We're done! We did a whole boatload of shows and I'm really happy with the end result. Some of our crowds were super into it, others not as much, but I think overall we had a solid production with a solid cast. It feels great to be proud of my work. It's interesting to see how much we discover and how much things tend to change as we continued with the run. I found a lot of good motivation for Egeus, and I think my ferocity went up every performance. Quince and the mechanicals were a joy and so much fun to play. The audiences' laughter and reactions were priceless.

There's only a few minor things I wish I had done differently. I wish I had prepared better for rehearsals to begin, I wish I had loosened up sooner, and I wish I had a slightly more positive mindset at times. I think my biggest takeaway from this production is that I really need to **breathe, focus, relax, and carry myself with status**. Subconsciously I haven't considered myself high-status in the past, and I think that directly impacts my ability to be confident in myself and my skills. I was trying too hard, and trying in the wrong ways. I have to trust myself, and trust what I know. Once we got the run underway I really felt like I was able to open up, I just wish it came sooner. Similarly, I found that breathing deeply and using that breath to propel myself really went a long way. It helped me stay focused and in the moment, and also helped my voice. I'll be taking these things with me into the future: breathe, use the breath as a ground and as a launchpad to stay focused. Be yourself and have fun! You don't have to pretend, onstage or off. I also noticed that I tend to smile a lot on stage... I notice this a lot in others, particularly those I think are less experienced, which was kind of a wake-up call for me. So I made an effort to be more in control of my face while performing and I think it worked out for me. Overall some very good lessons learned, but I think what will really help me grow the most in the craft is to keep doing it consistently, and to always strive to do good work.

So, what comes next? Well I have a week off before rehearsals for the next show begin, and I'm moving in early March. I'm finally getting End of an Era to a place where I want to share it with others and read it out loud. In the longer term, I'm going to spend some time doing research into intensive programs and grad schools and see if anything catches my eye. I want to be doing theatre all the time, but that's tough to accomplish in Arizona. Though maybe that means I ought to be the change I want to see... I'm not just gonna found another theatre company just 'cause, but there's plenty of ways I can contribute to the theatre scene in Phoenix.

A Midsummer Night's Dream

Midsummer - Reflection

We're in the throes of Midsummer right now. It's been quite an exhausting week but I wouldn't have it any other way. Last week, we got the immense privilege of having Rodney Cottier from LAMDA in town for a few days. During his time here, he hosted a Shakespeare workshop and his auditions for LAMDA. It was a great experience so I want to write some down.

First, for the workshop, he really opened my eyes to a lot of things that I knew in theory but had forgotten in practice. It took me back to doing Patrick Page's workshops several years ago. He talked about a _lot_ of stuff. He talked about the architecture of the Globe Theatre and what performances there are like, now and back in the day. It has two doors, a curtain, and a balcony - and that's it. They don't do fancy elaborate sets and they never have, and it was up to the acting companies to tell the story through the acting and costumes. He also joked about how they built two massive poles at the front of the Globe stage which totally obscure the audience's view... and I've definitely been in spaces like that before! It reminded me that the Globe is just another stage, not some mythical place, and performing there certainly comes with advantages and disadvantages. The big realization I had is that theatre today really isn't that different! It's the same art and it's more similar than not. It makes me feel more accomplished looking at my theatre work in this random nondescript city in the US.

Next part of the workshop Rodney covered a lot of things with a reading of King Lear. I knew a lot of this already, but it had been a few years since the last time I had it refreshed. Here's my biggest takeaways:

- Editors suck. They get it wrong constantly and they always have. For some reason, these Shakespeare academics feel like they have the right to add stage directions, change words, control entrances and exits... even character lists weren't originally in the folio! I'm gonna be referencing the original folio text much more frequently because it's arguably the purest form of the texts.
- Shakespeare has to move fast. You don't want to interrupt the heartbeat unless it's on purpose. I know a lot of actors and directors will swear by breathing at the end of each verse line... but even just with Midsummer, that totally murders any momentum we've been gathering. I'm just not gonna do it.
- Vowels and consonants are immensely important, especially when the same sounds make alliteration or assonance. Try to listen for how it affects your character. Consonants come from the mind while vowels come from the body, and usage of one over the other can tell you a lot about a moment.
- These people speak funny, yes, but they're still real people. The things they are going through are very real and still incredibly relatable. It's not like life and English was substantially different back then when these plays came out... People mostly laughed at the same sorts of things and had the same sort of interactions with one another. We think we're so cool because we live in the future and we have all this wild technology, but looking at how people fundamentally interact, not much has really changed.
- Obey the text and pay very very close attention to it. You'll miss so much detail and opportunity if you don't obey what has been given to you.

