“ Why spend weeks rehearsing taking time away from family and friends, potentially missing out on other activities? Why? Here’s why.”
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There are friends and then there are Theatre Friends. It’s kinda like Facebook. There’s some folks you’re “friends” with on Facebook and you have lively conversations back and forth on one wall or another but you know if you met them in real life it wouldn’t be the same. That’s sort of like theatre friendships. They burn hot and strong for a few weeks, months whatever the duration of the show’s rehearsal schedule is and that’s it. They fade just as quickly as they come until you see them at the next audition or if you’re lucky another show.
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At 34 weeks pregnant with my first child, and being the “love all the info person I am,” I’ve read several books (or parts of) on pregnancy. I know that the baby can hear voices right now. I know it’s good for my husband and me to speak out loud to her since she can recognize our voices specifically. But it feels weird. Now, we speak all the time to our cat, but then again our cat is vocal and answers back which makes it seem less strange. But talking in the general direction of my stomach…hmmm.
Anyway, I found a way around it - Music. Specifically, Broadway show tunes because that’s mostly my entire music library. Here are the songs and shows my Broadway Baby is being exposed to which if the books are right may result in helping calm her when she’s here, live and in-person!
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Are accents important and integral to productions? I say yes.
I recently attended a production of “Titanic” where the vocals were good, the acting good, but the accents required were barely there (if at all) and when they were present, most executed it poorly. In a show like "Titanic", accents are non-negotiable.
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A couple weeks ago I ended my run in Mary Poppins. It was my bucket list show and a bucket list role; y’all, I was a tap-dancing chimney sweep! Sold out shows, adoring family and friends coming to watch, and I only dropped a line once. Pretty good run.
So it stands to reason the post-show blues would hit and hit hard. Here’s how I decided to combat them.
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As one of a plethora of 30ish mezzo-sopranos with a decent voice and the ability to move with some semblance of grace, I know at any given audition there’s 10 of me for every 1 spot they’ve reserved in the show for my type and vocal ability. There’s a decent amount of “stuff” on my resume but the stuff doesn’t begin to come close to highlighting my abilities. As much as I dislike the corporate job-interview process, I do wish the community theater audition process borrowed some from the corporate world. Because 16-32 bars isn’t enough time to learn I’m more than my resume.
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It’s hard work running a theater company, even harder running one designed for kids. There’s several not for profit and for-profit theater companies that focus their efforts on children’s theater. Based on my experiences as both an audience member and performer with children’s and community theaters, here are some examples of what NOT to do when in charge.
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