn!

I miss you all, and I'm so grateful to have had this opportunity to work with you all!

*My husband and I both auditioned for Chicago this week. I was called back, but not cast, and my talented hubby was cast as the one, the only Billy Flynn! Our own Michael Alonzo and Jaime Rodriguez were also cast, in the ensemble! Show dates are October 9th - 18th, so anyone who wants to go in and cheer on this amazing cast with me, let me know!

SOLD OUT

2009-08-04T09:03:00.005-05:00

(photo by Gary Payne of the Denton Record Chronicle. L-R: Mandy Rausch as Milly, Hannah Lane as Ruth, Ellen Whatley as Liza)

[photo by Gary Payne of the Denton Record Chronicle. Top row, L-R: Nicholas Long (Adam), Mandy Rausch (Milly); Middle row, L-R: SarahAnn Sutter (Dorcas), Mike Strecher (Benjamin), Jessica Gibson (Martha), Michael Alonzo (Ephraim), Jaime Rodriguez (Daniel), Ellen Whatley (Liza), Michael Schafer (Caleb), Hannah Lane (Ruth), Kurt Sutter (Gideon), Heidi Erickson-Lewis (Alice); Bottom row, L-R: Wes Middleton (Frankincense), Alyssa McClendon (Sarah)]

(click on each picture for a larger image!)

Remember that time when I wanted to blog more often? Especially about theatre, rehearsals and such? Silly Mandy, thinking I'd have time to do that AS WELL AS rehearse for said theatrical endeavors, write reviews for The Column AND work a full time job.

No matter, though, here I am now. It's the Tuesday between show weekends for Seven Brides for Seven Brothers (7B47B), and I'm happy to say that despite some anxiety on my part before opening this show, we had a VERY successful opening weekend. We sold out the entire weekend before the curtain was raised on opening night, and as of mid-afternoon yesterday, the second weekend was completely sold out as well.

I'm truly amazed and speechless by this. I'd like to say that these ticket sales are indicative of the hard-working cast and our performances, but logic tells me that since the show sold out BEFORE a single note was sung, the title of the show alone has been responsible for most of our publicity!

Don't get me wrong, now, this is a great, hard-working cast, and what I think is a successful show (still waiting on The Column review as of 9:09 CST on Tuesday)!

I have mixed feelings about the show selling out. Part of me is, of course, thrilled! I'm always glad when a community theatre production does really well, especially a show in which I've contributed a lot of blood, sweat and tears of my own (either onstage or off). But, this is also why I wish we had more than two-week runs! SO many people are already disappointed that they now won't get a chance to see it!

Again, though, I am so proud of this role, this cast, and this production. It has been a beast to put together for everyone involved, and it's a(nother) perfect example of just how much the volunteers in community theatre lay their hearts and souls onto that stage every. single. night.

CONGRATULATIONS to my cast -- my friends -- and I am truly blessed to have worked with you and gotten to know each and every one of you!

I will post a link to The Column review as soon as it becomes available!

P.S. -- check out the sidebar! There's a link to ALL reviews by The Column's Associate Theatre Critics, and a link to my own page of reviews I've written on PegasusNews.com!

Hot Topic: Live vs. Canned Music

2009-07-13T09:57:00.004-05:00

A friend of mine (a music director, no less) recently pointed me towards this article, which he discovered via a tweet from @backstagejobs on Twitter:

http://theatrelawyer.com/2009/07/10/producers-beware-theatregoer-sues-over-canned-music-and-wins/

Now, while I'm not sure that legal action was necessary, it did prove the disgruntled theatre-goer's point in a big way and got people talking about it.

In this current economic climate, theatres are suffering. Budget cuts have to be made and, in some of the worst cases, theatres are having to close their doors (North Shore Music Theatre in Beverly, MA, was one of the closings that really made me sad). While we'd all like to think that these theatres (especially the non-profits) exist solely to promote the arts in our areas, the fact remains that, "at the end of the day," they are still businesses. And any business requires money management and a bottom line that remains in the black. It makes perfect, logical sense.

However, why should only the musicals suffer, while the stage plays get to keep all of the artistic integrity of their productions?

