Does height still play such a big role in who gets cast as a believable romantic partner onstage? Shorter men and taller women are often judged by how they look beside a co-star before their chemistry is ever given a chance.

Emotional recall can help an actor reach something real in a scene. I’ve seen it work beautifully, and I’ve also seen the toll it can take. Where should actors, teachers, and directors draw the line?

Auditioning is already stressful enough without treating every other actor in the hallway like the enemy.

The best theatre villains don’t walk onstage thinking they’re evil. They walk onstage thinking they’re right. If you’re playing the villain, stop asking how to “act evil.” Ask what your character wants and why they believe they deserve it.

Talent may get you noticed, but your reputation is what gets you invited back. In theatre, people remember who showed up prepared, treated others with respect, and made the room better simply by being in it.

A community theatre code of conduct should do more than list what gets someone removed from a production. It should also tell people what kind of room the theatre is trying to build.

The strongest ensemble members bring focus, generosity, preparation, and energy to every rehearsal and performance. Here’s why great ensemble actors often become the people directors remember most.

I had never heard of a theatre assigning “dressing room captains” before, but after seeing one community theatre do it, I think it’s a fantastic idea.

There are valid conversations to be had about whether straight actors should play gay characters at all. But when they are cast, the responsibility is clear: play the person, not the stereotype.

What would the perfect five-show season for a community theatre look like? It is not just about picking the biggest titles or the safest bets. It is about balance, timing, audience trust, and giving artists something worth showing up for.

Minors should not be placed opposite adults in intimate material and expected to “make it work.” Whether it’s Spring Awakening or any other show, that kind of casting is not just uncomfortable — it is a safeguarding failure.

Cold reads can be imperfect but useful. Frozen reads, however, risk taking away the discovery that makes auditions valuable in the first place.

Chanhassen Dinner Theatres had one of those weeks that makes every theatre person wince in recognition. Lost props? Sure. A set falling over during final dress? Been there. But norovirus and a cyberattack in the same week? That’s a whole new level.

Please, directors, stop calling people to rehearsal “just in case” when you are not sure you actually need them. Good rehearsal planning is not just logistics. It is respect.

Not everyone can make a two-night audition window work, and that should not automatically shut them out of being considered. Audition tapes are not a shortcut. They are access.

Sometimes, if you do theatre long enough, you end up in a bad show. It happens. But being in a flawed production does not give you permission to stop showing up, stop trying, or abandon the people around you.

You can love your cast and still not want to go out after every rehearsal. You can care deeply about the production and still need to go home after opening night.

Being labeled “difficult” can follow an actor for years, especially in community and regional theatre circles where reputations travel faster than facts. But directors need to be honest about what they actually mean by that word.

Actors, there is nothing wrong with only wanting certain roles. Just be honest about it. But “any role” means any role.

Directors have wildly different ways of blocking a scene, and actors definitely have opinions about how it is handled.