On this blog, I write my last* confessions...

(*read: most recent)

I have a confession to make.  A couple, actually. 

Confession #1 -- About a week or so ago, I started asking myself a question that I was afraid to answer.  The question was, "Am I just unmoved by musical theatre anymore?" The question came as a result of having recently left several productions, from amateur to professional, just feeling...bereft of feeling or emotion.

As a matter of fact, I've been wondering of late if and where and how theatre even belongs in my life.  Becoming a mom to Z has definitely put my life into perspective, regarding how and where I spend my time and money, and sometimes I wonder if I even love it as much as I used to.  (See this post from Theatre Communications Group a while back -- it is a fairly accurate representation of the feelings I've had difficulty expressing in the past 13 months).

Then, this past Friday night, I attended Dallas Theater Center's widely-discussed (and quite polarizing) production of Les Misérables. With an open mind but a guarded heart for my all-time favorite musical, I craned my neck from the edge of my infamous chair at the Wyly Theatre, and spent three hours holding my breath and fighting back tears.

Which leads me to Confession #2 -- I will no longer call myself a "purist" when it comes to theatre.  At least, not in the sense of the word that has me digging in my heels and refusing to accept change or re-imagining of what we've, as a community, deemed "classic" works in the art form. 

Photo by Karen Almond, from DTC web site.

Before scoring my own set of tickets to a performance, I read almost every review of this production, and actively participated in discussions on Facebook theatre group forums (sometimes just to play Devil's Advocate and keep discussion going, but sometimes just to ask questions and be a part of the conversation -- and there was a lot of conversation about this production).  However, once I bought my tickets, I went off the Les Mis grid.  I wanted to spend the next 3.5 weeks in a bubble, and reset myself and my expectations for this production.

Photo by Karen Almond, from DTC web site.

This is not a review.  Others have done that already, and have done it better than I could.  I have thoughts - lots of them - about the direction and the staging and the performances...and also about the whole concept or idea of pushing our boundaries and taking the time to look at a story with fresh perspective.

I am no longer a purist -- but allow me to explain how I'm choosing to define "purist" in this genre. 

Do I believe that we need to consider the author/playwright/composer's intent?  Yes, absolutely.

Do I believe, though, that we cannot think outside the box without compromising the aforementioned intent and/or changing the story?  Not anymore. 

In my opinion, theatre is necessary and beautiful because it speaks to the human condition.  It's almost always about people, isn't it?  Or about how something affects a person or group of people?  I think so.  And we can only hope as artists that, when we make ourselves vulnerable and put our hearts and souls into the characters and breathe life into them on a stage, that we end up sharing something important and real with our audiences.

It's not just about the concept or the lighting or the production -- it's about the story.  It's about the human elements that guided the pen of the playwright/composer, that inspired the director/conductor and that are brought onto a stage by a dedicated, committed and passionate cast of actors.

That's why (and how) Les Mis works, even if you dress it up a bit differently. If anything, I'd say that this version, spearheaded by director Liesl Tommy, works even more so -- because you are unable to go into soft focus and watch this show as you've always seen it.  You perk up a bit in your seat, you tilt your head to the side a bit, and you snap to attention.  You hear lyrics as you've never heard or understood them before.  Themes smack you in the face with a little bit more force than the last reboot you saw come through on a tour.

Photo by Karen Almond, from DTC web site.

Again, I really do have so much more I could say about this production, but I fear I'd end up writing something long enough to rival Hugo's novel.  I do want to say just one more thing before I close with my final feelings:  I do not think that it takes the budget or space of Dallas Theater Center to create all of the same beauty and rawness and humanity that I experienced on Friday night.  It can happen (and is happening) anywhere artists are gathered with a passion and a goal to create art that inspires people.

I'll close with an email I sent to the director the morning after the show.  Perhaps I did tiptoe into "fangirl" territory, but I meant every word. I feel inspired and refreshed as an artist.  And grateful to have so many opportunities coming up to put that inspiration on its feet. 

Dear Ms. Tommy, 

Last night, my husband and I finally were able to score tickets to Les Miserables at Dallas Theater Center. We are semi-active members of the D/FW theater community and we love the musical and wanted to go and support some of our friends in the show. 

Thank you. 

Thank you for being brave with a classic production. Thank you for taking a risk and giving local audiences a chance to expand and open their minds to a fresh perspective on a beloved musical. 