Should theatres try to find all-volunteer orchestras? I know for a fact that in an arts-heavy area such as the Dallas/Ft. Worth region, you're going to be hard-pressed to find musicians who will work for free when there is usually another paying gig they could accept instead.

Some publishing houses, such as Music Theatre International (MTI) for one, will offer electronic musical resources such as OrchEXTRA to supplement (read: not replace) a smaller orchestra -- but these resources are not free. They are paid for and licensed along with the rest of the materials needed to produce a show. I can't be sure on whether or not paying for these resources would actually save any money -- it would ultimately depend on the show and the orchestration required to perform the show as intended by the composers (and, ahem, the license).

What do you think? Is canned music here to stay, at least given the current economic situation in which we find ourselves?

Are you a musician? An actor? A director? A budget manager of a theatre? What do you think of this?

Brain Overload!

2009-07-06T12:18:00.002-05:00

So, fellow actors and performers...I'm sure you've all been here before during the preparation of a role:

BRAIN OVERLOAD!

It's a loosely defined term, tending to have different meanings and arrive at various stages of the process for each individual, but the general concept is the same.

It is the point in the preparation in which the performer's brain becomes saturated with lines, lyric, staging and choreography. Which lyric comes next? Do I cross downstage on his line or mine? Or was I supposed to cross upstage?

The level of Brain Overload is also directly related to the size and scope of a role being learned, I've found, and this is arbitrary depending upon the performer and the role. Sometimes, a larger role is much easier to learn than a walk-on cameo or featured role. It's all relative.

Ladies and gentlemen, I'm reaching that point with my current role (see sidebar).

I think it is possibly more difficult for those of us who are performers "on the side" or as a hobby -- something extracurricular when we leave our day jobs. It's sometimes tough to compartmentalize all of the "theatre information" into a tickler file in your brain -- managing to keep it organized and all in there, yet still accessible whenever we need it. Though I can only imagine it's equally difficult for the professional performers, who are likely always working on more than one project at a time.

So, I'm curious. How do you handle Brain Overload? What are your tried and true methods of learning your lines and lyrics and making them "stick?" Do you just read them over and over? Do you write/type them out? Do you record them on a recorder/Mp3 player? What has worked and what has not worked for you?

I'm also curious to know which roles were the most difficult for you personally. Enlighten me!

The Wait is Over!

2009-06-29T14:29:00.003-05:00

Remember when I posted about having exciting news?? I can finally share it with everyone!

I am VERY happy and proud to say that I am now one of the Associate Theatre Critics (ATCs) for The Column by John Garcia!

I will not be posting any of my reviews here on the blog, in accordance with John's rules. However, once they are published in the Column and on Pegasus News' web site, I will post a link.

I am very excited and grateful for such an amazing opportunity to get out and see more live theatre while simultaneously stretching my writing muscles and facing the challenges that come with critiquing my peers while maintaining objectivity.

I've set a very organic mission statement for myself (nothing set in stone, nothing even written down) that I will never, for any reason, completely trash a show. I can see no valid point in people who are mean and nasty just for entertainment's sake (though, it can only entertain them personally...it certainly isn't entertaining to the reviewees!) and, as a sometimes-performer myself, I see no point in being hateful and acerbic to those people who, just like me, are trying to do what they love. I will strive to make any and all criticism constructive, and to balance negative/critical comments with positive ones as well.

I'm very much looking forward to my first assignment, and I'm thrilled to be associated with a local staple such as The Column!

Tweeting the Tonys

2009-06-08T09:35:00.002-05:00

I always wish I could live-blog the Tony Awards (or the Oscars....or any other awards show), but that would mean I'd get control over the t.v. and the computer, and my husband just will not allow it. So, I had to resort to Tweeting during the telecast via my cell phone. Here were some of my thoughts (all with the hashtag "tonyawards"):

OperaWife: This opening number kinda seems like a cluster-F. Sound is off or something.

OperaWife: Stockard Channing ouch.

OperaWife: @orchconductor she sounds awful

OperaWife: Oh Liza....tranny mess.

