It’s an oldies-but-goodies season at The Theater Company, and The Phantom is thinking that there may be danger in staging shows that we’ve all seen several times before. That may be especially true when, like Grease, the Broadway show has become a well-known movie with a famous cast. A community—oops, The Phantom regrets a rare lapse—regional theater may suffer by comparison with Yul Brynner in The King and I, Gene Kelly in Singin’ in the Rain, and—uh oh, we’re getting to the point—Barbra Streisand in Funny Girl. One must either be brave or deluded to tackle such a job—and oh yes, we saw examples of both last year—so our hats are off to our own local Fanny Brice in TTC’s Funny Girl. Fanny was great. Despite being in almost every scene, she remained watchable throughout.
We also enjoyed poor old Eddie Ryan, the lifelong friend with the unrequited love for Fanny. Actors who play these fifth-wheel characters who hang off to the side, pining for the lead actors, had better be likeable or their frustrated desire comes off as creepy. (Indeed, this is a hard lesson that The Phantom has learned all too well. All of the cheerleaders at his old high school still have restraining orders out against him.) Thus, it’s fortunate that our Eddie was charming, good looking—but not too good looking, so us regular guys could relate to him—and not too tall but not too short; in short, an average Joe. The sort of guy The Phantom would be if he lost 100 pounds and 75% of his vocabulery. Eddie had enough innate talent to be a fine foil for Fanny’s hyperactivity.
Enter Nicky Arnstein, Nicky Arnstein. This kid was possibly a little too pretty, and maybe a tad too young to pull this off. A SCAB*, perhaps? Let’s see. Could he act? Why yes, he could. Did he have chemistry with Fanny? That is, could we believe that he really was an adult heterosexual male who had noticed that he was interacting with a babe? Well, how about that, yes we could. Finally (c’mon, this was a musical), could he sing? Oh. Ah, well, two out of three ain’t bad in community, uh, regional theater.
Special kudos to almost everybody involved in the scene in which Fanny makes her debut with the Zeigfeld Follies. Hats off (ha! Sometimes, The Phantom cracks himself up) to our wardrobe crew for emulating the fancy costumes for which Zeigfeld was known. The tenor was appropriately cheesy, Fanny was fractious (ha! The Phantom continues to amuse himself), and Flo Zeigfeld did his whole scene looking at a small stack of note cards. Oh, wait, that wasn’t so great. One presumes those were supposed to be telegrams, but it’s also possible that Flo had his lines written down so he could get through the scene. The ambiguity was distracting. We also need to note that, despite his avuncular charm, Flo seemed to have only one way of communicating emotion, and that was to get loud. The Phantom has expounded on this before, and he shall not belabor the point again. Still, people, the next time we’re on stage, can we all try, please, to express emotion without simply shouting?
The singing was strong in this production. As usual, the women were better than the men, and as usual, they seemed to be more numerous. There appear to be more girls/women who are involved in theater. Why is that, Phans?
In particular, the famous song, “People,” was quite nicely done. This was one of those moments when we worried that our local talent wouldn’t be up to the task, but we were pleasantly surprised. Good job, Fanny. Along those lines, we were initially disappointed to find, at the end of the first Act, that our Fanny wasn’t standing on the bow of a towboat sailing across Hudson Bay as she belted out “Don’t Rain on My Parade”—but then we came to our senses. (There again, that scene may be too familiar for the theater patrons’ own good.).
Being a paragon of sophistication and taste, The Phantom was pleased that Fanny was able to lose the massive hair extension from hell and sport a more comfortable short bob in the second act. We also were treated to more costume changes, yet another testimony to the hard-working TTC volunteers behind the scenes.
As the discerning Phan can discern, we liked this show. The TTC has been consistently improving its costumes, the complexity and craftiness of its sets and lighting, and its overall entertainment value. The cast was solid. We liked the old ladies. And now please remember, Phans, that The Phantom gave these props, ‘cuz the sweetness and light ain’t gonna last.
It’s time for some hard truths. Ready? Are you sure? You’re not going to a) be mean to The Phantom, b) lose the courage to audition for a future show, or c) be dissuaded from attending a future show if you read the next three paragraphs, are you? Oh, hold on. Really? You are? Surely, you exaggerate. You must be kidding. What follows is but one man’s humble opinion, easily ignored and readily dismissed. Hardly even worth reading. Stop here. Turn away. (Ha! The Phantom is such a tease.)