The workshop was only a few hours but it left me feeling artistically reinvigorated.

Then I auditioned for Rodney the next day. I didn't have much time to prepare. A few of us from the show auditioned together, some of us (myself included) signed up through LAMDA, a few others were walk-ins, which I'm sure Rodney didn't appreciate. I wonder if his time had been volunteered for him... Anyway, I only had a few days to prep, so here were my audition speeches. I had most of them mostly memorized from prior auditions so I really just had to refresh my memory.

- "And I forsooth in love" Berowne from Love's Labour's Lost. This is funny, because Rodney hates this show and made it the butt of several jokes in the workshop. I like this speech a lot.
- "I will not court the madness of the times" Rhetias from John Ford's The Lover's Melancholy. This was super niche, and I think he was surprised to see John Ford. This monologue doesn't really mean much, I mean it's mildly funny... But there's much much stronger choices I could've made, and I shouldn't pick a monologue for the purpose of being unique and quirky. Next audition, I'm gonna look into other authors like Marlowe or Jonson, but I'll only take a speech of theirs if it means something and has something happening in it.
- John from Cock by Mike Bartlett. Rodney was familiar with it, so I wouldn't be surprised if this is a popular audition choice. Then again this man has been judging auditions for decades...

After those three, he asked me for another. I was a little surprised by that, but I pulled out Iachimo "the crickets sing" from Cymbeline. He said nothing about the other three speeches, but we worked on this one for about fifteen minutes, and I left totally different. I had been playing this as a comedy... I mean, come on, a guy packs himself into a suitcase to spy on a girl, so he can prove a bet? That's hilarious! But by playing the comedy I denied the actuality of the situation... the audience doesn't know what Iachimo is gonna do to Imogen. I cut some of the more rape-y lines, but they're there on purpose. This show isn't a comedy. My monologue wound up being completely different after the fact, and I don't think I'm ever gonna do this speech for an audition again.

All in all, it was probably the hardest audition I've ever been to. I felt well-prepared, but he showed me I still have a long way to go. I didn't get into the school (which is fine, it would've been logistically challenging anyway). I would've loved the adventure, but I don't know if I'm ready yet anyway. I feel too in-my-head still, too worried about myself, like I'm not committed enough to the craft... Even though I've been acting in the valley for three years and got my BA in it. I have a long long way to go, but I'm working on it. It's not everyday that a man with as much knowledge and experience as Rodney comes around, so I'm very happy I got the chance to see his workshop and get some coaching. Here's my takeaways I'm going to apply to my acting, based on my experiences with Rodney and on Midsummer so far:

- Get out of your head. My characters are fragile and flimsy and I think I need more of a ritual to get into them. Focus and breathe!
- Obey the text. Just because you think something is funny doesn't mean that's how it ought to be played, both in classical works and contemporary. I think I could benefit a lot from doing more text work on future shows.
- Be comfortably and unapologetically yourself. This is the hardest for me. I noticed that I naturally assign a low status to myself in most situations, and I need to stop doing that. It shows and weakens my position and what people may think of me. Confidence has been a challenge for me for practically my whole life, and lacking it makes acting (and life) much harder than it needs to be.

Overall I think I'm getting better, it's just a constant uphill battle for me for all these things. I know I can do it, but it's gonna take a lot.

LAMDA Workshop & Audition

Well, the show's open! I'm playing Egeus and Peter Quince in A Midsummer Night's Dream at Southwest Shakespeare now, and even though I'm pretty physically exhausted from this show, I want to write down some of my thoughts about the rehearsal process.

The very first thing that surprised me - coming into this experience directly from community theatre - is that this is of a higher caliber. I mean, first off we're paid, which is awesome. But the actors and tech team for this are on average much older than those working for Mesa Encore. The air feels more mature and professional. I was particularly impressed how several people came into rehearsal already completely off-book, which just astounded me. I mean, this show isn't exactly uncommon and most of the others have done it or seen it multiple times already, meanwhile this is my first time. But still, it woke me up early in the process, that I ought to get myself in gear. I realized I didn't do the adequate preparation that I needed to, and I felt rusty since I haven't worked at this pace in theatre for quite some time. It's great to be back, though. I see now in retrospect that had I also had my lines even partially memorized when we started, I would've got off book much sooner and got into doing good character work earlier on.

