srs-v3

What Stepping Back on Stage Taught Me About Stepping Up as a Creative Leader

Mon, 09 Mar 2026 21:39:28 GMT

I'm going to do a whole debrief on this incredible CHICAGO experience that I have had with K and E Theater soon. (Because it was practically a religious experience lol). But for now, I want to share a little bit about what I have learned from a non-actor POV.

For the past 20 years, I’ve primarily worked on the creative side of the table. I’ve choreographed, led teams, and most recently directed my first show. I’m used to doing everything from the front of the room.

This year, I stepped back into a rehearsal process as an actor. That shift in perspective has been incredibly grounding. It reminded me what it actually feels like to receive notes instead of give them, to memorize instead of map, and to trust someone else’s vision instead of carrying it. It was so cool and also so terrifying lol.

Here are a few things I’m bringing back with me.

Respecting Time Is Respecting People

Respecting people’s time has always mattered to me. I believe it signals preparation and professionalism. This process, though, raised my standards.

Our director, Eddie, built a rehearsal schedule that was realistic and MAJORLY focused. He knew exactly what needed to get done and how long it would take. When we accomplished the goal early, we left early. There was no unnecessary drilling and no pushing ahead just because the space is booked.

As a performer, that kind of discipline felt incredible. Many of us are working full-time. We are commuting, managing families, and juggling responsibilities before we even step into rehearsal. When a creative team honors the schedule and releases people once the work is done, respect feels tangible.

It also builds trust. You know the room is organized. You know your time is valued. That makes you more willing to give your energy fully while you are there.

I've always considered myself really organized, but this experience opened me up to ways that I could be EVEN better. I will be even more intentional about that moving forward.

Memorizing Is Harder Than We Remember

There is something I think creative teams can unintentionally forget.

It is really hard to memorize lines, blocking, harmonies, choreography, spacing, and emotional beats while also working a full-time job. As creatives, we prepare. We teach the material. Then we go home and adjust. We refine before the next rehearsal. We edit.

Performers do not get that same flexibility. I forgot how hard it is to lock something into your brain and your body. That muscle memory, for me, took a lot of time and repetition. Vocal placement, emotional timing, beats - I probably went through a million reps to make it feel right.

So here's what I am taking away: Patience and intentional changes. When we make changes, even small ones, we are asking someone to rewire something they worked hard to encode. That does not mean we avoid changes. It means we make them thoughtfully (I am so grateful that our director was so thoughtful and collaborative about changes. I felt like my time (even out of the rehearsal room) was respected.

Anyway, being back inside that process has given me a renewed appreciation for the mental stamina performers carry.

Preparation and Flexibility Can Live Together

I am fairly known for walking into rehearsal with everything mapped out. I like knowing traffic patterns, transitions, spacing, and visual pictures before the first body hits the floor. For me, that preparation gives me confidence and helps the room run efficiently.

Eddie is also extremely prepared. The difference is that he adjusts quickly once people are in the space. He experiments in real time. He moves bodies around, tests ideas, and makes decisions based on what he sees rather than sticking rigidly to the original plan.

Watching his process has been transformative for me.

Sometimes what looks perfect on paper shifts once human beings enter the space. His willingness to adapt on the spot elevated the original idea faster than over-planning ever could. It reminded me that strong leadership can be a blend of both structure and spontaneity....I will absolutely take more of that responsive flexibility into my own process. I'm going to trust my "on-the-fly" editing and creative juices more.

An Unexpected Bonus Gift

I knew I was going to have an amazing experience as an actor because K and E Theater is notorious for putting up amazing shows, and everyone I know who has done a show there has said they've enjoyed the entire process (more on that later). But this experience has deepened my leadership in ways I did not expect.

I will continue to prioritize:

Clear, specific notes that are actionable
Rehearsal schedules that are realistic and efficient
Ending early when the work is complete
Thoughtful changes that respect memorization demands
Collaboration
Strong preparation paired with real-time flexibility
Awareness of the mental and physical load performers carry

Broadway World Winners are Being Announced...So Let's Talk About It

Sat, 17 Jan 2026 18:38:32 GMT

It’s that time of year again: the BroadwayWorld Awards winners are rolling out, the posts are popping up, the “WE DID IT!!!” graphics are flying across Facebook, and theatre people everywhere are doing what we do best… feeling every emotion at once.

First, let me say this clearly, loudly, and before anyone gets defensive in my comments:

This is not a hit piece on the winners. Not even a little.

Because let’s be honest… those productions were probably incredible. Just like the ones that were nominated alongside them. And the ones that weren't nominated. And the ones that weren’t even eligible. And the ones that were quietly brilliant but didn’t have the social reach of a small nation.

Community theatre is full of talent. Real talent. Serious talent.

That’s actually the problem.

Because the idea of recognition is wonderful. The moment you find out you were nominated? It’s exciting. It’s validating. It’s that tiny spark of “Wait… someone noticed.” Someone took the time to click your name. Someone thought your work mattered enough to put it on the list.

That part is genuinely lovely.

And then you find out how you win. And it’s like someone opened the stage door in February and all the air just left your body.

I think BroadwayWorld has a real OPPORTUNITY to tweak this program and make it special and more meaningful.