OperaWife: God I would wreck NPH.

OperaWife: I thought that opening number was mostly shit. Sorry they spent so much money on it.

OperaWife: Ok the sound guy needs to be fired.

OperaWife: Loving the Shrek number....makes my knees hurt to watch!

OperaWife: You go Angela Lansbury!

OperaWife: Choreography for WSS revival is amazing!

OperaWife: What a phenomenal cast. Would love to see it!!

OperaWife: I'm confused by the Rock of Ages performance. Constantine did a good job with the beginning of "Don't Stop Believin."

OperaWife: But the rest of it was really just kinda stupid. Why am I so underwhelmed by most of these performances?

OperaWife: Oh, LIZA...again -- you hot tranny mess.

OperaWife: Son of a....WTF, Tonys? SOUND FAIL OVERALL!

OperaWife: Mic problems notwithstanding, LOVED the performance from Guys & Dolls.

OperaWife: Best speech so far - Karen Olivo from WSS. True emotion.

OperaWife: Despite sound issues...very intrigued by Next to Normal. Amazing performers.

OperaWife: I always get chills during the In Memoriam section when Broadway goes dark.

OperaWife: This kid from Billy Elliott is blowing my freaking mind.

OperaWife: Yay for HAIR!! All 3 revival nominees were amazing.

OperaWife: OMG i'm dying from the cuteness of these 3 boys.

OperaWife: Neil Patrick singing! SWOON!!!

So there you have it. I obviously got distracted and forgot to tweet at some points during the show, but that happens during a 3-hour telecast. Dogs need to be walked. Dinner needs to be had, etc.

Overall I was impressed by the musical numbers from the show. This was probably the first Tony Awards in a LONG time where I didn't know the majority of the shows nominated, or hadn't at least heard the cast recordings.

I think all three nominees for Best Revival of a Musical gave incredible performances, but I was happy for Hair. Of the Best Musical nominees, it seemed to be a given that Billy Elliott would win the crown, but I was equally impressed and intrigued by Next to Normal. I absolutely loved the performance by the cast of N2N, and I can't wait to get my mitts on the cast recording.

Neil Patrick Harris was a great host, but I felt as though he was holding back a lot until the very end of the show, at which time he sang (!!!) a "Tonight" parody detailing the night's events. Loved it.

Can't wait til next year!

Exciting news...

2009-06-05T12:35:00.001-05:00

Coming soon! ;)

Indoor/Outdoor

2009-05-29T14:01:00.005-05:00

Jessica Wiggers as Samantha and Regan Adair as Shuman. Photo by Mark Oristano, originally found at WaterTower Theatre.

Last night, my husband and I ventured out of Denton and into Addison to see Kenny Finkle's charming play Indoor/Outdoor at WaterTower Theatre.

When I first proposed the idea of going to my husband, and told him that the main character was a cat, he gave me the stink-eye. Finally I coerced him with $0.49 drinks at QT on the way there, and he conceded.

As theatre enthusiasts ourselves, we really enjoyed the production. As recent pet-owners? Fagettaboutit. Loved it.

At one point I found myself laughing until tears came to my eyes because I've been in situations with my puppy similar to the situation onstage. This is a really great, light-hearted and charming script, and the cast of four (Jessica Cavanagh Wiggers, Regan Adair, Joey Folsom and Renee Krapff) is stellar.

I know that finances don't always allow us to see all the things that we'd like to, but I highly encourage anyone who is able to find a way to go see this production.

Pertinent Info from the WaterTower web site:

Indoor/Outdoor will run May 21 - June 7, 2009 at the Addison Theatre Centre, which is located at 15650 Addison Road in Addison, Texas. Performance times are Wednesdays and Thursdays at 7:30 PM, Fridays at 8:00 pm, Saturdays at 2:00 PM (no matinee May 23) & 8:00 PM, and Sundays at 2:00 PM. Seating is reserved with NO late seating. Ticket prices range from $25 - $40* and can be purchased by calling the WTT Box Office at 972.450.6232 or online. Group rates are also available.

*psssst -- too expensive? Are you a Column subscriber? CHECK YOUR EMAIL!