Y’all were kidding us with the Rat-a-tat-tat number, right? Rat-a-tat-Flat was more like it. The recycled A&M Corps uniforms didn’t fool anybody, and the choreography forcefully reminded us that this show was comprised of amateur performers. This drill was dull and disjointed. Okay, deep breaths here. The Phantom does not lack appreciation for the hours of selfless dedication and hard work the cast put into this show. But this scene was like a bubble bursting. It stood out uncomfortably from the rest of the show. Every now and then, TTC shows would profit from shortening, or skipping, a dance number. It’s tough to admit, but it’s true. We could have lived without the disorderly, disorganized drill team. With those rifles spinning in all directions apparently at random, we’re just glad no one was hurt.
And, oww, the orchestra. What happened here? The Phantom has been pleased by the quality of the music in recent shows, but he was shaken by some of the squeaks and squeals emanating from the orchestra’s Pit of Doom.
Finally, did we get a new toy? Do we like our new scrim? There are possibilities ahead for this tool, of course, but one wondered why it was there half of the time in this show. And, for heaven’s sake, if it is to be used for scene changes, The Phantom insists that its pulley mechanism be improved. He could think of, and watch, nothing else each time as the return rope drooped and the scrim made its slow, halting, episodic, jerky journeys back and forth across the stage.
Other than that, it was great.
The Phantom
(*Sweet-Cheeks-Alternative Boy)
Phantom,
Thanks for the review. Glad you liked the show. I too thought that the entire cast and crew put in many hours of work to make a terrific show! It was an honor to be a part of it all.
Phantom, I find it interesting that although Miss Brice was on stage the entire you show, you chose to give her one of the shortest reviews I’ve seen of a leading lady on your site. Yes she did a lovely job at times; however, I feel there is much more to be said about her performance. Could this be due impart to your own long time friendship with this young lady. It’s just funny that you can criticize others in smaller roles so harshly, and have only kind things to say about this mediocre performance.
I personally thought the sets were phenomenal. They looked great and were so versatile. Kudos to the set team!
Always enjoy reading your observations and agree more often than not. Hope you can remain anonymous and, therefore, honest. One tip: if you’re going to tout your own ligual virtuosity, you need to spell vocabulary correctly; or was that supposed to be ironic?
Mediocre? Surely you jest. She was wonderful. I haven’t seen the movie, but I feel sure the only thing Barbara did better was be not pretty. Sadly, our Fannie failed there.
The scrim isn’t new, it was bought for Aida. In Aida it was used quite effectively. In Funny Girl it was kind of random, and a little distracting. Concealing the ropes better would help.
The set was impressive, and all the more so for having been built in just two weekends.
Fanny was OUTSTANDING (much more than “watchable”), and she carried the show as she should! Although we can’t help comparing to the movie, I’m glad TTC doesn’t concede shows just because they were done well as a movie, and this is a good case in point. Live theater is a medium all its own.
Fanny’s Mom and Mrs. Stakosh were so delicious I’d go see a show with them only in it.
Eddie’s delivery (of lines) was a bit canned, yet I agree he was a lot of fun to watch and well cast and his energy was great. I hope to see him again.
Nicky was good for his first effort on stage, but had an annoying rocking motion (nervousness?) that never stopped whether happy, angry, etc.. He is pretty and will give Super Joe some competition in the future.
Finally, you’re so right about Rat-Tat-Tat number.
It could’ve and SHOULD have been cut. Choreography was good as a whole, and sets were certainly adequate.
Overall, the show was very good and another example of the wonderful talent in our community and region.
I thought Fanny was fantastic altough I agree that she failed miserably at being ugly! She is absolutly stunning on stage.
More than a comment I want to encourage our theatre goers to see The Importance of Being Earnest out at Unity Theatre in Brenham. It was fantastic with beautiful costumes and sets. I also want to shamelessly plug Everybody Loves Opal that is opening on Nov. 8th at Navasota Theatre Alliance.
Thank you to the entire cast of Funny Girl for all your hard work.
As a key element in the decision to use our not-so-new toy scrim in FG, I’ll rush to its defense and ask the Phantom if he much prefers to spend a 3-hr show trying to enjoy/ignore the static (albeit usually well-painted) backdrops we know all too well? A drooping rope we can fix. For my money, I’m tired of pretending that every bedroom scene is not awkwardly framed in front of a dramatic New York skyline or a lovely Austrian mountainside. Guess we could always resurrect those infamous rolling (and falling) flats we all loved so much.