Currently, It’s Not an Award System. It’s a Voting Marathon.

Here’s the thing about the BroadwayWorld Awards, as they currently work: It’s not really “best choreography” or “best performance” or “best direction.”It’s more like…

Best Email Blaster.
Best Social Media Megaphone.
Best at Asking Your Friends to Click a Link 47 Times Without Blocking You.

It becomes a literal contest of who can annoy their friends, family, coworkers, students, cast, crew, distant cousins, and ex-boyfriends into voting the most.

If your theatre company is sending multiple email blasts and posting “DON’T FORGET TO VOTE!” every day like it’s a public health emergency, you’re far more likely to win.

If you don’t do that?

Well, I guess your show wasn’t the best. LOL. Sure. Totally. Makes perfect sense. (It does not.)

The Problem Isn’t the Voting… It’s What the Voting Pretends to Be.

Remember When RENT Beat Out A Chorus Line, Pippen, and Chicago for Choreography? To be clear, I love RENT. But I mean… come on. RENT for all of its dancing lol? That’s not a statement about choreography. That’s a statement about who had the loudest voting push.

If BroadwayWorld called this what it actually is, that would be cool. Here's a suggestion: “People’s Choice Community Theatre Awards”

Great. Fine. Fun. Go nuts.

But the problem is that it’s currently packaged like it’s measuring craft. Like it’s evaluating artistry. Like it’s a meaningful evaluation of theatre. Instead, it’s measuring something else entirely: who has the biggest and most responsive online base and who is willing to campaign the hardest (and click through the most ads).

That’s not art. That’s marketing.

And yes, theatre requires marketing. I get it. But again, I think Broadway World has a real opportunity to do something better than that here!

Community Theatre Deserves Better Than This.

Community theatre is doing the work. We are the ones putting theatre in front of audiences who don’t have Broadway money or can't make the trip to NYC. We are the ones filling seats in towns where theatre survives because a handful of passionate humans refuse to let it die.

We’re teaching kids how to love this art form. We’re giving adults an outlet to create again. We’re building community. We’re running fundraisers, raffles, sponsorships, concessions, costume pulls, load-ins, strikes, board meetings, and rehearsals that end at 11:30 p.m. on a Tuesday, and then going to our 9-to-5s on Wednesday.

We’re doing all of that… and then we’re being asked to compete in a system that basically rewards whoever can rally the most clicks.

And BroadwayWorld, for all its influence and reach, is doing this with bare minimum structure and maximum benefit to itself. It is designed perfectly to:

Build a marketing list
Drive page traffic
Increase engagement
Collect data

All powered by the hard work and pride of theatre artists. That’s the part that feels disappointing.

Other Programs Have Issues Too… But At Least They’re Trying.

No adjudication program is perfect. But that's ok.

The HALOs and the Sondheim Awards have their own quirks, and yes, sometimes it comes down to which judges advocate hardest for “their” person in the room.

But here’s the difference:

They send judges to the shows.
They watch the work.
They use rubrics.
They have an actual process.

Is it flawed? Sure.

Is it subjective? Of course. It’s art.

But at least it’s built on evaluation, not campaigning.

And Yes… I’ve Been Excited Too.

This is the part where I confess my own theatre hypocrisy, because I’m not writing this from some moral high ground made of pure artistic integrity.

I’ve been nominated. I’ve been excited. I’ve felt that little spark of pride.

And I’ve shared it on social media because it felt good to have my work recognized.

So yeah, I’ve played a small part in the machine too.

But once you realize what the machine is actually doing, it’s hard to unsee it.

So What Now?

Here’s my big takeaway:

If BroadwayWorld wants to run an awards program, it should invest in an actual awards program. People would LOVE it.

Create a system. Build a panel. Use a rubric. Send adjudicators. Partner with local theatre organizations. Do something besides harvesting votes and calling it a win.

Because community theatre deserves recognition that’s rooted in the work, not rooted in who has the most time to beg people online.

And if they don’t want to do that? Then fine. Keep it as a fan-voted popularity contest. Just a friendly request to call it what it is.

Congratulations, Seriously.

To the winners: truly, congratulations. I mean it.

You worked hard. Your teams worked hard. Your casts worked hard. Your crews worked hard.

You should be proud.

But to everyone else who got nominated and then immediately felt their excitement deflate once they saw the voting circus unfold…

You’re not crazy. That feeling is valid. Because the work matters. The artistry matters. The hours matter.

And it’s okay to want a system that honors that with a little more integrity. The ball's in your court, BroadwayWorld!

2025 Theatre Recap

Wed, 31 Dec 2025 13:38:32 GMT

2025 was filled with SO much love. I'm so grateful to have worked with so many incredibly talented and kind people. This "work" is such a privilege. As I look back, I see a year rooted in growth, collaboration, and rediscovering joy in both process and performance. From my directorial debut to returning to the classroom and the stage, this year deepened my belief that movement is most powerful when it serves story, character, and community. In other words, I feel pretty damn lucky.