Getting Married Today

2009-05-26T11:34:00.001-05:00

A clip from our production of Company:

The Reviews are In

2009-05-26T11:32:00.001-05:00

Well, put another script on the shelf for posterity. Crazy For You closed on May 10th after what I feel was a VERY successful run. We sold out the entire second weekend of performances, which is a huge step in the right direction for MTD, and I could not be more proud of this show. The cast, the production team, the crew -- everyone and I mean everyone worked their asses off on this show, and we all were boo-hooing on the last performance. Not just because it was the last performance, but because we truly all formed an emotional bond that I can't describe to anyone who hasn't been a part of such a process. I'm blessed to have known and worked with ALL of them, and my thanks go out to each and every new relationship I formed within this production process.

That being said, the reviews are in, and prove that everyone does in fact have their own opinion and that you can't please everyone! This one was written and posted by John Garcia of The Column, a weekly email group that began as a source for Dallas/Ft. Worth theatre-lovers and has expanded to more than 12,000 subscribers. This one was written by a couple of new reviewers who are just starting their "business" as it were and only have a couple of reviews up.

No matter what, though, nothing will take away from my experience and my views on a wonderful, exhausting, emotional, and rewarding experience.

Now. What's next?

I'm going to be assistant stage managing Denton Community Theatre's production of Don't Dress for Dinner, which is a play opening the first weekend in June, and there's a chance I'll be auditioning for a new adaptation/collaboration piece with a smaller theatre in Denton that same weekend. I'll try to be better at keeping everyone posted. I know, I've been bad...but work + two shows back-to-back = one stressed out and tired and BUSY lady! Summer will be a lot more laid back. :)

P.S. those beautiful photos above were taken by my friend and Very Favorite Photographer, Lynn Michelle when I invited her to be my guest at our preview performance. She rules...as usual.

Review: Carousel at Denton Community Theatre

2009-04-02T14:19:00.001-05:00

Pictured: Keith Warren as Billy Bigelow; Sarah Geist as Julie Jordan. (Photo by Phillip Lamb)

DISCLAIMER: This review is unsolicited, and written solely for the purpose of the DFW Backstage Blog and its readers. It is not to be re-posted or published without the permission of the author.

If I had a nickel for every time I’ve heard a phrase beginning with “In this economy…” over the past several months, my own economic crisis would be sufficiently erased. Everywhere you look, people and businesses are trying to find ways to cut corners as a way to cut costs, yet still maintain the quality of their life (or their product, as the case may be). The local arts communities are no exception. Many local theatre groups have changed their productions mid-season, lowered ticket prices, offered discounts and, in the worst of cases, shut down due to reduced numbers in the audience affecting their ability to meet the costs involved in mounting a full-scale theatrical production.

However, Denton Community Theatre (DCT) did not shy away from its plans to produce Rodgers & Hammerstein’s musical Carousel this month. Rather than spend hundreds of thousands of dollars on elaborate sets and costumes, director Sharon Veselic and her production team simply took a different approach in deciding to present the musical in “grand concert style,” opting for a full orchestra (necessary for a lush R&H score) onstage with the actors and a simple, innovative set design consisting of various levels and ramps that surround the musicians. By using the talents of Dallas-based Phillip Lamb, who specializes in creating corporate videos, the creative team implemented technology, in the form of projections, to bring the small New England town to life onstage.

Overall, I think the venture was a successful one. The opening “Carousel Waltz” featured brightly colored images of a carnival projected onto a screen at the back of the theatre, while the carousel (complete with revolving horses!) was projected onto a smaller, custom-built scrim placed in front of the back screen. The images were original, and very eye-catching. However, as the show progressed, I admit I became distracted by some of the projections, as they varied between brightly colored, painted images and photographs of actual seaside communities. I personally would have preferred a consistency in the choice of projections.