Thank you for taking a concept and clearly weaving it through every single intricacy of a very intricate story. 

Thank you for showing us that, despite time or place of setting, humanity and the human connections we make are still relevant and that, in my opinion, they are why we do theater (or see theater, if our interests don't take us onstage) and why it's our DUTY to keep looking at these stories and songs. 

On a personal note...thank you and the cast for showing me that yes...I do need theater in my life, still. I had a baby a year ago, and since his birth and a very rough first experience back onstage a few months ago, I have been struggling with an artistic existential crisis. I've been asking myself, "Does theater -- specifically musical theater -- even have a place in my life anymore? Is this something that I still NEED?" Last night reminded me in my very bones that the answer is "YES." I was mentally and physically drained after last night's performance from sitting on the edge of my seat, holding my breath, and seeing and understanding new meanings in the story (I know it's cliche, but all of the parent/children moments resonated with me in a brand new way). I just wanted to rest my head in my arms on the balcony and weep. 

In my head, I've just been saying, "I want to email Liesl Tommy and say, simply, 'I got it. I understood it. Thank you.'" But the words kept coming. 

Thank you. And the cast. A million times.

Why I'm Cautiously Excited About the Les Miserables movie

Let me just start out by saying two very important things:

1.) I can be a bit of an asshole about the arts, and most people are going to disagree with this blog.  If that's why you're here, save your breath, because I've heard it before.  I realize that, when it comes to music and acting, I can be a purist to the point of being obnoxious (see also: my recent Facebook rant about Carrie Underwood playing Maria in The Sound of Music).  Usually I just keep quiet and only vent my opinions on to people who tend to agree with me because, otherwise it's just a giant exercise in futility.

2.) Les Miserables is probably #1 on my list of Favorite Musicals. I love it.  Even (maybe even especially) that 10 year anniversary recording with Michael Ball in all of his schmaltzy freakin' glory and Colm Wilkinson's ridiculously thick Scottish accent.

There, now that that's out of the way, and just before we get into the meat & potatoes of this blog, here's the extended international trailer for the Les Mis movie (top), and an inside look, going behind-the-scenes and explaining why this particular movie musical is different from any others before it (bottom):

Still with me?  Okay. 

Let me just start by saying that I flipped my lid (with joy!) when I saw the first teaser trailer for this film.  When I heard Anne Hathaway's heartbreaking rendition of "I Dreamed a Dream" in that clip, I was one of the few musical theatre performers/fans who did not get upset about her choice to not belt it to the back wall, as the song is usually performed. There was a general outcry of "NO! THAT SONG SHOULD BE BELTED!" from fans everywhere, but I was intrigued. It made the hair on my arms stand up and brought tears to my eyes.

(See? That right there should tell you that I'm open to new interpretations of my favorite music!)

As longer trailers were released, and the above clip going inside the making of the film made the rounds on the Interwebs, I got more and more excited.  I am especially excited about the way the songs were filmed -- LIVE.  There was no recording that happened months before filming started, to which the actors would lip synch during filming.  Ohhhhh no. They are singing LIVE, y'all.  They wore earpieces on set, through which they heard an accompanist playing live, and there was a direct relationship happening between singer and music. The orchestra was filled in later, during editing and post-production.

This is groundbreaking for a movie musical, and I'm thrilled about it. It's about as close to a stage performance as a movie musical will come, as they still film out of order and do several takes, which never happens in a live stage performance.

However.

At a recent showing of the movie Lincoln (excellent film, by the way), I saw the extended international trailer (the first clip above) and my heart sank a little when I heard clips of Russell Crowe and Hugh Jackman singing. Especially Crowe.  Remember Pierce Brosnan in the film version of Mamma Mia? Handsome, renowned actor...had no business being in a musical.  None. That's kind of what I'm worried about with these two men.

Now before you get all defensive...I'm well aware of Hugh Jackman's musical theatre resumé.  I've heard him sing, and he's not bad at all in the things he's done.  But is he Valjean-worthy?  Hmmm.  Time will tell. So, you people who get your undies in a wad and sputter at me that "Hugh Jackman is classically trained, Mandy!" just...calm yourselves.  I want him to do well.  Truly.  But even "classically trained" singers struggle with "Bring Him Home." That sumbitch is high.

