I love rehearsal. I love growth. What I do not love is the nightly end-of-rehearsal notes dump that makes everyone feel like they’re being graded in front of the class. Directors, can we reinvent this?

My first role taught me everything: be ready, be flexible, and show up when it counts.

One of my biggest theatre pet peeves: actors saying “my understudy.” Nope. Understudies aren’t accessories — they’re essential artists hired for the role, the production, and the audience.

I heard about a weird audition and I haven’t stopped thinking about it. At what point did casting become a group therapy session instead of, you know, acting?

If your community theatre can’t afford an intimacy coordinator, should you still do the show? The answer isn’t as simple as yes or no. But “we’ll be fine” isn’t a safety plan, and checking a box at the last minute isn’t care.

Line readings are the quickest way to turn a rehearsal room into a one-person show with a bunch of understudies.

Let’s talk about crying on stage. Why it doesn’t always show up when you want it to, why forcing it rarely works, and what actually matters more than tears.

Ever wonder why you can get a callback, do well, and still not get cast? From the other side of the table, here’s what’s actually being considered—and why it’s rarely personal.

A community theatre announced a show, held auditions, and scheduled rehearsals—only to discover they never secured the rights. It’s an uncomfortable but important reminder: before dates, before casting, securing the rights has to come first.

Prop guns aren’t just props, they carry real responsibility. A reminder that safety, training, and clear protocols aren’t optional—they’re part of the craft.

One of my biggest audition pet peeves: the pointless callback. If there’s no direction, no curiosity, no intention behind bringing people back, it’s just wasting everyone’s time.

There’s a difference between “I can do this” and “I’m the only one who can.”

Every fall, “Rocky Horror” takes the stage. I love this show as much as anyone, but casting minors in it is not bold, it’s reckless.

Thinking about auditioning for Legally Blonde: The Musical? Pink, sparkle, and energy will get you in the door, but heart and honesty are what book the role.

Directors: if you’re brave enough to cast a show, you should be brave enough to call the actors you didn’t cast. It’s uncomfortable, but it matters.

Opening night isn’t about chasing perfection. It’s about trust, connection, and stepping into the light with courage.

“The audition grind: that nerve-wracking wait, the crushing silence, and the bittersweet thrill of callbacks that don’t guarantee a role. Here’s a raw, honest look at what actors really go through in audition limbo.”

“I never thought I had a fear of heights until college theatre. What followed was an unexpected journey of anxiety, growth, and learning how to function through fear.”

“Let’s start with the uncomfortable truth. Yes, your follower count matters. No, it’s not the only thing that matters, but if you think social media is just a distraction or a popularity contest you can afford to ignore, you are missing a crucial part of today’s entertainment industry.'“

“In a world of digital playbills and deep thematic essays, wouldn’t it be refreshing if more directors just... told us a fun story from rehearsal?”