A Chorus Line

Opera House Players, Director and Choreographer

Directing and choreographing A Chorus Line marked a major milestone for me. Approaching this iconic piece meant honoring its legacy while shaping it for our specific cast and community. My choreographic work focused on transcribing and editing original Broadway choreography to highlight individual strengths while maintaining the integrity of the material. Collaborating with Luis Villabon through an ACL boot camp grounded the process in respect for the original work while empowering performers to bring their own authenticity to the stage. Additionally, choices such as expanding the ensemble's presence beyond the opening number and using mirrors to deepen emotional storytelling, particularly in What I Did for Love, allowed the movement to reflect both vulnerability and collective experience.

I just want to take an extra moment to express how grateful I am that Luis, an award-winning and sought-after performer/choreographer/director, drove all the way to our little town to work with our cast. He also responded to tons of annoying questions, sent videos, spent hours on Zoom with me and offered advice only and if I was in a place to receive it. It is not lost on me how lucky I am to have such an incredible friend who was there for me in this process. It was my honor to watch him dance and be recognized in the 50th anniversary of A Chorus Line at the Schubert Theatre later on in the year.

What I learned: Intentional adaptation strengthens storytelling. Honoring history while embracing the individuality of a cast creates deeper emotional impact, and choreography is most effective when precision and personal connection coexist.

9 to 5 The Musical

Little Theatre of Manchester, Choreographer

For 9 to 5, my approach leaned into character-driven movement inspired by jazz, tap, and square dance, with an emphasis on humor and theatricality. The dream sequence became a central storytelling moment and used movement to reflect each character’s inner fantasy while maintaining momentum and clarity.

Late changes to the scenic environment required quick adjustments, ultimately strengthening the choreography by pushing me to rethink spacing, intention, and storytelling in real time.

What I learned: Flexibility is a creative asset. Constraints often lead to stronger, more grounded solutions when movement remains rooted in character and purpose.

Sweeney Todd

Little Theatre of Manchester, Choreographer

My work on Sweeney Todd centered on embodied narrative movement rather than traditional dance vocabulary. Movement functioned as an extension of the show’s emotional and rhythmic structure, which allowed the ensemble to serve as physical storytellers and atmospheric support throughout the piece.

By maintaining purposeful movement even in transitions and choral moments, sequences like City on Fire became exercises in controlled chaos, with every performer grounded in intention and story.

What I learned: Movement does not need to be decorative to be impactful. Restraint, continuity, and clear physical intention can unify complex narratives and heighten tension just as effectively as spectacle.

Broadway Jazz Dance Series

Nutmeg’s Dance and Theatre Co.

The Broadway Jazz Dance Series brought together dancers ages 15 and up in high-energy, drop-in classes rooted in joy, sweat, and theatricality. Inspired by the jazz classes I took in the late 1990s and early 2000s. The classes were SO MUCH fun. Insane energy. Stretching, sweating and across the floors with a packed room felt like the jazz classes I remember taking in the late 90s/early 2000s at Steps on Broadway or Broadway Dance Center. People were literally cheering (and snapping) for each other as dancers of all levels of experience went across the floor. The support and genuine love of dance in the room felt…electric.

Each class explored a different era or style, including Golden Age jazz with Too Darn Hot from Kiss Me, Kate, stylized theatre jazz with Cell Block Tango from Chicago, and contemporary theatre with My Shot from Hamilton.

The energy in the rooms led to the expansion of the series into a monthly offering. We have since explored combinations from Popular from Wicked, Carnival del Barrio from In the Heights, and a Rockettes medley, with upcoming classes including Cool from West Side Story in January and Backstage Romance from Moulin Rouge in February.

What I learned: Technique thrives when paired with joy. Community-driven dance spaces encourage confidence, risk-taking, and artistry, and revisiting styles across eras builds both versatility and connection.

PR work in Theatre

This year, I was also happy to continue supporting Opera House Players with their digital presence. Working with Sarah Stephens on shows can be such a joy. I came to her with some really specific ideas for our ACL production, and she didn’t just execute them; she leveled them up.

Additionally, our Agency is now the proud host and support for two local theatre programs: Opera House Players and Valley Student Theatre . It was such a privilege to support the buildout for these (shout-out to Sarah Stephens once again for her beautiful design work), as well as to continue supporting them moving forward!

Portfolio and Photoshoot

Over the summer, I worked on documenting some of the more significant projects I’ve undertaken over the past 20+ years. This exercise was deeply reflective and meaningful. So often, especially if we tend to do multiple shows in a year, we forget what a privilege it is to be immersed in art. The pressure and being busy are privileges that we always hoped for. I collected photos from various productions, performances, and workshops; worked on bts videos of teaching; wrote up approaches and any challenges/innovations or notable moments and shared media assets from the show’s photographers.

Beyond that, I decided it was time to update my pro shots to reflect my 42-year-old body. I love this older body that’s 20 lbs. stronger and more experienced. If I’m being totally honest, it was a lot for me to do this. We live in a world of over-edited photos and constant judgment. I was so thrilled to have so many friends and people reach out and say they were beautiful. This was sort of a theme this year - kind people who hype each other up and I’m so grateful to be surrounded by this kind of energy!

Current and Upcoming Work

I am currently serving as guest choreographer for Chess with Opera House Players, focusing on movement that supports emotional storytelling and musical complexity. Also, who doesn’t love 80s rock vibes?