As for Crowe, the only thing I've heard is that he has a "musical background."  Sheesh.  That doesn't tell me much.  A quick glance at Wikipedia shows me that he was in The Rocky Horror Show as Eddie/Dr. Scott at some point, and that he's done a lot of recording/performing as a non-classical singer.  Pop, rock, whatever. 

For someone who's used to this performance by Javert, I think I'm justified in being a little worried:

I mean, I didn't even like Norm Lewis as Javert in the 25th Anniversary Concert version of Les Mis, and a LOT of people loved him.  See? I'm an asshole about my singer-actors, especially in Les Mis.  And just don't get me started on Nick Jonas, ok?  Just...don't.

Also...does it not seem a tiny bit fishy to anyone else that with huge names like Hugh Jackman and Russell Crowe, the marketing campaign for this movie has been centered around Anne Hathaway?  The actress who is already getting Oscar buzz just based on a few clips from trailers and from those lucky enough to have attended pre-screenings?  Just something to think about...

As for the other actors chosen...I am pretty stoked about Sacha Baron Cohen and Helena Bonham Carter as the Thénardiers, and Aaron Tveit as Enjolras (my favorite character!).  I don't know much about Eddie Redmayne (Marius), but he seems like he'll be fine. I liked Samantha Banks (Eponine) in the 25th Anniversary Concert, though she does get a little poppy at times for my personal taste.  Amanda Seyfried and her tinny little voice and fast vibrato will probably annoy me, but Cosettes usually annoy me, and the best one ever was Judy Kuhn anyway.

Here are my final thoughts. I'm not so much of a musical purist that I think opera singers need to play all of the classical-type singing roles in musical theatre (or film adaptations, in this case). Hell, a lot of times the best singers in the world can be some of the worst actors!

There are times when an actor will be so very good that I will forget about the voice, or that I'll even prefer their interpretation of the song.  Again, Anne Hathaway, ladies and gentlemen.  I know the girl can sing.  Do I usually prefer a little more power behind Eponine? Sure.  But she's still making such excellent acting choices and still staying true to the integrity of the song and the character.  And that is the most important thing to me -- not the level of technique in the vocal performance.  But rest assured that the vocal performance is only a very close second.  It's so close it's almost tied.  Why? Because it's a musical. And the music, in musical, should be the first priority.  Crazy talk, I know!  If even the most world-renowned, award-winning actor can't carry a tune, I'm going to hate his or her performance in a musical, most likely.

Also, let me be clear once again that I am very excited for this movie.  I'm going in with moderate expectations, though.  Expect a follow-up post on this blog once I've seen the movie 2-3 times (which is gonna be the bare minimum, methinks).

No Shame November -- Theatre

Man, I've been putting this one off.  I have no idea how to talk about theatre without this being an incredibly long and only-interesting-to-other-theatre-people post.  I'll try really really hard to make sense and be fairly succinct.

I will always remember my very first theatre audition (school doesn't count for me, because we just did One Act Play, and we just kinda signed up for it and the teacher put us in the roles she thought we'd be best in...even if that meant you were backstage pressing play on the tape player).  It was for The Sound of Music at Denton Community Theatre, and I was in the 6th grade.  I stood on the stage, squeeeeeeezed my eyes shut, and sang "Edelweiss" with my eyes closed the entire time.

I wasn't cast.  Obviously. 

Quick side note -- I am quite close now with the woman who directed that very production, and I recently reminded her of that story and she laughed and laughed.  I've come a bit more out of my shell since that audition.

Since then, I've been in over 20-something productions, from ensemble chorus member to bit part to leading role and from volunteer community theatre to grassroots, guerilla theatre company to a regional, professional stage (that was not in order of importance, by the way; just in order of when I did them, really). 

Theatre has been the best and worst part of my life since I started.  "Worst" seems a bit dramatic, so let me rephrase and say that it has had the potential (and has sometimes achieved) to bring out the worst parts of me and my character.  My vanity.  My need for validation. My selfishness. Even those of us who do it just for the love of the art and not as a career choice still feel fiercely competitive and want the roles we want.  We also want good reviews.  We're obsessive and one-track-minded.

Here's the part where I'd really like to talk about how theatre can also provide a very false sense of closeness with others (friends and showmances) that can end up really hurting you and your other relationships, but I feel like I've talked about that before and that's not what I want this post to be about.  I want this post to be about the things about theatre I LOVE.