Just a quick note Phantom on the “recycled A&M Corps uniforms.” TTCs proximity to Aggieland should not cloud the Phantoms judgment. A&M Corps uniforms are modeled after those worn by the US Army of the Inter war years. Since the portion of the show you are referring to is set sometime after the First World War it is not to much of a stretch to assume that those uniforms would be used. The that the simple fact that the uniforms were close is commendable. In case anyone is curious as to where this information can be located, it comes from the 1938 Ed. Of the US Army Officers Manual. Not to be adversarial but it seems to me that the Phantom himself was the one who was fooled.
I can’t believe I’m actually posting on this blog…I’ve been content to lurk in semi-silence, keeping my opinions, cheers and tears in “actual reality.” But I am compelled to send a giant “Heck yeah!” to the person to appreciates/recognizes histical accuracy in costuming. The pursuit of timely togs has kept me up some nights, tossing and turning, wondering how to turn a 1980’s prom dress into an 1830’s frock. Finally, somebody understands! My heart is smiling.
PS: Blake, was that a history lesson???
When The Phantom returned from a brief sojourn doing some community service in the lower Valley–never, ever, mess with Millican’s finest–he was perplexed by the post you see above. [Fanny's second post has since been removed per her request and The Phantom's offer.] What, he wondered, was Fanny talking about? As phaithful Phans are likely aware, The Phantom does not screen the comments you provide him. He does not allow obscene remarks, but he does not otherwise edit what you say. The Phantom is remarkably tolerant in this regard. (What a great guy The Phantom is. Truly. You should appreciate him much more than you already do. He recognizes that this isn’t possible in many cases, as he is beloved by nearly all. Nevertheless, some of you don’t appreciate him as much as you should. Try to do better. The Phantom is a great guy. Really.)
So, we were relieved to find that Fanny’s post had inadvertently been caught by The Phantom’s spam filter. It was diverted to a spam folder, where we were able to retrieve and save it. The Phantom, ever the gentleman, defers to the lady to beg her indulgence and allow him to revive the missing post. Madam? What say you?
A couple more things before we need to depart for our next arraignment. We were pleased to hear from Bub and Blake–The Phantom is always pleased when his Phans are able to construct complete sentences and offer coherent thoughts–but they imply that we were factually incorrect at two points in our review of Phunny Girl. This happens so rarely that The Phantom had actually forgotten what imprecision and inaccuracy were like. He remembers now, however, and he offers an acknowledgment and tip of his hat to both Bub and Blake. The Phantom wasn’t wrong, exactly, he was just temporarily inaccurate when the clock ran out. But Bub (and try to say that 5 times fast), The Phantom still insists that the painful, halting travel of the scrim be improved. We couldn’t look away as it jerked 4 feet, then 6, over and over in its slow, dreadful journeys across the stage. And remember, The Phantom’s opinions are always correct.
Finally, we were also pleased to hear from Stacy, a fine actress who has provided us several bits of genuine entertainment in recent shows. Thanks for coming out of the closet and declaring yourself, even unintentionally, a newphound Phan. That wasn’t so hard, was it? Welcome.
The Phantom
The lady sayeth yea! Here is the original post from Ms. Fanny:
Fanny’s Opinion
Hey
Hey now …“Tad Bit Biased” …………….
Watch out who you are calling my ‘long time friend’. Thank you for dictating who my friends are for me, but I assure you I am a fully functioning adult and can do that for myself.
Seriously though, why is it that people continually want ‘the phantom’ to have their opinions instead of his/her own? It’s an open site where you can post anything you want, why not simply post your own opinion instead of trying to needle ‘the Phantom’ into stating yours for you?
What’s wrong? You a little scared you’d have to defend your opinion if you stated it yourself? If the 30+ actors on that stage have the courage to tackle Funny Girl you could at least have the courage to voice your own opinion. No?
Now , now– I can understand your disappointment, it’s never as much fun to read positive complementary things about people as it is to hear nasty negative things is it? You poor shallow and sad person– you have my condolences. Anyone who is disappointed in a lack of negative criticism being said about another person is truly in a place of personal enlightenment that I would not want to visit. Get a life already ok- go find something that makes you happier than reading tabloid magazines. It’s not attractive.