Additionally, I am guest choreographing a Musical Theatre Review with South Hadley High School, collaborating with young performers and continuing my commitment to arts education and mentorship.

Lastly, I am performing in an upcoming Razzle Dazzle show, with the title to be announced on January 18, which has been an invigorating return to the stage and has deepened my perspective as both a choreographer and actor. It’s been 18 years. I can’t express how grateful I am to be back on the stage, directed by an insanely talented director and surrounded by a cast and creative team that gave me literal goosebumps the first time I watched them perform the opening number.

Looking Ahead

2025 wasn’t just about producing work; it was about really diving into story, movement, and community. From the raw, reflective moments of A Chorus Line to the intense physicality of Sweeney Todd and the joyful energy of the Broadway Jazz Dance Series, this year reminded me why I love creating, teaching, and performing. I can’t wait to carry this energy into the next season of theatre-making.

The Unsung Hero of Musical Theatre: The Dance Captain

Thu, 13 Nov 2025 21:01:20 GMT

In community theatre and high school productions, there’s always that one name in the program with a little asterisk next to it: Dance Captain. It’s often a quiet credit that doesn’t get the applause it deserves. There’s no extra bow for them. And, the role is not always fully understood by the audience. The truth is, being a dance captain is one of the most demanding and vital jobs in a production, especially in smaller theatre settings where people wear many hats.

While most cast members focus on learning their own tracks, the dance captain is memorizing everyone else’s. They understand how each individual movement fits into the bigger picture. When someone’s out sick, they can jump into the spot. When spacing shifts, they know how to fix it. When the energy in the room dips, they’re the ones who feel it first.

They don’t just learn choreography; they help manage it.

For directors and choreographers, understanding the dance captain’s perspective can completely transform the process. A well-supported dance captain can be your strongest creative partner once the show moves from rehearsal to performance. For audience members, knowing what this person actually does offers a deeper appreciation for how much invisible work goes into a polished, professional-looking show.

Dance captains carry the artistic DNA of a production. They help to preserve the original vision, maintain its quality, and keep the spirit of the choreography alive long after opening night.

To better understand what this looks like from the inside, I received input from two experienced dance captains who generously shared their thoughts: Emma Luxenberg, a performer and educator known for her strong performance and leadership on stage, and Mary Rotella, a former Broadway performer and choreographer/director, and current studio owner.

(Click their headshots to visit their websites)

The Keeper of the Vision

Every production has a pulse. Once the choreographer’s work is set, it often becomes the dance captain’s job to protect that rhythm so the show remains cohesive from the first performance to the last.

Emma Luxenberg explained, “Being trusted to uphold the vision of the choreographer and director. I love being able to be the keeper of the knowledge and help achieve the creative team’s goal while still being able to be on stage.”

That trust is at the core of the job. Dance captains are both leaders and peers. They perform alongside everyone else while also serving as a link between the creative team and the ensemble. Emma said, “When directors and choreographers are not afraid to delegate or ask for help, it makes the work smoother. As a DC, I never want to overstep, so clear communication and mutual respect are everything.”

The Balancing Act: Notes and Trust

Clean choreography, consistency, and safety are top priorities. Movement tracks require people to know what they are doing and where they are going for the safety of everyone around them. Repetition and drilling choreography lead to cleaner and more consistent movement, which leads to a safer and more exciting end result for the audience. The dance captain helps keep the choreography looking as clean and intentional in week three as it did on opening night. That means giving notes, fixing spacing, and maintaining detail…which can be a tricky job.

Emma shared, “I prioritize building mutual respect with my cast in and out of rehearsal. I make myself available for questions, comments, or concerns. When you create an environment that feels positive and team-oriented, trust naturally follows.”

Her approach is focused on support rather than correction. “Much like a sports coach, I regularly request videos of choreography from rehearsals/shows and analyze the tapes to know where the cast may need extra support. I make sure to teach all types of learners (auditory, visual, kinesthetic, etc.) If you provide multiple means of explaining/solidifying choreography that works for most if not all learners, it will show in the long term quality of the choreography.”

Mary added, “Give positive notes before what needs to be fixed. If there isn't time for that, then just explain that and say how grateful you are for everyone's hard work and energy”.

That level of care builds unity. When cast members trust their dance captain, notes feel like collaboration rather than criticism.

Keeping the Energy High

One of the most overlooked parts of being a dance captain is managing the emotional rhythm of the entire process. From the first rehearsal to closing night, energy levels shift constantly. People get tired, frustrated, nervous, or distracted by life outside the theatre. The dance captain becomes the steady hand that keeps the room grounded. They sense when rehearsals need a push, when spirits need a little ooomphf, and when everyone just needs to take a breath.

Emma explained, “Water seeks its own level. So if I can tell that the cast's water level is slowly being drained or depleted, I make sure to lead with pouring into my cast, building up morale, leading with positive reinforcement, and ensuring we are aligned in the common goal.”

Mary emphasized the importance of that lift, “Give praise and let them know how important they are to the show! Remind them that most musicals it is the chorus that gets the most stage time!”.