"The best performance of the show is the day after closing." Yeah, that's what I'm thinking about now. It doesn't need to be that way though, if the time in rehearsal is maximally productive and we aren't inhibited by lines, nerves, or anything else. That's easy to say but harder to do in practice.

The fun thing about my track is that these two parts are so drastically different. Egeus is an angry old man, and Quince is an aspiring director. I'm carrying a different physicality for each: Egeus is stiff, upright and arrogant whlie Quince is more free and loose, though worried about his play of course. This, combined with the vastly different costumes, makes for a great contrast. Other than one lightning quick change, this is a pretty easy track with a good amount of breaks. I go at 150% for ten minutes straight then relax for twenty, then go back in for 150% again... it comes and goes, but overall it's a ton of fun. Pete, playing Nick Bottom, is really pleasant to act with. He's got an incredible comedic sense, but also an air of honesty. He knows who he is and what he's doing and it shows, and I want to be like that.

Another thing I've been thinking about now that we're open, is how the audience feeds into the performance and vice versa. I've definitely been on shows where we use "the audience isn't feeling it" as an excuse. Or where we have a house of ten scowling people, which is discouraging to see as an actor. But to be fair, sometimes the audience's lack of engagement can really hurt a show. But it shouldn't. We have to do our best to bring the energy and the vibes every night. Part of the fun of doing it live is that you never know how the audience will react. What I'm trying really hard to do for these shows is to be consistent as much as possible. I'm journalling every show and doing a lot of reflection and meditation, and I'm learning a lot just from observing our other cast members. I have no excuse to not bring in maximum focus and energy, and I've been doing well so far.

I had a moment during yesterday's show, where I just realized - I told myself to relax. I have to relax and be myself. It's the difference between Acting, with a capital A, and acting - just being. It felt like a lens was lifted from my eyes, and I was teleported months and years back to NAU when I was getting my sea legs. And I realized just how out of practice I've been, and now the last few years of my life haven't been in pursuit of _this_ or in pursuit of the craft, but of something else undefined and unknown. It's like I was blind or something. It doesn't help that I had a super stressful job in the tech industry for most of that time. But now I feel more in touch and more myself, creatively, and I'm super excited to see where this impetus takes me.

We've got fifteen something more shows through this month, and I'm super excited even though it's going to be intense. That's what I'm here for and I'd never have it any other way.

Midsummer - Opening Weekend

Last night was my last performance of Starlight at Mesa Encore Theatre. Being in the understudy cast (the "Omega Timeline" of the story) we only had two performances on Thursday nights. I played Dr. Moxie, an eccentric time-traveling scientist. I'm gonna write a little bit about what it was like to understudy (as I haven't done it before), a bit about the show process itself, and how I think I did. Overall it was a really smooth process and a fun production.

So first, understudying was fun. I feel like MET did it right, and I really appreciate that. I never felt like _just_ an understudy - we were given adequate time to rehearse and we were always welcome. The fact we got two performances was excellent as well, as we got to show off what we've been working on as well. The collaboration in the rehearsal room was great, too, and we all worked together to bring the story to life for both casts. It wasn't a matter of "just do the understudy part, just do what they do" - we were allowed the creative freedom to bring our own approaches to the story and characters. I felt like part of the show, not a write-off, which I imagine is a common feeling for understudies, especially those that don't get guaranteed performances.

That being said, however, I think I need to carefully weigh if being an understudy is the right choice in a situation in the future. I got cast in Midsummer Night's Dream partway through this rehearsal process, and so I wound up in the actor's nightmare of balancing two shows at the same time. The difference is that MET didn't pay any of us (which is definitely a discussion we need to have) while Southwest Shakespeare does pay. Because of how the schedules for these shows panned out, had I played the main role of Dr. Moxie I wouldn't have been able to accept the role for Midsummer, as there probably would've been too many conflicts between show dates and rehearsal. I'm very fortunate and thankful that this worked out for me and that I get to do both, because rehearsals for Midsummer started right as tech week for Starlight ended. I need to be careful in these kinds of situations though, because I wouldn't want a prior commitment to preclude me from taking part in other productions, especially if the other one is paid. However, on the other hand, you never know what's gonna happen in the future and you can't ever count on being cast, so may as well take opportunities as they present themselves. Otherwise you could end up in another actor's nightmare, of turning down one show to remain available for another, just to not be cast in that one either. I don't know how to reconcile any of this... I'll just have to be prudent and make sure I make smart moves, and think through commitments carefully. I like it when theatre companies plan things out well in advance, but that can't be counted on either.