As we all know by now I’m fearless (not scared of Phantom, not scared of Streisand, not scared of you – Tad Bit Biased) so allow me to fearlessly state my own opinion of the show- an insiders perspective if you will.
This is a Community Theatre show (something the Phantom understands, and maybe you don’t) made up of a wonderfully diverse group of human beings, who selfishly dedicate their time and lives away from their families and other selfish activities and try to give back to their community. Just because they aren’t slopping soup in a mess kitchen for the homeless does not negate their contribution to B/CS. You might like to think they are doing this for glamour or prestige but I promise you – not only is there a lack of glamour and prestige at TTC shows- but I assure you this is not why most of the people donate their time and struggle so hard to make these shows as good as they possibly can be.
That being said- TTC has a history, I believe, of young kids heading off straight to NYC in hopes of becoming professional actors. Constructive criticism like the Phantoms can be very helpful to these students as they try to become the best they can be before they actually need to make money to ‘feed themselves’ by acting in shows. Although the Phantom might disagree, I don’t view his site as tabloid material (sorry Phantom- you’re too funny for the tabloids)
Personally I don’t see why it should bother you that Fanny’s Eddie should get a larger toot from the Phantom than Fanny herself. His part is incredibly important and in some ways much harder to pull off than being a Fanny. Cade Butler was so good in this role that I wanted to re-write the whole play so that Fanny dumped Nick and ran away to marry Eddie instead. Cade deserved the strong review!! I loved being on stage with him every single night!! He makes the scenes so much better- he is an absolute delight to play across from!
What about Clayton Jones- our leading man? What a delight to see someone different on stage for a change, and he can act, and he even kinda pulled off the white hair, and as he actually hit all his notes in the show- Fanny can’t say anything against his singing.
What about Stacy Erskine- she is just the best mama a Fanny ever had, so talented, so young – she is just amazing. Few ladies could pull off characters like that and she always delivers them with such ease. There is no wonder she is constantly case in show after show.
Can’t forget to mention Mrs Strakosh- Jennifer Rodriguez. This was the role I actually wanted when I auditioned, but I have to say Jennifer blew me away and did a much better job of Mrs. Strakosh than I ever could have. You should hear her voice. Not her Strakosh character voice- but her audition voice- very silky nice voice, she should have charged admission.
Now for Mimsey (Jill Lightfoot) who has really started to blossom into a fine character actress. For a girl who once thought all she was good for was a long legged sexy dancer, she has found her voice and is really starting to explore her timing on stage. Watching flowers like this blossom is what makes Community Theatre better than any professional show ever could be.
Then there is our adored “Foo” (Adrienne Dobson.) Who I had to twist her arm to audition for the show- cause I couldn’t imagine doing it without her. She played a wide assortment of parts in Funny Girl and in “True Foo Style” never ever gave the show her second best- even when she was pulling curtains or was moving sets. You would expect someone as talented as her to blow off a show she didn’t have the “lead” in- but no- she proves that people are in community theatre for something larger than the sums of their own personal parts. I am pretty certain that if Foo wanted to run away to NYC today, she would not have a problem finding work right away- she is a talented lady.
Perhaps the most talented cast members are our children cast members: Aubrey , Kira and Jack – if only us adults were up to their level of talent!
This cast (and there were many more than mentioned above) were so completely supportive and fabulous during the entire run of the show- they put other casts to shame. They were/are my personal Heros !!! And I don’t believe enough can be said to sing their praises- so I praise instead the Phantom, who actually addressed more of their work and less of the ‘leads’ work. A show is not made by leads- if the cast fails, the entire show fails. The whole is terribly more important than its parts!!
Fact:
Funny Girl had aprox 50 hours of stage rehearsal time; 2 hours of vocal rehearsal time before opening. Yes that is right, just a little over one 40-hour work week. In addition, the cast works 8-5 jobs, deals with families and kids, attends local schools or for some-a major university while trying to obtain a degree. Oh ya- don’t forget please, our local cast members also build sets, sew costumes, and move set pieces and curtains- just because they are so overly talented.
A professional show (even low-level regional) would take approx. 110 hours of continual focused labor by professionals who trained their entire lives to be on stage. That’s all they do for a living, and they get almost 2X the actual prep time to recreate a show worth $80 per ticket per performance.
What does this all mean— our local cast members KICK A** !!! that is what that means.
