Thank you.

I know we met a little later than most, but it feels like it's been a lifetime. There are never going to be enough words to express how thankful I am for everything you've done, though I sure can try. Thank you for the countless hours you've spent working with me. Thank you for providing me with all the tough love I could ever ask for. Thank you inspiring, helping, and motivating me to achieve things I never thought possible. Thank you for providing me with a home away from home. 

Why do we perpetuate this idea that some things never grow old? Everything does, including musicals. You might still enjoy them (maybe even because they make you feel nostalgic), but don't expect everybody to. We've seen a whole new generation of musicals since the creation of shows like The Sound of Music, Oklahoma, Oliver, My Fair Lady... And liking musicals doesn't mean that you like every musical ever written.

I usually like to joke and say that the Tony Awards feels like the theatre industry's homecoming game between Carnegie Mellon and the University of Michigan. But it's also hard to ignore the amount of colleges that are mentioned in acceptance speeches. 

Should actors be forced to accept the reality that special treatment will inevitably be given to people with less experience in theatre because of their careers working in another industry, while actors with far more experience on stage will continue to be expected to be off-book and without an earpiece? For that matter, should theatergoers be willing to accept shows that cater to this sort of laziness among actors who only get Broadway roles despite their lack of ability as a stage performer?

There’s a new theatre festival in town. Broadway Bound Theatre Festival  BBTF) is making its inaugural debut, featuring works by playwrights from around the country. 

Starting July 30th and running through August 20th, BBTF is giving audiences a New York theatre experience at an affordable price, while providing playwrights with the tools they need to get their shows off the ground.  I got the chance to interview four playwrights whose plays are in this festival: Riley Thomas, author of Convicted, Sherod D. Lee, author of 2 Years of Eternal Joy, Juan Ramirez Jr., author of The American Dream and Lina Sarrello, author of Out There

But like a pyrophiliac soaking in the firey pits, it’s the blistering pain we beg for.

For the last few months, I’ve been hosting an open mic. Well, technically it’s not an open mic -- it’s a booked show. But, as I’m constantly reminded, it’s so poorly produced that it could easily be mistaken for an open mic. So, I win.

There has often been a lot of talk about the need for more gender equality in society, especially over the past decade or so, and I think it’s fair to say that – while there is still a lot more work to do – there has been plenty of progress that has been made over the years. This includes in the theatre industry, which has often been ahead of its time on a variety of issues related to social equality. However, there is one glaring aspect of the industry where it would seem that gender equality is lacking, in a way that might not be the case for other occupations related to theatre. It is true that more can be done, overall, but this is an area where further progress is especially needed.

I love it when a local theater company wants to encourage diversity and inclusion with their season. The desire to tell different stories with an array of different types of people is something that should be applauded always. If your theater is doing this with their current or next season, congrats. 

However, I also feel that the commitment to diversity should be extended to every show in your season and not stop with the one that would require roles of color.

When I entered the wonderful world of community theater, I was initially happy with my being cast in the ensemble of shows. I was happy to be cast as anything considering I was in my 30’s with little to no formal training in dancing, singing or acting. I was the opposite of a triple threat.

Then I had my first lead as Elvira in Blithe Spirit. I quickly followed that up with the role of Martha in The Secret Garden. I loved having lines to memorize, blocking to learn, solos to sing. I felt I was being challenged, learning, creating. It was amazing. I jolted back to reality when I was cast in the ensemble for my next show that year- one without even a single solo speaking line. How could this be? I was a lead, not part of the ensemble. I begrudgingly accepted the role (more because I had been laid off earlier that year and needed SOMETHING to do between sending out resumes) but muttered to myself it would be the last ensemble role for me. 2+ years later and I’m thrilled, PROUD to say it’s been all ensemble roles since then. Because I’ve learned to love the ensemble. And here’s why:

There is no doubt that Hollywood loves remakes nowadays. Disney has jumped completely on board with this with their live-action remakes of their animated classic and within the next years, we'll see plenty more. But one unspoken rule has seemed to be previous Oscar winning Best Pictures should be untouchable. After all, these movies were awarded the highest honor Hollywood can bestow, so remaking them seems a bit sacrilegious. 

But that might soon change.