A great dance captain knows that the tone they set in rehearsal will carry through the entire run. Keeping energy high is not about being relentlessly loud and cheerful. It is about reading the room and knowing when to motivate, when to listen, and when to let people reset.

Humor and empathy help with that balance.

Mary Rotella shared that empathy plays just as important a role. “Empathy and humor fit in everywhere. We must make sure there is mutual respect being practiced, model that making mistakes is okay, and show that it is fine to laugh and try again.”

Emma added, “So much of the role is not only having the skills to do it as a dancer/performer, but most importantly as a HUMAN. Performing is quite vulnerable, and a lot of the role is touching on some of the most vulnerable aspects of a project. Empathy to that will take you far not only in the way you approach the work, but will payback in loads with your cast. Humor is a MUST. No one looks forward to rehearsals with people who take themselves too seriously. We are all playing pretend, aren’t we?! Leading with humor is the way that the theatre gods intended!”

When a dance captain fosters an atmosphere of trust, rehearsals remain productive and performances remain fresh. The energy becomes something shared, rather than something forced.

Beyond the Stage

When asked how she hopes to be remembered, Emma said, “As a dance captain who upheld high standards with compassion, communicated openly, and created a positive, collaborative environment. If my cast felt both pushed and protected, then I did my job.”

Mary shared similar reflections. Her favorite feedback came from dancers who told her, “You made me reach beyond my believed potential,” and “You made rehearsals joyful even when things got tough.” She said those comments “mean more than any award because they came from trust and shared experience.”

Dance captains often discover that what they learn in this role carries far beyond theatre. The position teaches how to lead, listen, and adapt to others’ needs.

Emma said, “It taught me that leadership is less about giving direction and more about fostering trust. The best leaders create a space where people feel supported, valued, and motivated to give their best. I have learned to balance professionalism with empathy and to adapt my communication style to fit the group.”

Mary added that the same mindset applies “in school with peers, in business with colleagues, and even in families.” The lessons are universal.

Advice for Future Dance Captains

Every dance captain brings their own leadership style to a show, but both Emma and Mary offered guidance that applies to anyone stepping into the role for the first time. Their advice centers on patience, communication, and remembering that people always come before choreography.

Emma said, “Stay organized, stay kind, and lead by example. Remember that your job is not just to keep choreography clean. It is to keep the energy, communication, and teamwork strong. Be the bridge between the cast and the creative team, and always model the attitude you want to see.”

That word bridge captures the spirit of the role. Dance captains connect the creative vision with the human side of the process. They take direction from the artistic team, translate it for the cast, and help keep everyone aligned through long rehearsals and unpredictable performances.

Mary added that humility and perspective go a long way. “Think of yourself as a support to not only the artistic team but also your cast. The best leaders are those that do not hold themselves higher than anyone else.”

Her words remind us that leadership in theatre is never about hierarchy. It is about trust. “Give praise and let people know how important they are to the show,” she said. “Remind them that in most musicals, it is the chorus that gets the most stage time.”

For both Emma and Mary, the role comes down to service. A dance captain succeeds when the company succeeds. They do not chase recognition or perfection. They focus on consistency, connection, and care.

As Emma put it, “If my cast felt both pushed and protected, then I did my job.”

How Directors and Choreographers Can Support Their Dance Captains

A strong partnership between the creative team and the dance captain makes every production smoother. When directors and choreographers understand how much this role carries, they can create an environment where their dance captain feels supported and valued instead of stretched thin.

The most effective teams build trust early. Emma said, “When directors and choreographers are not afraid to delegate or ask for help, it makes the work smoother. As a DC, I never want to overstep, so clear communication and mutual respect are everything.” That sense of shared responsibility allows a dance captain to act confidently as a bridge between the creative vision and the cast.

Directors can help by setting clear expectations from the start. Define what needs to be tracked, cleaned, or documented once the choreographer steps away. Check in regularly rather than only when something feels off. Invite the dance captain’s perspective in production meetings, especially during tech and maintenance rehearsals.

Choreographers can also empower their dance captains by giving them insight into the why behind the movement, not just the steps. Understanding the motivation or storytelling purpose of choreography helps them maintain integrity in future performances.

Acknowledging a dance captain’s contribution reinforces that they are part of the creative core, not just an extension of it. When dance captains feel seen and trusted, they give even more to the process. Supporting them well is not just good leadership. It is good theatre.

A Final Bow

The asterisk isn’t just a note on who the creative team has deemed the “best dancer”. That is a common misconception. Emma Luxenberg addressed it directly, explaining that while technical skill can overlap with leadership ability, they are not the same thing.

“While sometimes the Venn Diagram does intersect, it is not always the best choice for your production. The best dance captains have strong communication skills and genuine empathy. They lead without ego, balancing authority with approachability.”

So next time you see that small asterisk in a program, know that behind it is someone who made sure every eight-count hit, every transition worked, and every dancer felt part of something bigger.

As Mary shared from Joel Grey, “It is not the awards and accolades that are the best part of a career, but the friendships.”

While they may not get a bow at curtain, they deserve a round of applause for keeping every show running strong. Here’s to dance captains everywhere.