I had issues with some of the choices made by the lighting designer and musical director of this production. At times, the actors’ faces were completely hidden in darkness or low lighting, while an unoccupied area of the stage was extremely well-lit in contrast. During the ballet on the beach in Act II, there was no follow spot on Louise, and at times she was dancing in the darkest corners of the stage. As a musical purist, I cringed a bit when the “Carousel Waltz” was shortened, when the reprise of “June is Bustin’ Out All Over” was cut from the end of Act II, and when Nettie’s beautiful solo “You’ll Never Walk Alone” was turned into a full chorus number a few measures in. The onstage orchestra did a fine job of not standing out during the performance, visually, but I couldn’t help but stifle a giggle at one point when I saw all of them holding their ears, ruining the surprise of the gunshot that was fired thirty seconds later.

I applaud DCT for taking an innovative approach to such a classic musical, though and, in doing so, allowing the talent of the performers onstage to shine without the distractions of moving sets, scores of props, and over-the-top costumes. The audience is able to focus on the actor’s voices singing what I believe to be some of the most beautiful and well-known songs in the American musical theatre repertoire. In an age where rock or “jukebox” musicals are all the rage, songs such as “Soliloquy,” “If I Loved You,” and “You’ll Never Walk Alone” feel like a breath of fresh air. They also require a tremendous vocal ability and this cast handles them ably for the most part.

I am not a fan of the book for this show, due in large part to one of the underlying themes of the show, which is domestic violence. Some of the lines spoken by Julie Jordan have my inner “Women’s Libber” screaming in protest. However, this cast does a nice job of making the characters realistic, rather than stereotypical.

Keith Warren as Billy Bigelow does a fine job of making the audience sympathetic toward him, even as we cringe and groan when he raises his voice or grabs Julie’s arm. Many actors will just play the character as a heartless bastard, but Mr. Warren brings an endearing quality to Billy, most notably in the scenes where Billy and Julie are alone together. Vocally, he masters the role. The “Soliloquy” at the end of Act I is quite possibly one of the most challenging pieces of music in the male repertoire. Operatic singers have even struggled with it. Mr. Warren’s tenor voice, which surprised me as I’m used to hearing the role sung by a baritone, soars in the higher notes and brings a warmth and brightness to the lower sections without pushing to reach them.

Sarah Geist, a recent Column Award winner, brings a quiet strength to the role of Julie Jordan. She is understated without appearing weak, and is markedly different from all of the other characters in the show, some of whom are so larger than life that they are almost caricatures. She steadfastly stands by Billy even when told by her friends and family that she should leave him if he hits her. Ms. Geist’s lovely and clear soprano voice is unaffected which is, again, a nice change from some of the pop musicals currently on the market.

Shane Strawbridge and Erika Ostermiller are charming as Enoch Snow and Carrie Pipperidge, respectively. The relationship between these two characters is vastly different from the relationship between Julie and Billy, and these two actors provide a good comic balance to the more serious tones of the scenes with Julie and Billy.

Two of the standout acting performances came from Desiree Fultz as Mrs. Mullin and Daylon Walton as Jigger Craigin. By comparison, these roles are small and could easily be forgotten about or overshadowed by the larger roles. Ms. Fultz and Mr. Walton, however, prove that there are no small parts – only small actors. Ms. Fultz plays the owner of the carousel with a restrained intensity, causing the audience to wonder how far she would go to keep Billy close to her. Mr. Walton is hilarious as the miscreant Jigger Craigin. He takes a character with no visible redeeming qualities and makes him funny and even likeable (if not a little sleazy), and his New England accent is spot on.

Overall, the production is consistent and solid. I think DCT did a fine job of paving the road for new and innovative ways of presenting standards in the canon of musical theatre in Denton, and that future productions done in the same vein will be successful and impressive. The production runs for one more weekend, and encourage you to go and see for yourself.

Details:
Denton Community Theatre presents Carousel by Rodgers & Hammerstein

Location: The Campus Theatre in Historic Downtown Denton
214 W Hickory Street
Denton, TX
(940) 382-1915

Performance Dates & Times:
Mar. 27, 28 & Apr. 2,3,4 at 7:30 pm
Mar. 28, 29 & Apr. 4,5 at 2:00 pm

Ticket Info:
Adults $18.00
Seniors (62 and over) $16.00
Students $10.00

FREE show!