So, starting with the Mandy now, who has worked very hard to try to achieve a balance between her personal/professional life and her theatre life so that the former is never prioritized lower than the latter, and who has gotten much choosier about her projects (and will have to continue to be once the babe is born)...here is a quick, bulleted list about theatre in my own life:

• Theatre has given me incredible confidence.
• I've had some of the most amazing theatre experiences just in the past year, because I've branched out and stepped outside my comfort zone.
• Café des Artistes, Dog Sees God and The Glass Menagerie did more for me as an actor than anything I did pre-2011. Because of my directors, my fellow actors, and my own willingness to be 100% vulnerable.
• I don't think I'm a great actor...but I'm a thoughtful actor. I know my backgrounds and my subtexts and I make good decisions.
• I think I'm very easy to direct.  I don't think this has always been true, but I think I can say, with confidence, that I am now.
• I LOVE directing, which is a fairly new realization. I think I'm a potentially very good director. I just need more opportunities.
• I think I'll be a better director than actor.
• I think I'm a really good singer, but that I relied on that for way too long, when I could've really been working on my acting.
• I've met a lot of really fun people, but only a handful of truly amazing, lifelong friends.  Finding out the difference between the two was (and is) hard.
• I've had some amazing teachers/mentors/directors who have taught me so much.
• I intend to direct a musical in 2014 with my husband as musical director and the Babymonster as the official show cheerleader/groupie.
• I believe I was created to do this...to create.  I like how that sounds: Created to Create.
• You can be a Christian, a good wife, and a good person and a good friend and still do theatre. It's hard, but it can be done.
• I love seeing good theatre.  This doesn't actually happen as often as I'd like.
• I hope that theatre and performance and art are always a huge part of my life and our family.  I met my husband at an audition, after all, and I think it's been fated all along. 
• I'm working on writing/developing a script.
• If you want to create, do it. I'm working with a group of actors to put together a staged reading of a play we all love, but have no current options of auditioning for it locally. Make art happen.

Dirty Rotten Scoundrels, 2010 (Muriel)

Snoopy, the Musical, 2011 (Peppermint Patty)

Dog Sees God, 2012 (Van's Sister)

Café des Artistes, 2011 (Actor/Writer/Collaborator)

Clipped, 2012 (Director)

The Most Happy Fella, 2012 (Ensemble)

Show Boat, 2004 (Ellie May Chipley)

The Producers, 2010 (Ulla)

Oklahoma!, 2012 (Ensemble)

The Glass Menagerie, 2011 (Laura Wingfield)

 

Fightin' the Forces

"For we are not fighting against flesh-and-blood enemies, but against evil rulers and authorities of the unseen world, against mighty powers in this dark world, and against evil spirits in the heavenly places." -- Eph. 6:12

Exhibits A and B above both were shown to me this morning between my Facebook and Twitter feeds, respectively.  George Takei posted the photo on his Facebook timeline, and something a friend tweeted reminded me about that Bible verse, so I went and looked it up. 

Lately, as artists are wont to do, I have struggled with the most ridiculous insecurity. It's not coming from anything specific...nobody is making me feel badly about myself as a performer or anything like that. I've lost weight. I'm doing a fabulous show with an incredible theatre, where I'm used more and more with each passing production.  I love my costumes. I love my hairstyle for the show.  I'm completely surrounded by wonderful people.

But still, that nagging, evil little insecure voice finds its way into my brain and brings on the waves of self-doubt and negativity.  I'm not going to blame myself anymore, though.  Read that verse again.  I believe it to be true.  These voices are coming directly from the Enemy and attacking my weakest areas, causing me to think I need to try harder, audition for more shows, eat less...and not in the healthy, productive way in which all of those things can be done but, instead, in the obsessive, messed-up priorities, selfish way that has gotten me into trouble before.

When logic prevails, I think back on the past 11 months (I'm starting with Café des Artistes last November) and I am incredibly proud of the work I've done as an artist, as a Christian, as a person trying to get healthier, as a wife, and as a friend.  It's incredible (and incredibly sad) to me how easily and how quickly that switch can be flipped.  How I can be so proud and happy and then look upon a series of show photos and feel "You're the biggest person on that stage.  Look how fat your face looks.  God, you don't look like anyone else up there, what are you even doing?!"  Or to know in my heart of hearts that I'm thrilled for a friend's successes but still think "It wasn't you this time. You weren't even considered.  Why would you be, though? You've got a long way to go."