Anyway, this show process was incredibly smooth. Our director Bray and stage manager Rob brought in a very laid-back attitude that really helped us avoid the stress and the nerves that community theatre actors can be prone to. There wasn't any drama, at least that I was aware of, which was a huge relief. It felt like everyone that was part of the production genuinely wanted to be there, and that we all liked each other. And the cast was small enough that it didn't devolve into cliques either. The vibes were great, and MET has been excellent about making sure everyone is heard and respected. Shoutout to Taylor for turning things around! I know there's been a lot of issues with MET's shows' processes in the past, but this one was fantastic... Especially compared to Noises Off. Man, that one was rough. We actors always find a way through, it's just a heck of a lot more pleasant when there's mutual respect, professionalism, and when the show is reasonable.

Now, as for me, I think I did well in this production. Even as the understudy I forged my own path and character and I'm quite happy with it. Of course I wish I had more shows, but I'm thankful for the ones I got. I put a lot of focus into my projection and physicality. After all, this man is incredibly smart, but is also literally about to die. As I kept drinking coffee, I played into how that would affect him physically. I wish I took it just a few steps further, though, but at that point I might be afraid of existing in a different universe than the other characters, who were all very real and down-to-earth. But maybe that's what the show needs? That's not my call as an actor, but if I could do something differently now, I would go back into rehearsal and try upping the energy dial even more and trying new things, because I feel like there could be some discoveries I could've made. And maybe they wouldn't have worked, but at least we would've explored it.

On the other hand, it would be easy to play Moxie as a stereotypical mad scientist, but he's got such a complete emotional awareness he's anything but stereotypical. Even if I could've gone further, I brought a boatload of energy into the show and I'm proud of that. Since it's only four people, and most of the scenes are just two, it can be tough to keep the crowd from falling asleep. Combine with the fact that the set design was very restrictive and the audience layout unorthodox, I worked harder than normal to be seen and heard by the whole house. I played dead well - even despite how uncomfortable it was - but I was breathing very carefully and staying as still as physically possible. That's one thing about this show I'm proud of, that I was _always_ in control. I never broke character, I never laughed at inopportune times, and when things got gunked up in funny ways I stayed in the moment and kept going. The same couldn't be said for me had I done this show at this time last year, and I think this speaks to my emotional growth since then. I'm proud of my professionalism as a whole, but I need to keep going, because even though I'm satisfied, I know I can do even better.

Speaking of which, this show has really got me thinking: _why_ do I do theatre? As in, what's my intent behind going to auditions and being in shows? For me, I think it's out of the desire to grow and learn. I want to be challenged, I want to be made uncomfortable, and I want to have to open up and try new things. Every show is a learning process and I want to have takeaways from it. I think I'm at a point in my career and my life where it's time to really double down and focus on the craft. Now the challenge is that I'm not sure the intention behind this show matches up with that, and I have a couple reasons for thinking that. One is that we didn't get very many notes, and naturally that makes me a little anxious. Like if I can do better, please let me know and we'll try it! I think there could be a couple reasons behind this: maybe Bray didn't really have notes, and maybe they did genuinely think we were doing great. Maybe Bray had notes, but didn't want to share them. Because either A) we're all lost causes or B) they had a specific goal in mind to avoid stressing us out or making us doubt ourselves. Considering MET's history, and the fact that they are a community theatre, I wouldn't be surprised at all to hear that they would rather keep the actors happy and stress-free than push them to grow as artists. In that case though, I still think there's a responsibility to identify the intentions of your cast as well and to try and satisfy them to the extend possible. In this case, for a community theatre production put on by mostly younger adults, the intention may have been to keep everyone happy to make sure we have a show, prioritized above the quality of the show itself at the end of the day.