2009-03-30T16:34:00.003-05:00

Pictured: Keith Warren as Billy Bigelow; Sarah Geist as Julie Jordan. (Photo by Phillip Lamb)

That's right, kids! Donations are encouraged (by me as well, support the arts, folks!), but not required.

Here are the deets:

What: Rodgers and Hammerstein's Carousel, presented by Denton Community Theatre

Where: The Campus Theatre, located in Historic Downtown Denton, TX
214 W. Hickory Street
Denton, Texas

When: Wednesday, April 1, 2009 (this is no April Fool's joke, I promise!)

Company rehearsal, Feb 3, 2009

2009-03-24T22:34:00.010-05:00

An excerpt from my journal during the rehearsal process for Company:

Tonight at rehearsal, we finally got to the big Amy/Paul/Bobby scene at the end of Act I. Running "Getting Married Today" in the actual scene and not just standing at the piano was a real eye-opener. I forgot to take the big breaths necessary to sustain me through the entire verse, and my voice was struggling through what's left of a cold as well. Yikes. However, the entire cast was really supportive and encouraging, which is par for the course with this group. There's a lot of trust and companionship between all the cast members, which I think is really necessary in this type of show. It's an ensemble piece, with every role playing equally important to the next. I love shows like this for that very reason. There is no segregation between "leads" and "chorus" and there are no temper tantrums or dirty diva attitudes. I think most of that is also due to the maturity level required to really play each relationship on stage the way it was intended.

ANYWAY, back to the scene we ran tonight. It's a real emotional roller coaster of a scene for me because Amy is having a minor meltdown. I'm wrestling between trying to find a "back story" and a motivation behind what she is saying and doing, and just reading the lines my way and trusting them as written -- simply letting George Furth's script come through. I mean, I AM making choices and educated decisions, both with the help of the director and discussions with Michael (Paul) and Tyler (Bobby) during any down time we get during rehearsal.
I think we got things off on the right food tonight, for sure. We made a lot of progress, even for two very shaky runs through it as we try to get off book and get scripts out of our hands. What I didn't realize would be so tough, though, is working directly opposite my husband. On one hand, sometimes it's hard to keep a straight face and take each other seriously. On the other, the very nature of the scene and the lines really break my heart. I was brought to actual tears tonight at one point, which, while a bit distracting to me, probably actually added to the scene in a good way. And while I'm reeling from that, there's still what I consider to be the second-most poignant moment in the whole show -- Amy's moment with Bobby. I love Tyler and respect him so much as a friend and a fellow actor that I truly treasure this moment on stage!

While it's in my nature to step back and immediately begin cataloguing all the things I need to fix, I truly am very happy with the progress we're making. It's my hope that these onstage relationship continue to grow and develop as this process continues.

Wow, it was fun to re-read and post that! I definitely hope to post more of these, and to continue to keep journals during the rehearsal process of pieces that I work on.

And the winners are...

2009-03-24T16:13:00.002-05:00

"Please help spread the word of your winners! Below is the list of winners and total amount of awards your theater companies won. Please post them in your newsletters, official theater websites, email "newsletter" blasts, etc.

It would mean the world to the Board and I'm sure the winners to see their COLUMN AWARD wins on your websites, newsletters, email blasts, etc. Thank you all so, so, so much for your support!" --John Garcia; Editor and Chief Senior Theatre Critic, The Column by John Garcia

You got it, John! Here they are, ladies and gentlemen!

The 2009 COLUMN AWARD WINNERS ARE...............