(that inner voice is a real bitch, huh?)

This is not coming from a healthy place of bettering myself and pushing myself to reach higher goals.  This is a darker, more sinister force that is trying to halt the progress I've made, trying to make me feel like nothing I'm doing is quite enough, trying to get me to focus completely on myself and how I can make my selfish desires come to pass.

The good news? I'm aware of it.  I know that there are ways to better myself that simultaneously bring happiness and joy to my life that will radiate outward to others around me. That I can push myself to be better without the only result being my own selfish gain. 

Eleanor Roosevelt has been quoted as saying, "Nobody can make you feel inferior without your consent."  Well, consider my consent not given. I do not give anyone, physical or spiritual, permission to bring me down and cause me to focus on negativity, insecurity or doubt. 

That Time I Met Jo Loesser

Jo Sullivan Loesser (Rosabella) with Robert Weede (Tony) in the original production of The Most Happy Fella (Source)

Once again, Lyric Stage has provided me with a tremendous opportunity and some incredible memories. I don't think I ever blogged about doing Oklahoma! with them back in June, and that's probably because the sadness from ending that show and saying goodbye to some truly wonderful new friends took a long time to go away (actually it's still kind of sad...sniff sniff).

Over the past month I've been fortunate enough to be a part of yet another one of Lyric's critically acclaimed productions, under a brilliant production team and accompanied by a truly amazing 38-piece orchestra.

The Most Happy Fella opened officially this past Saturday evening, September 8th, 2012.  And there was a very, very special guest in the audience: the widow of the composer, Frank Loesser, and original Rosabella, Mrs. Jo Sullivan Loesser (read an awesome interview with Mrs. Loesser here about her thoughts on this amazing theatre company's reproduction of works like this!). 

Lyric Stage cast of The Most Happy Fella with Jo Sullivan Loesser (seated, in white suit)

The cast was informed on our final dress rehearsal that Mrs. Loesser would be joining us onstage after curtain call and singing for us (oh okay...and the audience, too...but it was hard to even remember that there was another audience besides the one onstage with her!).

Even now, as I type this and remember what that night felt like, I get goosebumps up and down my arms.  We were all a bit nervous (probably none more so than our own amazing Rosabella, Amber Nicole Guest, who was greeted with open arms and an enormous smile by Mrs. Loesser after the performance!), but it turns out we had nothing to worry about.  When Jo took the stage, the already electric energy that comes with a successful performance was tripled, and the roar of the applause soared as the cast joined in to welcome her.

She was...well, adorable is the word that keeps coming to mind.  She went immediately to Bill Nolte, the amazing actor playing Tony, for a huge hug, and then could be heard asking, "Where's Rosabella?"

Jo Sullivan Loesser (original Rosabella) with Amber Nicole Guest (OUR Rosabella)

She hugged each of the principal actors in turn, and then was given a microphone, where she continued to gush about the cast, the production team and, of course, the brilliant orchestra and conductor.

She shared some heartwarming stories about her husband, the late Frank Loesser, and thanked all of us profusely.  The song she sang was "Spring Will be a Little Late This Year" from movie Christmas Holiday, written by Frank, of course.  And let me tell you...that woman's voice is still beautiful.  It was just completely charming.

I'm not even going to pretend like I wasn't completely wrecked emotionally by all of this. I didn't stop crying from the moment she walked onstage until the curtain was lowered and we all scrambled to pose for a cast photo with her.

I was hesitant to ask her for a photo in the lobby afterwards, because I knew she was probably tired and overwhelmed, but this was SUCH a once-in-a-lifetime opportunity...and she was incredibly gracious when I asked.  I'm so grateful for that...and for these photos to enhance the memories that were made for all of us that night.

Me! With Jo Sullivan Loesser!

Some of the cast members have joked about how actors can overuse (sometimes to great annoyance) the phrase "so blessed," especially on social media...I mean, there's even a parody Twitter account called Annoying Actor Friend dedicated to such a thing...but this was a time when it was completely appropriate to note just how blessed we all were to be a part of such a moment.

I will never forget this night as long as I live.  Thank you, Cheryl, Jay, Len, Steven and Lyric Stage for continuing to provide me with opportunities to grow as a performer and to be a part of such incredible moments. It makes me the most happy.