Smart Social Media for Community Theatre

Tue, 30 Sep 2025 18:25:28 GMT

Every community theatre wants to fill seats, raise money, and grow its audience. Social media should help do all three, but too often feeds get cluttered with endless graphics and rushed posts. Audiences scroll right past the clutter. The good news: a smarter content strategy built on people and stories can set your theatre apart.

Community vs. Broadway

I think it's smart to look at what Broadway shows are doing for inspiration, but it shouldn't be the full blueprint for what you do in community theatre. A Broadway show can market for years with a large budget and long-term campaigns, usually focused on sustaining ticket sales for a single production.

Community theatres, on the other hand, juggle multiple shows each year with short runs while also managing fundraising, committees, and community outreach. That makes every post count. Content should not only build buzz before opening and keep energy high during the run, but also show audience reactions, thank supporters, and connect back to the theatre’s broader mission.

Where Broadway marketing centers on the show, community theatre marketing must balance the show with the bigger picture of sustaining the organization. Community theatres have a huge opportunity to be a source of pride for the people and communities involved with their shows and initiatives.

Content That Pulls People In

Audiences crave connection. They want to know the performers, the process, and the personalities behind the curtain. Instead of stuffing your feed with posters, try:

Cast spotlights. Introduce actors with a headshot, role, and one personal detail.
Behind the scenes. Share rehearsal photos, costume progress, or set builds.
Teasers. Short clips of a dance, a musical phrase, or a dramatic moment.
Show run highlights. Backstage snapshots, post-show thank-yous, or cast selfies.
Committee Spotlights. Set design, costumes, public relations, your volunteer coordinator, producing teams, etc.
Throwbacks. Helps reconnect audiences who were highly engaged during the production and draw them back into the community.
National “Days”. National Best Friends Day? Great opportunity to share photos of best friends from shows past: Sheila and Bobby in A Chorus Line, Jeremy and Michael from Be More Chill, Ariel and Flounder from The Little Mermaid.
Cast Lists. Tends to be the most shared content on theatre pages.

Remember, productions are only part of your story. Social media should also support the bigger picture:

Fundraising. Share donor stories, highlight impact, and include clear calls to give.
Volunteers and committees. Feature the ushers, painters, and board members who keep the theatre running.
Events and programs. Promote workshops, auditions, and partnerships with schools or local businesses.

When you mix show promotion with mission-driven content, your feed reflects the full heartbeat of your organization.

A few best practices to consider:

Official Announcements Should Come From You First: Did you just finish casting? A good rule of thumb is to let the cast know they can share their excitement only after the theatre’s official announcement. Major news, whether it’s a cast list or a new initiative, should come from your channels first. This not only makes the information more official but also drives traffic back to your page. A single cast list post can be shared dozens of times, and multiply your reach. But if every cast member posts separately before you do, your theatre may miss out on valuable engagement, followers, and visibility.

Quality Beats Quantity : Posting every day means nothing if the content looks sloppy. A single high-quality photo will earn more engagement than five blurry ones. A candid rehearsal clip with good lighting often works better than a cluttered graphic. Choose clarity, authenticity, and consistency over volume.

Video or Photo : Community theatres should focus on posting quality photos and videos that match the story they want to share. The format should be chosen based on what communicates the message most effectively. Yes, video happens to be popular right now, but it isn't always the best choice. For example, a cast list works best as a clean, well-designed photo. Videos are more effective when they’re intentional, such as teaser clips from the show, behind-the-scenes challenges, or fun, engaging chatter. Photos should be clear, focused, and free of clutter in backgrounds, and every person in the shot should look ready to be featured. A simple test is to ask: would I want this image or video posted of me, and would I stop to engage with it if I saw it while scrolling?

Engage Cast, Creative Teams, and Committees: Your PR team cannot do it all. Encourage cast, crew, and committees to share photos and clips throughout the process. Create a shared folder where everyone can drop material. When content comes from many voices, it feels more alive, and your team has more to work with.

Use Graphics Wisely : Design tools like Canva have their place, but they should not overwhelm your feed. Audiences want connection, not a slideshow of busy, overused templates. Graphics are best for sharing ticket details or dates. Beyond tthat, lean on strong photos and authentic clips that capture the vibe of your theatre.

One way to keep the feed looking good and still include necessary graphics is to post graphics in a series of tiles. Perhaps your first tile is a lifestyle shot or video, and then you swipe to the graphic, which displays all the information. The most important thing to remember is not to get to "Canva-happy".

Skip AI

Theatre and arts companies thrive on stories. Every poster, every press release, every social media post exists to remind audiences that behind the curtain are real people with history, feelings, and purpose. This is why copy-and-paste AI content will never be enough. Audiences still crave connection, and connection comes from human backstory.

Aside from all the AI debates, it isn't even effective. You can always tell when a caption or message is a straight copy and paste. It feels flat, cringy, and disconnected...like no one bothered to think about who was actually on the other side reading it. You aren't saving time when your em dashes, participial phrases, gerunds, and emojis as bullet points trigger an eyeroll instead of action. Ask yourself, "What type of visceral reaction do I want my readers to have"?