Best Play – Non-Equity
Topdog / Underdog
Upstart Productions

Best Play – Equity
Bent
Uptown Players

Best Musical – Non-Equity
NINE
ICT Mainstage

Best Musical – Equity
The Who's Tommy
Dallas Theater Center

Best Sound Design Play – Non-Equity
Kyle McClaran
Murder on the Nile
Garland Civic Theatre

Best Sound Design Play – Equity
Heath Gage
The Pillowman
Kitchen Dog Theater

Best Sound Design Musical – Non-Equity
Jeff D. Sones
NINE
ICT Mainstage

Best Sound Design Musical – Equity
Ryan Rumery
The Who's Tommy
Dallas Theater Center

Best Costume Design Play – Non-Equity
Suzi Cranford
The Facts Of Life
Uptown Players

Best Costume Design Play – Equity
Bruce R. Coleman
Trysts in Toledo
Theatre Three

Best Costume Design Musical – Non-Equity
Ryan Matthieu Smith
Sweeney Todd
Onstage in Bedford

Best Costume Design Musical – Equity
Barbara Cox
A Year With Frog and Toad
Dallas Children's Theater

Best Lighting Design Play – Non-Equity
Ana F. Petit
Cat on a Hot Tin Roof
Grapevine's Runway Theatre

Best Lighting Design Play – Equity
Laura McMeley
Doubt, A Parable
Water Tower Theatre

Best Lighting Design Musical – Non-Equity
Sam Nance
NINE
ICT Mainstage

Best Lighting Design Musical – Equity
Sam Nance
The Light in the Piazza
Theatre Three

Best Scenic Design Play – Non-Equity
Dennis Canright
The Facts of Life
Uptown Players

Best Scenic Design Play – Equity
Bruce R. Coleman
Bent
Uptown Players

Best Scenic Design Musical – Non-Equity
Paul Fiorella
NINE
ICT Mainstage

Best Scenic Design Musical – Equity
Beowulf Borritt
The Who's Tommy
Dallas Theater Center

Best Stage Manager Play – Non-Equity
Jodi Kopaniky
Murder on the Nile
Garland Civic Theatre

Best Stage Manager Play – Equity
Cory Boulieris
Bent
Uptown Players

Best Stage Manager Musical – Non-Equity
Stacey Street
NINE
ICT Mainstage

Best Stage Manager Musical – Equity
K. Doug Miller
The Light in the Piazza
Theatre Three

Outstanding New Work By a Local Playwright
Bruce R. Coleman
Whatever Happened to Pixie DeCosta
Theatre Too

Chita Rivera Dance Award – Female
Jennifer Laws
Damn Yankees
Garland Summer Musicals

Chita Rivera Dance Award – Male
Darius-Anthony Robinson
Footloose
Garland Civic Theatre

Best Choreography of a Musical – Non-Equity
Michael Serrecchia
NINE
ICT Mainstage

Best Choreography of a Musical – Equity
Nan Gammon
Zanna Don't
Uptown Players

Best Musical Director – Non Equity
Scott A. Eckert
NINE
ICT Mainstage

Best Musical Director – Equity
Jeff Crouse
Damn Yankees
Garland Summer Musicals

Best Director of a Play – Non-Equity
Andi Allen
The Facts Of Life
Uptown Players

Best Director of a Play – Equity
Bruce R. Coleman
Bent
Uptown Players

Best Director of a Musical – Non-Equity
Michael Serrecchia
NINE
ICT Mainstage

Best Director of a Musical – Equity
Kevin Moriarty
The Who's Tommy
Dallas Theater Center

Best Featured Actress in a Play – Non-Equity
Laura Warner
Steel Magnolias
Repertory Company Theatre

Best Featured Actor in a Play – Non-Equity
Andrew Phifer
Kurt Vonnegut's Slaughterhouse-5
Risk Theater Initiative

Best Featured Actress in a Play – Equity
M. Denise Lee
Doubt, A Parable
Water Tower Theatre

Best Featured Actor in a Play – Equity
Clayton Younkin
Bent
Uptown Players

Best Featured Actress in a Musical – Non-Equity
Deborah Dennard
Sweeney Todd
OnStage in Bedford

Best Featured Actor in a Musical – Non-Equity
Chris Edwards
La Cage Aux Folles
Onstage in Bedford

Best Featured Actress in a Musical – Equity (Tie)
Melissa Farmer
Zanna Don't!
Uptown Players

Delynda Moravec
Damn Yankees
Garland Summer Musicals

Best Featured Actor in a Musical – Equity
Darius-Anthony Robinson
A Year With Frog & Toad
Dallas Children's Theater

