2010- Year in Review

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!!

Musings on Show Boat, 1.0 and 2.0

"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.

Back in (Concert) Style

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