Build Community

Social media should feel as alive as the shows you put on stage. Focus on real people, authentic stories, and strong visuals. Balance show promotion with fundraising, volunteer recognition, and community outreach. Choose quality over noise. Bottom line? When your feed reflects the heart and humanity of your theatre, audiences will not just attend a show or two. They will belong.

Dance Calls in Theatre Auditions: Getting Past the Nerves

Thu, 25 Sep 2025 14:49:09 GMT

If the words “dance call” make you nervous, you are not alone. Many performers feel uneasy the moment choreography comes into play. Maybe you do not consider yourself a dancer. Maybe you worry about keeping up. Or maybe you simply feel less confident moving across the floor than you do standing at center stage belting your heart out. All of that is normal.

Here is the truth: dance calls are not about perfection. They are about potential, presence, and personality.

What Casting Teams Actually Notice

One of the best ways to shake off nerves is to take the mystery out of the process. When you understand what the casting team is looking for, you can walk into the room more confident in your choices. While I can’t speak for every casting team, I’ve worked with several creative team members and have noticed we are usually on the same page about a few key things beyond technique: What could you add to the show? Can you tell a story? Are you kind?

When casting a dance-heavy show, I do look at technique. I notice who understands weight shifts and who has a basic foundation. But that is only one part of it. I also pay attention to how people interact with each other. Are you kind? Do you help someone who is struggling? Do you connect with the room? Those things matter.

I look for who performs. You do not have to get every step right. If you are telling me a story and pulling me in, you stand out. A friend once told me, “Everyone can sing, but not everyone can act.” The same is true for dance. Anyone can learn steps, but not everyone can live in them.

Most of all, I treat all auditions with an "addition mindset". I learned this from the late Patriots coach, Tracy Sormanti, who started every one of her auditions saying, "I'm not looking for who to cut, I'm looking at what you can add to this squad". I've adopted that same mindset and truly look for what everyone's potential contributions to the production would be if we were to cast them.

10 Tip for Getting Past the Nerves

So how do you calm your nerves enough to actually perform in a dance call? For most people, nerves come from feeling unprepared or out of practice. There are ways to work on that.

Treat auditions like a free class. Every audition gives you a new combination. Drop the pressure and just treat it like a class. (One of my friends booked The Prom on Broadway while doing this approach. He showed up for the "class" as an opportunity to work on dancing and ended up booking the show.) Obviously, in NY, there will be endless auditions to attend, but in the MA/CT area, there are still several per quarter that you could get to. Show up without the casting outcome as your focus, and you'll gain so much...you may even relax enough to give your best audition performance thus far!
Take different kinds of classes. There are plenty of drop-ins and adult classes in MA and CT. They do not have to be Broadway jazz. Broadway jazz itself is super broad. Hamilton pulls from contemporary lyrical. & Juliet uses hip hop and street jazz. It's all relevant. The more you know, the more confident you will feel.
Cheat code for learning fast: Pay attention to weight changes. The number one thing that trips people up is not knowing which foot they should be on. If you focus on weight shifts, the choreography connects faster and feels more natural.
Learn basic vocabulary. Step touch, pas de bourrée, pony, turns, salsa, pivot turn, dig, leap, etc. Think of these as your alphabet. You do not learn to read by memorizing thousands of words. You learn the letters and then put them together. Dance works the same way.
Use TikTok and YouTube. Both platforms are full of free tutorials and combinations. TikTok is especially useful because the videos are mirrored, just like standing in a studio with a teacher.
Eat food. Drink water. Your brain needs fuel to learn fast. I recommend eating a solid meal about 90 minutes before an audition that includes carbs, fat, and protein so you have enough energy to sustain you throughout the entire process. I also always bring snacks and tons of water with me to auditions because I'll be damned if I'm not going to do my best simply because I didn't eat enough.
Pack all the Things. Again, nerves come from feeling unprepared. It's better to be overprepared and have extra shoes, socks, clothing options, etc., than not have enough options. Overpacking is your friend.
Make friends. Speaking of friends, introduce yourself to people at auditions. Auditions are so weird, and everyone there is feeling the same nerves. That camaraderie amongst the auditioners can really help to minimize the anxiety of it all.
Slow your heart rate. You can physically control your nerves by taking slow, deliberate breaths. Breathe in for 10 seconds, hold for 10 seconds, and then let it out for 10 seconds. Then repeat this process a few times. Your heart rate will literally slow down. Voila, calmed nerves.
Superhero pose. We all learned this from Amelia Shepard in Grey's Anatomy: Superhero pose. Feet apart, hands on hips, shoulders back, chin up, for two minutes before a big moment can boost confidence. I power pose all the time when I am nervous and I'm not ashamed to admit it lol.

Why movement may beat words at speed: dance as a first language

Sat, 20 Sep 2025 19:53:11 GMT

The idea in one sentence

Because the brain can pick up on movement faster than it processes words or tone, dance can deliver core intent to an audience faster than words.

Your brain reads bodies fast

Words ask the brain to decode symbols, assemble grammar, and map meaning. Bodies skip that line. A lifted chest, a collapse to the floor, a reach across space. You read it in an instant. Dance can turn that native fluency into art and, at times, into the quickest channel we have.