Best Supporting Actress in a Play – Non-Equity
Jennifer Sipes
Crimes of the Heart
Garland Civic Theatre

Best Supporting Actor in a Play – Non-Equity
Chad Peterson
The Facts of Life
Uptown Players

Best Supporting Actress in a Play – Equity
Natalie King
Legends
Uptown Players

Best Supporting Actor in a Play – Equity
Gary Floyd
Crimes of the Heart
Theatre Three

Best Supporting Actress in a Musical – Non-Equity
Sarah Geist
Sweeney Todd
OnStage In Bedford

Best Supporting Actor in a Musical – Non-Equity (Tie)
Drew Kelly
All Shook Up!
Garland Civic Theatre

Tyler Martin
Sweeney Todd
OnStage in Bedford

Best Supporting Actress in a Musical – Equity
Lindsey Holloway
Zanna Don't!
Uptown Players

Best Supporting Actor in a Musical – Equity
Gregory Lush
The Who's Tommy
Dallas Theater Center

Best Actress in a Play – Non-Equity
Catherine Dubord
Proof
ICT Mainstage

Best Actor in a Play – Non-Equity
Chris Robinson
The Facts Of Life
Uptown Players

Best Actress in a Play – Equity
Jessica Wiggers
A Streetcar Named Desire
Contemporary Theatre of Dallas

Best Actor in a Play – Equity
Regan Adair
Doubt, A Parable
Water Tower Theatre

Best Actress in a Musical – Non-Equity
Sara Shelby-Martin
NINE
ICT Mainstage

Best Actor in a Musical – Non-Equity
Donald Fowler
NINE
ICT Mainstage

Best Actress in a Musical – Equity
Wendy Welch
The Light In The Piazza
Theatre Three

Best Actor in a Musical – Equity
Cedric Neal
The Who's Tommy
Dallas Theater Center

Kathleen Freeman Award
Brittany Stene

Ben Brettell Youth Award (5 individual awards)

Erich de la Torre
Taylor Scorse
Sam Swenson
Brett Thiele
Caleb White

Rudy Seppy Volunteer Award (3 individual awards)

Robin Stephens – ICT Mainstage
Judy Bauman Blalock – Grapevine's Runway Theatre
Jake Correll – McKinney Repertory Theatre

TOTAL AWARDS FOR THEATER COMPANIES:

Uptown Players – 14
ICT Mainstage – 12
Dallas Theater Center – 6
Garland Civic Theatre – 5
Theatre Three – 5
OnStage in Bedford – 5
Water Tower Theatre – 3
Garland Summer Musicals – 3
Dallas Children's Theater – 2
Grapevine's Runway Theatre -2
Repertory Company Theatre – 1
Risk Theater Initiative – 1
Contemporary Theatre Dallas – 1
McKinney Repertory Theatre – 1
Upstart Productions – 1
Kitchen Dog Theater – 1
Theatre Too - 1

The Column Awards!

2009-03-24T09:55:00.002-05:00

Yesterday, on the official "The Column Awards Day" in Dallas, the 10th Annual Column Awards were held at the Irving Arts Center.

I was, sadly, unable to go due to financial constraints, but I am SO anxious and excited to see the official Winner's List! I'm hoping that John Garcia will send out a press release very soon today, so that I can repost!

Meanwhile, if anyone has any picture albums to share, I'd be happy to post them here! Please send any online web albums (Picasa, Shutterfly, etc) to dfw.backstage@gmail.com and I'll be happy to post some pictures. It would be a tremendous help if you have already tagged or captioned the photos with names of people in the photos, so that they will come up in search engines once I post them.

Very exciting! Stay tuned!

auf Wiedersehen, À bientôt, good night...

2009-03-19T16:38:00.003-05:00

The acting world lost a bright star this week in the tragic and unnecessary death of actress Natasha Richardson. She will be greatly missed.

Tonight, March 19, 2009 at 8:00pm, the lights of Broadway will dim for one minute in honor of Natasha.

Below is a clip of the 1998 Broadway Revival of Kander & Ebb's musical Cabaret. Rest in peace, Sally Bowles.