We've all been there, spent £40 on a ticket to enjoy a night at the theatre and some idiot decides to ruin a show, by talking throughout the performance, pulling out their mobile phone and basically just ignoring theatre etiquette. But, is it happening all too often now?

Most young actors, including myself when I was one, go into an audition intent upon showing them that they can play “that” character.  They meticulously familiarize themselves with the play and, if a musical, the score, and memorize the sides they’ll be reading which may have been sent only that morning.  Preparation is all.  How can you decide what to sing for your audition if you aren’t familiar with the musical style of the show you’re auditioning for?  Are you really going to sing a song from In the Heights if you’re auditioning for Carousel?  If you have no experience with or training in commedia dell’arte, then you’d best bone up on it before your audition for Servant of Two Masters.

Listening to a David Yazbek score will always take you someplace. Whether it's the blue-collar grit of Western NYThe Full Monty) or the elegant style of the French Riviera( Dirty Rotten Scoundrels), there is, arguably, no better composer at transporting an audience than Mr. Yazbek. With each song, he immerses the audience in the show's setting. You can feel the rhythms and beats of the cities, taste their flavors and see both their beauty and scars.

With The Band's Visit, Mr. Yazbek has taken those skills to a new level and I have a feeling that he will transition from one of the most underrated composers today to one of its most celebrated.

Running a theatre company can present a number of challenges. Most importantly, no one can truly do it by themselves, they need help from others to not only handle what's going on stage but behind the scenes as well. This means bringing others into the fold, often placing an incredible amount of trust in certain people to handle major tasks within the theatre, including its finances. 

While the vast majority of individuals serve these roles honorably and honestly, there are some who take advantage of the access they have and their actions could result in dire circumstances for the theatre company. Especially when certain people are stealing funds directly from the theatre itself. 

On August 7, I auditioned for “Decision Height”. On August 8, I was cast as Norma Jean (not Eddie the part I originally wanted but that’s for another post). I accepted because it was a wonderful role and provided me the chance to perform with friends. That “yes” led to a 3 month labor of love. It’s been a revealing process; revealing personally and to learn what goes into character development.

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.