Fight choreography is a unique part of theater storytelling. It is done because we want to make a scene appear as real as possible without anyone getting injured. Fight choreography isn’t just involved when the actors are called to fight but also when weapons are involved. In the past three years, I have been involved with several shows where I got to see this happen. I was able to watch right from the start and see how the actors first learned the safety aspect of things and then how to make it look real.

Laura Adams says as she stands at the podium. In front of her are several members of local media.  She visibly nervous but unmistakably resolute. You might look the same if you were about to reveal a thirty year old secret that's been eating away at you since the day it happened. Now imagine doing it in front of a room full of media.

She begins, "It's time to tell our stories....We have held this secret for far too long...."

What is an actor without their dream? Chances are, you have one. A great one. A huge one.

You might dream about being on Broadway, playing your favorite role in your favorite show. Performing at the Tonys and winning one of your own.

You might dream about starring in an indie movie, winning at Sundance, Toronto and Cannes. Dream about sitting in the theatre in Hollywood, holding your breath as the envelope holding the Oscar winner’s name is being opened. You can see yourself crying as you walk up to the stage, accepting your award and thanking everyone in the world.

Hold onto that dream. Hold onto it, and love your craft. Nobody knows what the future holds. Those dreams might be a reality.

But the journey will not be easy.

The Phantom of the Opera is a book-then-musical that leaves quite a lot of questions unanswered. You can either take the story of the love-sick Opera Ghost at face value, or theorize about possible alternatives. I chose to theorize!

Recently the 45th President of the United States of America took the time out of his self-proclaimed busy schedule to incorrectly assert that it was because of lack of interest that cause the Michael Moore's one-man Broadway show 'Terms of my Surrender' to close. The most stunning thing for me is this man has lived most of his life in New York City socializing with the top of the entertainment and art circle but does not understand the term 'limited run'? He is name-checked in at least two musicals that went on the win Tony awards ('RENT': was during the workshop years and 'Real Estate' did not make the cut. 'In the Heights': during 96,000. A local production even excluded his sign name in the choreography). And here is the underlying issue: He thinks he knows everything so he does not take a breath to verify information before letting his temper get the best of him.

I recently had the joy and privilege of seeing the national tour of Something Rotten! While I was enjoying performances, admiring costumes, and gushing over the scenic design, I couldn’t help but notice the incredible amount of physical activity the show required. As I sat several rows back from the edge of the balcony, I could see the performers in the back panting after one of the larger numbers. It validated a belief I have held for many years:

Actors are athletes.

Phone Rings, Door Chimes, In Comes COMPANY! 

Kick off Clocktower Players 40th season on Saturday, November 4th with the concert staging of legendary composer and lyricist Stephen Sondheim’s Tony Award-Winning Best Musical,COMPANY! 

My biggest theatre pet peeve is when people don't know their lines, plain and simple. From the performance side, there is nothing that can hold up the rehearsal period than someone failing to memorize their dialog. 

Can you believe it's been 9 years since [title of show] opened on Broadway? This show will always have a special place in my heart, and I know I’m not the only theater lover to feel that way. Here’s a look at 5 reasons why.

Imagine, you’re sixteen years old and sitting in high school. The teacher is prattling on about a play some dead, white man wrote over a hundred years ago. Just when you feel yourself beginning to nod off, something strikes you: did the male protagonist really just treat a woman in that way? Is the teacher just going to act like this is okay? Many of the plays taught in schools, especially the “classics” have strong sexist commentaries. These messages are objectionable for many of us in a modern setting, so why are they still being taught? Why are they still being performed?