“Don’t Take This the Wrong way, but You’ve Really Improved”

These words were spoken to me upon the completion of the singing portion of a recent audition.

“Don’t take this the wrong way, but you’ve really improved a lot since last year.”

The director said this and caught me completely off guard. A few hours later, he apologized, and caught me even more off guard. He explained that he’d meant what he said as a compliment, and hoped it hadn’t sounded rude.

My response was basically, “yeah, of course it’s a compliment, duh.”

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That time I made that Dreaded high note my B*tch

I’m coming off my bask-in-the-glow-victory-lap after closing a successful production of Little Women at a local community theater. This whole show (and the months leading up to it) were rife with stresses, but the entire production ended up being a testament to hard work paying off, in a variety of ways.

Allow me to tell my tale.

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“There are no Small Parts, Only Small Actors”

If you’re involved in theatre in any way, then you’ve definitely heard the phrase “there’s no small parts, only small actors” at least once– and probably far more than that. When I was younger, I figured this was just untrue. There are small parts, I thought, that’s just a fact. Some parts are on stage less, or have less lines. They’re small, but that’s not the actor’s fault.

Clearly I wasn’t alone in this sentiment and clearly I’m still not, because I constantly hear stories about actors quitting shows because they didn’t get a “good” part.

This idea among young theatre students– that there is indeed a “small part”— feeds into multiple bad behaviors that not only makes their acting worse but can make entire shows worse. In fact, I’d say that dispelling this myth is one of the most important things a director can do right off the bat to make sure their show has all the power it can have.

So let’s establish something right now– there is no such thing as a small part.

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Maybe You’re Just not a Belter: A Letter to a Young Actor with Vocal Strain

Dear Young Actor,

I get it.

You’ve listened to Barrett Wilbert Weed and Krysta Rodriguez and Sutton Foster and now you just want to sound just like them. We’ve all been there.

Contemporary Broadway is full of belters belting their faces off. It’s flashy and impressive and now basically everywhere you look.

Here’s the thing about belting.

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