But let’s address your one little worded opinion (Mr/MS Tad Bit Biased) that you actually had the courage to utter regarding my personal performance as “Mediocre”?
SIDE BAR:
On the issue of Ms Barbara Streisand– If you consider me mediocre in regards to Ms Streisand I consider myself in very good company and accept your compliment readily- why thank you!!
However , as I was actually trying to be Ms Fanny Brice and not Ms Streisand – I’m not sure that compliment would count. Ms Brice was a very real person all her own and she would probably appreciate it if you/anyone would consider HER when forming your omnipotent opinions about imitating greatness—thank you, I’ve been wanting to clear that up for awhile now.—
You- Mr/Ms Tad Bit Biased , of course, are entitled to your opinion
-– No accounting for taste–
That is what makes American great you know.
In My Fanny opinion (which is the only one I really loose sleep over) –the final scene of the show was worth every cent of your $12 ticket (assuming you actually bought a ticket , and are critiquing a show you actually stayed to the end to see.)
So the way I see it—- you got an extra 2 hours and 28 mins of ‘mediocre’ show for free.
So stop your whining!!
Or sing me a song about it—because I just sang 72 songs myself (and altho’ I’m still in great humor and form.) I’m, understandably, a bit tuckered out.
Love Your Fanny
Community Theatre? I thought The Theatre Company got promoted to Regional Theater.
Oh boy, here we go with that again?!?
O,great and merciful Phantom, I humbly beg your magnanimous pardon. In my haste to correct your spelling error, I committed my own, thereby losing the title of Ms. Grammar and Spelling Queen. Anyone perpetrating such a faux pas deserves death by a thousand cuts, but I rely, instead,
on your legendary benevolence.
Dear sheltiel-
You make several excellent points. Indeed, The Phantom is merciful, very wise and possessed of enormous magnanimity. Bless him, he is also extraordinarily benevolent. For all of those reasons, he will formally reassure you that yes, he intended to misspell “vocabulery” in his exceptionally insightful review. Read that bit again, and you may see that it fits. Part of the joy The Phantom brings his Phans is the remarkable variety of delightful subtleties he scatters across his prose. The Phantom may be too clever for his own good, but he’s not too clever for his phaithful Phans.
The Phantom
Dear Said,
Sorry but yes- Community theatre is not Regional. In the big picture of things- Hey we’re in College Station, go ahead and call it anything you want, who’s going to care- really?
But to be official- in “The Business” when you say Regional Theatre this refers to theatres who are members of LORT (about 70-80 in the country) and they pay their actors and usually have at least a few Equity contracts available each show. Some Theatres who aren’t LORT members but hold contracts with Equity are also considered ‘Regional’ in the business.
Yes, it can get a little confusing. But you probably see a pattern of the paying their actors and having at least a few professional actors mixed in there as a recurring theme happening (they also pay their stage hands, sounds, directors, music, etc.) You can probably Google a longer deff in Wikipedia or somewhere if you need more information.
Important lesion- Do not call TTC shows ‘Regional’ on your resume. You will look like you don’t know what you are doing, and no one will want to hire you for their show- so don’t do it ok. (Regional theatre is a pretty big deal and they don’t like getting confused with non-regional much.) Instead list them under a generic term like “Musicals” or “Theatre” instead.
TTC is a great place to do shows, have fun, and gather stage experience. I’ve done several shows with them so I obviously love them and think they are great!
But it is not considered Regional Theatre as far as the professional business is considered- sorry. Your physically closest Regional ‘House’ is probably in Houston- altho’ you could go to Dallas also.
Hope all this helps and doesn’t confuse you more
Thanks for the clarification. I have heard some members refer to it as a Regional Theater and I was just wondering. Thanks again.
It is considered Regional Theatre, actually. Ask the man, Randy Wilson, himself. While it may not pay its actors or have any equity contracts, TTC pays its orchestra and its director and is thus considered Regional. It may be a pretty “ghetto” form of it, but yes, it is still Regional. But don’t ask me. Ask The Man himself.
P.S. Courage aside, if you can’t do it right, don’t do it at all. No kudos for “courage.”
So NTA is Regional Theatre ? Director is paid as is the set designer/builder. Hmmm?
I don’t think Randy would like people putting words into his mouth. Let me share with you TTC Mission Statement:
The Theatre Company of Bryan-College Station is a community theater performance group dedicated to the presentation of high quality productions suitable for family audiences at an affordable price. This mission includes providing community enrichment through the production and educational components that accompany TTC productions.