The brain can detect human movement very quickly. Some studies show responses to biological motion in about 100 to 150 milliseconds. This does not mean full comprehension happens instantly, but it does show that the brain is tuned to notice motion almost right away. By comparison, language markers appear later. Word meaning often shows up in brain activity around 400 milliseconds. Emotional tone in speech can take 500 to 1000 milliseconds to register, although some cues may be recognized sooner in certain contexts.

Movement carries emotion with precision

People can understand emotion and intention from movement without hearing a single word. Even when the body is reduced to a set of dots in point-light displays, observers can still identify actions and feelings. Silent film clips also provide enough information for people to interpret mood or intent.

Thin slices, swift calls

People form accurate judgments from very short clips of behavior. That “thin-slice” effect supports the everyday sense that a few seconds of movement can signal warmth, dominance, confidence, or strain before a single sentence lands.

More simply...with dance, there is no need to obsess if your text was misinterpreted, because the visual is more straightforward.

Why this matters for dance

Clarity under noise. Music can drown speech, but bodies still speak. Visual motion keeps a clean channel when audio fails. Evidence from multimodal studies shows that visual cues can speed neural uptake of auditory content, which hints at a head start for movement in tough settings.
Cross-language access. Movement bypasses vocabulary limits. An audience does not need shared words to grasp reach, recoil, or resolve.
Speed plus nuance. Early neural responses do not equal crude signals. The brain can flag human motion fast and still encode complex social meaning within the next few hundred milliseconds. Recent work on observed touch shows affective meaning as early as 150 milliseconds.

How the Brain Helps

The mirror system in the brain provides part of the explanation. When a person watches movement, parts of their motor system activate as if preparing to make the same motion. This response helps people recognize intention quickly. It also explains why movement feels like a universal channel of communication.

Why It Matters for Dance

Language allows precision, but movement often carries meaning faster. A gesture can comfort, warn, or inspire with no words attached. For dancers and choreographers, this understanding confirms what practice already shows. Movement reaches audiences directly and powerfully.

Practical takeaways for makers and teachers

Lead with shape. Open a piece with a clear, readable motif. A rise, a pull, a cut to stillness. Your audience locks in before any text or narration would land.

Design contrast. Sharp to fluid. Bound to free. The visual system flags distinct kinematic cues quickly, which boosts recognition and emotional read.

Trust silence. When the story peaks, let the body carry the line. Studies show accurate affect judgments from movement alone.

Choreograph attention. Big group unisons can set the scene; a single mover can punctuate meaning. Early motor and visual responses support both global and local cues.

In Fine Company

Sat, 20 Sep 2025 18:46:47 GMT

In Fine Company

Project: Public Relations
Location: NY, NY
Industry: Broadway Producers

Sue Gilad and Larry Rogowsky are producers behind some of Broadway’s most celebrated works, from groundbreaking revivals to globally beloved musicals. Their productions include Moulin Rouge! The Musical, Buena Vista Social Club, The Outsiders, Merrily We Roll Along, Angels in America, and Jagged Little Pill, with upcoming premieres such as Burlesque in London and When Elvis Met the Beatles in Maine. Beyond the stage, they champion theatre’s social impact through Broadway Cares/Equity Fights AIDS, Broadway for Arts Education, and their own In Fine Company Broadway Fund. Together, they continue to shape theatre that resonates worldwide.

Broadway Custom

Sat, 20 Sep 2025 18:46:47 GMT

Broadway Custom

Project: Web Design, Social Media, Public Relations
Location: NY, NY
Industry: Broadway Professional Training

Broadway Custom provides personalized training for teens and preteens led by seasoned Broadway professionals in New York City. The program focuses on strengthening all areas of musical theatre performance, offering students insider access and guidance from artists with extensive Broadway experience.

Opera House Players

Sat, 20 Sep 2025 18:46:44 GMT

Opera House Players

Project: Publicity Committee, Website support
Location: Enfield, CT
Industry: Community Theatre

The Opera House Players (OHP) is a non-profit, volunteer-based community theatre presenting four productions each season, from comedy to drama and contemporary to classic, along with annual fundraisers. Founded in 1968 as the St. Martha Players and now based at the Broad Brook Opera House, OHP is one of the region’s oldest performing arts groups.

Gilbert McCauley

Sat, 20 Sep 2025 18:46:43 GMT

Gilbert McCauley

Project: Website Design
Location: Amherst, MA
Industry: Professional Director

Gilbert McCauley, Professor of Theater at UMass Amherst, is a nationally recognized director and storyteller whose work spans Off-Broadway, regional theatres across the country, and international stages. He has held leadership roles at Oakland Ensemble Theatre and Rites and Reason Theatre and has directed works by August Wilson, Lynn Nottage, Athol Fugard, Katori Hall, and many others.

Little Theatre of Manchester

Sat, 20 Sep 2025 18:46:42 GMT

Little Theatre of Manchester

Project: Social Media Audit and Recommendations
Location: Manchester, CT
Industry: Community Theatre

The Little Theatre of Manchester (LTM), founded in 1960, produces community theatre and operates Cheney Hall, Connecticut’s oldest operating theatre. Each year, LTM presents main-stage productions, concerts, and events for over 10,000 audience members.