Life Well-Lived, Vol. 16

Can you believe it's been almost a full year since I wrote a Life Well-Lived post?!  Well, readers, my life is definitely still very well-lived.  I daresay it's even better, hence the lack of actual blogging. I just have so much awesome going on that it's hard for me to sit down and write a blog post these days.  But, today I feel compelled.  And!  It's Wednesday!  So it works out perfectly!

Life Well-Lived, in case you've forgotten, was conceived and implemented by the amazing Kelsey, and there's a Twitter account and everything.  So, blog about your own awesome life, tweet about it with the #LifeWellLived hashtag, and let us all rejoice with you in your awesome life!

1. I've had some truly special theatrical experiences since the last LWL post:

I was a part of an original creation with Sundown Collaborative Theatre about artists and the artistic process. 

I was in the ensemble for Kismet in concert with Lyric Stage.

 

I was the assistant director for Dog Sees God at the DCT Black Box, and I also played Van's Sister. 



I directed a staged reading of a brand new play, Clipped by Lance Griffin, for DCT's Method & Madness Playwriting Festival. 

 

I was cast in my first fully-staged production at Lyric Stage: an ensemble role in Oklahoma!...

...where I met two of my very favorite new friends in the entire world!

 

2.  I donated 8 inches of hair to Pantene's Beautiful Lengths program:

3. I got a brand new baby niece, with whom I am 100% completely in love:

I think that's a pretty good start for getting back into the groove of things, don't you? So, what's new with you?

We Have a Show

We have a show, y'all.

When I got the email this morning from our director, Tashina, I got this feeling...nervous, excited, anxious...just kind of an overall buzzed/hyper feeling.  Also a little emotional.

I mean....we created something.  Yes, most of the text is not written by us (we used the notebooks of Richard Foreman and Charles Mee...and I don't feel like linking those pages, so go Google it if you're interested), but the structure and the order and the intent?  All done by us.  As a group.

I'm pretty impressed by us, actually.

I've never done anything like this before, and even though we're just now to a point where we're going to be blocking and choreographing and such, I already have that "I don't want it to end" feeling.  This is pretty normal for me.  The anticipation of building a show and getting it ready for an audience is so important to me as an artist that I can't help but think about how bummed I'm gonna be when it's over.  I have to actively stop myself and focus on the NOW and remind myself to enjoy all of this part, too, instead of already being sad that it will be over in a month.

I'm so proud of all of us. 

We were warned that it would be difficult and frustrating at times, but those moments have been so insignificant in the grand scheme of things (so far!).  This group listens to each other and supports each others' ideas and contributes to the process without being overbearing or selfish. I'm glad to know I'll look back on this with a great sense of accomplishment and pride.  Of that, I am already 100% sure.

"You know, that's how it is to deal with art
because art is made in the freedom of the imagination
with no rules."

November 10-12th and 17th-20th.  Be there.

(this post is cross-posted on the Sundown Collaborative Theatre Tumblr page)

Feeding the Soul

“Writing and reading decrease our sense of isolation. They deepen and widen and expand our sense of life: they feed the soul. When writers make us shake our heads with the exactness of their prose and their truths, and even make us laugh about ourselves or life, our buoyancy is restored. We are given a shot at dancing with, or at least clapping along with, the absurdity of life, instead of being squashed by it over and over again. It’s like singing on a boat during a terrible storm at sea. You can’t stop the raging storm, but singing can change the hearts and spirits of the people who are together on that ship.”
— Anne Lamott

 This morning I was reading my own personal Tumblr feed and I stumbled upon this quote. I don’t know Anne Lamott. I haven’t read anything by her. I did look her up on the always-reliable Wikipedia, and I’m definitely curious enough to check out a couple of her books from the library.

But I LOVED this quote.

One of the things I love the most about it is that it references both the creators of the art as well as those experiencing the art that has been created. “Writing…decreases our sense of isolation” and that writing can restore our sense of buoyancy as readers. “Singing can change the hearts and spirits of the people who are together on that ship” despite the raging storms of life that are always present.

This really spoke to me and to what I think we will (and hope to) accomplish with Café des Artistes both throughout the process and once we are in performance.