Just because “The Man” declares his theatre to be regional, doesn’t make it so. Theatre Company doesn’t come close to meeting the requirements of a regional theatre. It is a solid, thriving, community theatre. Nothing more, nothing less.
Being Regional– not being Regional– doesn’t make anything better or worst. It’s just a definition/distinction used in ‘the business’.
Unless you are putting these shows on a resume or claiming you are a working thespian on your income tax, then what does it matter what you call TTC?
Dear Chatty Actress-Girl,
Oh- I’m sorry…
Who says “I can’t get it right?”
I didn’t seem to get your name?
– or was that the ‘courage aside’ part?????
(Or maybe you were talking about something else? So hard when you don’t clarify in your posts? Or maybe it’s just harder to be ugly when you’re not anonymous and you have to talk to a real person?)
Just trying to help–
Regional status IS determined by LORT.
not by a “Chatty” or a “Randy”
Although I am sure both are very nice people- I don’t remember them having the power in NYC to declare things ‘Regional’ or not.
If someone really wants to know- you can go to the LORT website and look up the TTC and find out if it is contracted as regional. The website should list members, and those theatres who have Special Agreements with LORT who would qualify as Regional under those ‘grey kinda areas people are talking about’.
If you can’t find them on the website and ’still believe’ then give em a call, Lort is usually very helpful about clarifying such things.
In the business, everybody KNOWS who the Regional houses are, so you can try to call it anything you want. No one is going to be fooled into believing it. So maybe we don’t have to worry about all this so much in College Station?
Who’s worried about this anyway and why?
I am very confused as to why this matters- unless you want to rehearse and audition under union rules or something????
As NP suggested, I checked the LORT site and find only 2 regional theaters in TX: Alley in Houston & the one in Dallas. So, not only is TTC NOT qualified, but neither is Unity in Brenham, and they have more equity on their stage than TTC.
The good news: We’d be paying more for tickets if TTC were qualified. Frankly, who cares except a few snooty actors who think they’re better than others because of it (quote Chatty, “Awww. Community theater is so cute. Good for a laugh.”). Let them have their delusion since it DOESN’T cost us anything more.
If you insist, Cherry Whitten, which you guys probably knew since this title has been my nickname for…goodness…. who knows? Balls aside, my statement was based on the reliance on the word of the person in charge of the establishment. (Shrugs) That’s all I’m saying folks. Thanks to “NP” for coming up with a reasonable and, well, nice conclusion! =) Anybody know the showdates for the Christmas show?
P.S. Sorry for any drama. That was not my purpose for checking up on you guys. =(
StageCenter’s Christmas offering, ‘Mrs. Bob Cratchit’s Wild Christmas Binge’ begins Thurs. 11/29 and continues Thu.-Sat. until Dec. 15. Join us as we re-examine Scrooge’s “Bah, Humbug Attitude” in Christopher Durang’s deranged version of this Dickens’ classic. Curtain time 7:30 pm.
StageCenter is located in Historic Downtown Bryan, above Mr. G’s Pizza (old 3rd Floor Cantina). You’re sure to leave happy and feeling the Christmas Spirit.
As old buildings tend to be chilly in wintertime, dress warm. HOT and COLD beverages will be available. We all know how our Phantom enjoys his COLD Diet Cokes (LOL)
Nicole Parker is my hero.
Cant wait to see A Christmas Carol!
Thats all. Bye bye now.
As a newbie to the theatre I am just now finding this site of the phantom even though I have already been called SCAB around the theatre. I just wanted to say thanks to Fanny, who I must admit (as a single 20 year old) I absolutly adored getting to lay it on those lips everyday, for defending my singing. It was a little shakey at times, especially when the orchestra was having a ruff time, but I appreciate you sticking up for me. Also, in defense of the orchesta everyone should know that the leader of our orchestra had some health problems and we had to suck it up and give it our best because as they say “the show must go on”! Thank you for pointing out my nervous sway on stage, I was not nervous but absolutly loving being on stage but never the less it is something that can be easily fixed. However, with that said, I hope that when you return to the theatre you look for less things to blog about and just let yourselves enjoy the show.
Why do the actors feel they have to apologize for their efforts? Actors, you give your time and energy to your preformance and then you apologize when those who do nothing criticize you? Don’t apologize! Thank you for your efforts and give yourself a pat on the back!