So that's about it. Moving into Midsummer I'm trying to be especially aware of how I'm doing and feeling. I want to improve my craft and even though I haven't been inactive in theatre, I feel out of practice especially with Shakespeare. I want to do more, and I'm going to. Now that I'm feeling (relatively) emotionally stable lately, and that I'm in control of myself again, I think the biggest things for me right now is that 1. I need to relax, and let myself be honest in my work (and stop being a wallflower) and 2. once I've relaxed, dig in and study hard and then 3. take it all as far as I can, and try as much as possible before settling on a decision. I think this'll put me in good shape for the future. Till next time!

Always Plenty of Light at the Starlight All Night Diner

Starlight - Reflection

If I don't do this reflection now, it's gonna be too late soon. What I'm gonna do is spend some time analyzing how Cannibal Diaries went for me - things I'm proud of and things I think I could've done better. Overall, it was a pretty fun process and it was great to meet some new people. The theatre scene in Phoenix isn't terribly large, so everyone already seems to know everyone and it's fun to make friends. Honestly, it's the people that really draw me to the theatre, and I've realized lately that theatre people and artists are so much more invigorating to me than others. I don't quite know what it is - maybe it's the passion for the craft and the willingness to play and be vulnerable that makes them more interesting. Or just the fact they have a sincere passion in the first place, and you _know_ that their passion probably doesn't come from their paycheck.

Even though B3 is small, everyone was super nice and I'd be happy to work with them again. I felt especially respected, and it was nice to have a very thoughtful director. Other directors I've worked with recently haven't really required much if any sincere character work or "homework", but for this show, one of our first jobs was creating a Pinterest board and a Spotify playlist for our characters. We then did some work with Viewpoints, which I've done many times, but it's always nice for a refresher. Having director-sanctioned warm-ups was very nice, because I feel like lots of directors and actors I've been around haven't been too concerned with warming up, but I realize it helps tremendously, especially when everyone does it together. Compared to when nobody else warms-up, it's just awkward. Though I definitely think the argument could be made that warming-up is the actor's responsibility before they even arrive. Even though it takes up time in rehearsal, I feel like it can be worth it still because 1. it helps everyone loosen up with one another and stop judgement and 2. some actors have to drive far, or they come straight from work, or any other situation that could prevent them from really getting an adequate warm-up ahead of time. Anyway, I liked how this process was run and I appreciate the tact, care, and respect that was given to the cast.

So. I had a lot of roles in The Cannibal Diaries, but the biggest ones include:
- Schoolgirl 2
- Neighborhood Cannibal Watch
- Julia Cannibal
- Archeologist 2

And like 10 others, but they only had one or two lines and less than two minutes of stagetime each. I was constantly jumping on and off stage, switching costumes, and finagling props so even though these roles weren't nearly as big as the leads, I was still plenty busy, almost constantly. I like that in shows, because I'd rather be up and active and engaged than waiting for hours to do anything. But every play is different, and waiting is part of the trade, so I appreciate the chance to be very busy. Even when it's exhausting! It's just so rewarding to me.

Things I am proud of:
- I think I made a lot of fun character choices. For example one of my characters was the doorbell, and honestly it was kinda one of my favorite parts, even though it only lasted a few seconds. Rather than just yell "ding dong!" from offstage, I decided early-on in rehearsals to _become_ the door. Can't say I've played a door before! And I wasn't just a boring door, I was engaged and involving myself in the scene (to the extent a door even _could_, and without being disruptive of course) and doing some fun movement on the ding-dongs. But my favorite was when the door opened, I did a little step back and made a _creak_ sound. In one case, I went straight from the door into another character and just kept it going.
- I think I did well vocally. Granted, our performance space was pretty small so it wasn't hard, but I don't think the audience ever had a problem hearing or understanding me. I did a lot of different voices as well - especially for Julia Cannibal. I spent a lot of time studying the actual Julia Child, and tried to replicate not only her dialect but her inflection as well. One thing I picked up on is how she tends to breathe between words, and I think that made a bit impact.
- My memorization and "logistics" was pretty good. I don't think I ever forgot a prop or a costume change (on purpose) which I'm proud of, considering how many I had! There were a few nights where some lines just eluded me, but otherwise I was very close to perfect.