I’m looking forward to decreasing any “sense of isolation” we feel in our everyday lives by working those issues into our art, as Tashina said at our first meeting, and creating something out of them. I’m excited to “change the hearts and spirits” of each other as we work on this project together and then do the same for our audiences.

Let’s do it.

—Mandy

(Note: this is cross posted on Sundown Collaborative Theatre's Tumblr (please note there are two separate hyperlinks there for Sundown's site and the Tumblr site!), where the cast members of CdA will be posting once a week about the process, our inspiration, and anything else that comes to mind. I strongly suggest you follow that Tumblr and follow Sundown on Twitter!)

Life Well-Lived, Vol. 13

I can't believe this is WEEK 13!  Crazy! Let's get to it!

So, what is Life Well Lived?  It's very simply a celebration of the things (big or small) that enrich our everyday lives.  So let's talk about today's things that, I feel, make my life WELL LIVED.
(Don't forget to follow @MyLifeWellLived on Twitter!  Blog, or just tweet about what makes your #LifeWellLived (don't forget the hashtag) and join in the fun!)

Today I wanna talk about how my life is well lived because I am surrounded by talented people in my life. There is NO WAY I am gonna be able to mention every single talented person in my life in this post, so PLEASE don't get hurt/offended/butthurt about it! I just wanna call attention to a few:

Right now, some of my friends in Sundown Collaborative Theatre are performing their show Happily Ever After (written and directed by Cody Lucas, who is also performing in the production) at the FringeNYC Festival in New York, NY.  They have been relentlessly rehearsing this show for four months...in garages (in stifling triple-digit temperatures, mind you) in dance studios, wherever they can find a place.  And on Monday night?  They performed it at the festival.

Photo by Tiffany Hillan

Yesterday, my friend Tashina (pictured below as a creepy-as-hell Rapunzel) posted on her Twitter that their performance was reviewed and that she was pretty much overwhelmed (in a good way!) by how well they were received.  Check out their amazing review here. 

Photo by Tiffany Hillan

Also, Tashina and Travis (pictured below, left) (that's Zane on the right) have posted trip diaries on TheaterJones.com.  You can read those here and here.  I will admit that I got a little verklempt reading both the trip diaries and the review.  I'm VERY proud of my friends.  Proud of them for their accomplishment, and proud that they are representing little ol' Denton, Texas in New York City as well as they are. Also? I cannot WAIT to work with them on their next production, Cafe des Artistes, in November (Tashina is directing it, and it's gonna be awesome).

Photo by Tiffany Hillan

Also, even though I talked about this yesterday already, I'm SUPER proud of my friends in Manic Bloom for making their very first (awesome) music video.  It's so awesome to see the product of your friends' labor when they are so passionate about what they do, and I couldn't help but smile the entire time I watched their video. 

Finally, I just wanna share some YouTube videos of some of my friends' performances.  The first one is my AMAZING husband in a production of Pirates of Penzance:

My friend Andrew Tinker's official music video...he's like Jason Mraz, only cuter!

My good friend Max, (whom I mayyyyyy have a teeny tiny little talent crush on) singing "This is the Moment" and just generally being awesome:

And FINALLY, one of my favorite videos I've ever uploaded -- my friends dancing in a producion we did of Crazy For You back in 2009.

I LOVE TAPPING!  I wish I could do it!

ANYWHO, not bad for just a VERY SMALL SAMPLING of the talented people in my life, huh?  Seriously, I could devote an entire blog to the talent pool of my friends and this Dallas/Ft. Worth community, but for now, I'll just stick with this post.

So there you have it!  Another week of praising what things make my life WELL LIVED!  I encourage you to play along and write your own post!  Happy Wednesday!

Life Well-Lived, Vol. 10

Happy Wednesday!  Today is my 10th Installment of  "Life Well Lived!"  I didn't post last week because I had some things in the works that I really wanted to put all on one post as a BONUS to the 10th posting in this series!

In case you needed a reminder, LIFE WELL LIVED is all about celebrating ALL the joys in your life, both big and small. Just because I feel like 10 is such a nice, round number, here are the previous 9, in case you were curious:

Week 1: College, Babies, The Today Show, and Frivolous Purchases
Week 2: Paychecks, The 3-Day Walk, Politicians and Outdoor Concerts
Week 3: Blogger Meet-Ups, Rooftop Parties, General Silliness and a Disney Honeymoon
Week 4: Mavericks Mascot, Real-Life Movie Moments and My Best Friend's Wedding
Week 5: Neeley's Guest Post!
Week 6: Cover Girl, Mama Morton, Celebrity Tweets and Baking Cookies
Week 7: International Kissing Day!
Week 8: Excerpt from The Cellist of Sarajevo
Week 9: The "Girlfriends" Edition

I think the most important thing I have taken from doing these posts every Wednesday is that I have been seeking out opportunities to make my life even more well lived than it already is.  I think that's really the point...both recognizing the awesome things and blessings in your life as well as taking the opportunity (or opportunities) to create more.  This week?  IS A DOOZY!

(Don't forget to follow @MyLifeWellLived on Twitter!  Blog, or just tweet about what makes your #LifeWellLived (don't forget the hashtag) and join in the fun!)

Let's get to it, shall we??

1. I sat at a coffee shop with some tunes and a good friend....and COLORED. 

My friend Heather and I got together last Wednesday, since we NEVER see each other, and on the way there, I got a wild hair and stopped off at the drugstore and picked up a brand new 64-pack of Crayola crayons and three $1 coloring books (Tweety & Sylvester, Penguins of Madagascar and Star Wars: The Clone Wars!).  We drank chocolate milkshakes and colored and talked and caught up with each others' lives.

It. Was. Awesome.

Is there anything better than a brand new box of crayons??

I rule at the coloring.  Look at that shading!

So excited about the coloring!  I highly encourage you all to do this!  Go by yourself with your iPod full of favorite tunes, or go with a friend and remember what it felt like to just be a little kid and color.  It was very good for my soul!

2. I was recognized by my peers for playing one of my favorite theatrical roles to date -- with an award!

A couple of weeks ago was the Lakeside Community Theatre end-of-season awards banquet.  I received the award for Best Supporting Actress for my role as Laura in The Glass Menagerie by Tennessee Williams...

And the entire cast was recognized and awarded for costume design (we all worked collaboratively to costume the show):



This was definitely one of my most rewarding theatrical experiences, and I was so very honored to be recognized both as an individual performer and as a cast.  I miss this beautiful show!

3. I took a dance class with a dancer from So You Think You Can Dance!!

You may or may not already know that I am a HUGE fan of the Fox reality show So You Think You Can Dance (SYTYCD).  I watch it religiously every Wednesday and Thursday night, and I've become incredibly attached to this season and its contestants. 

Well, this past Saturday, July 30th, was the second annual National Dance Day, and while Chris Koehl was, sadly, voted off the show already, he came back to Texas to give some hip hop master classes -- and one was given at a local studio that is very close to my heart. 

This is me with the owner of Denton Dance Conservatory, Miss Lisa Racine-Torre.  I've known Lisa since I was a very young girl, because my very best friend of 20 years, Shelly, was one of the very first dance students at DDC.  Here's a picture of Shelly in the studio:

My good friend Casey, who was in The Producers with me last summer, took the class, too.  This is us before we got all sweaty:

The class itself?  Well it went great!  Was I the best dancer in the room? Hardly.  There were 13-year-olds out-dancing me.  Did I even nail the routine?  Not even a little bit!  Did I have an AMAZING time and enjoy every second of it?  You bet I did!

Chris is one of the very nicest people I have ever met.  He is so humble and kind and was so gracious to be back at the studio where he used to teach, and he answered every question and posed for pictures with and hugged every person in attendance. 

It was so special to me to hear him talking to so many young girls (dancers, especially) about how what we do does not define us, but we have to learn and be comfortable and happy with who we are inside, as people and as individuals.  And, as children of the Lord.  Chris has so much potential for ministry and to bless everyone with whom he comes in contact.  I am so blessed to have met him and to have had this amazing opportunity:

Here's one of my favorite dances of Chris's this season on SYTYCD:

My favorite thing Chris said during the whole class?  "Joy strengthens you." At the time, he was making a point that enjoying yourself, whether or not you're getting the moves down technically perfectly, is going to make you a much better performer and much more fun to watch.  But, after listening to him talk, I know that he means it on a much deeper level, too.  I got tears in my eyes immediately when he said this!

You guys, what a GREAT couple of weeks I have had!  I am so incredibly blessed to have these experiences and to have the opportunity to CREATE opportunities to have a more well-lived life.  I strongly encourage you to do the same.  Blessings can be found ANYWHERE!