Things I think I can do better next time:
- I let outside stuff from my life affect my mood in rehearsal. One of the biggest pieces of advice I got, way back doing theatre in high school, was the classic "leave your garbage at the door" and I think I'm pretty good at it, but sometimes it's easier said than done. But here's the thing - when I'm in a show, rehearsal is the highlight of my day. As soon as we pick up and start rehearsing, my attitude improved drastically almost every time. I want to focus in the future on making sure that my attitude is palatable if not upbeat, even on bad days.
- I want to get more serious about rehearsal intentions and reflections. I started off strong but it fell out of order with me once we got into tech.
- While I did some good improv, I think I might have taken it just a little bit too far at some points. We had a lot of leeway in this show, but I realize that won't always be the case and improvising _too much_ can be extremely destructive and hard to work with.

All in all, I'm proud of my work here. I can't say I've been proud of much of my other work lately, though it has been a little while since my last major production. I think it stems from a lack of focus and process, so that's part of what I want this blog to accomplish. Last thing I want to do is become stagnant - I want to do well in all my shows, and that takes time, study, practice, and reflection.

Little tiny side note I want to put out there: I liked the writing of this play a lot, it's very unique. If cannibalism is an allegory for political violence - just because I realize it's wrong and I decide to stop eating people, that doesn't mean other people will not eat me. Nor does it do it anything to help those already harmed or killed. It relies on a mutual agreement, and that assumes there isn't maliciousness inherent in the belief system... Just some food for thought.

The Cannibal Diaries

The Cannibal Diaries - Reflection

Hey! This is my first blog post on my site. I haven't tried something like this before, so I guess we'll see how it goes. I also haven't tried making it public, either, so of course I'm concerned about how it'll look to visitors to my site... Not that I expect many people to look at this unless they're stalking me or something, but I guess you never know! It is the very first post, after all, hopefully of many.

So the main point behind this blog is I want to expose a bit of my process. It's more for me than anyone else, honestly. I find that for every show I've been on where I really focus on the *process* I tend to do better and learn a heck of a lot more than other shows where I'm not as vigilant. For my Senior Capstone at NAU - The Yellow Boat - I was required to journal about the entire process, as it was for a grade. But after a certain time it just became second nature, rather than a chore. And it was super helpful and helped reveal a lot to me. Ever since, I've sort of adopted journalling as a form of therapy. I tend to write three to five times a month, just trying to make sense of everything... Don't worry, I'm not gonna get terribly deep here, this is meant to focus on my theatre work. The very last thing I'd want to happen is as I continue theatre work for another few years, then realize I've learned nothing since I wasn't paying attention. Growth must be a continuous effort, and I hope having a blog like this keeps me on top of it and stops me from falling into "lazy actor" habits - ooh, now that would be an interesting topic for another post!

I'll say it's an interesting difference going from educational theatre to "real world" theatre in the Phoenix valley. I've definitely learned a lot, and met a ton of super great people of all ages and backgrounds. I'm 25 now, and I've been out of school for... Jeez, almost four years now? It's kinda hard to believe! Feels like I'm old, but I know I'm still very very young, and have a heck of a lot to learn. Besides theatre I work in tech right now (hence why I know how to create cool sites like this one!) but I'm still doing theatre now. I view them as two parallel careers, both of which I need to be a fully-rounded person... one to pay my bills and the other to keep me sane.

I've also realized lately that for any length of time where I'm *not* working on something theatrical, I tend to get very antsy. I just get so much satisfaction from it I really can't live without it, and wish I could do it all the time. There's really nowhere else I'd rather be than at rehearsal or a show, so I'm very thankful for all the opportunities I've had, and now that I'm in-between shows I hope I can minimize the downtime. This summer in particular was bad - I didn't have much going on from May to August or so, which is a long time for me! But that's why, if there's no opportunities out there, I'm going to make my own. I'm still working on my first play, *End of an Era*, and I really hope to get it ready for a staged reading soon. It's hard to find time to work on it, but I'm going to try and get it done by the end of the year. It's almost there!

Well, this first post was kind of all over the place. I didn't really have an impetus for this post besides putting something on this site in the meantime, but later on I'll definitely have a purpose behind each post. I want to write a reflection about the last show I was in, The Cannibal Diaries with B3, possibly something about the work I've been doing with the Murder Mystery troupe, and a post or two going more in-depth about End of an Era. And then whatever comes to mind whenever I feel like doing some good ol'-fashioned word vomit, because you know I'm really good at that. See you next time!

Spencer Beckwith

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Midsummer - Reflection

LAMDA Workshop & Audition

Midsummer - Opening Weekend

Starlight - Reflection

The Cannibal Diaries - Reflection

First Post!