Aubrie Williams (Audience Engagement Manager) speaks on accessibility at the Wilma Theater and The Most Spectacularly Lamentable Trial of Miz Martha Washington.

Putting yourself out there to audition is one of the scariest things you can do whether as a full time actor, full time techie or someone who falls in between.

I had the privilege of watching my local theater's production of Jagged Little Pill while I was home for spring break. It was the first time since I was younger that I had gone to see a show in a community theater as opposed to a Broadway production.

Going into auditions, I had already made assumptions about where I fit. I’m a freshman. I’m 18. And while I’ve played older roles before in high school (roles I absolutely loved), I guess I thought college would be different. I assumed I’d need to “work my way up” before being considered for characters like that again. So I didn’t audition for Grandpa Joe specifically. I didn’t really let myself imagine it as a possibility.

Have you ever auditioned for a show? Have you ever gone after a role that you felt that you were perfect for? Have you ever spent days anxiously awaiting a cast list?

A comfort zone is a funny thing. I feel like as actors, we’re never able to truly understand what our comfort zone is exactly. Sometimes, we push ourselves in the name of the craft, but really, we’re just being placed in the uncomfortable, and learning to find solace there. Recently, I stepped out of my comfort zone when I began writing again.

Ultimately, this experience proved something very important to me: Theatre that challenges us helps us grow. After seeing GATZ, ideas about how to increase immersion and stretch the limits of my own theatrical work continue to spark. This show proved to me that, with a strong directorial concept and careful creation, an audience can be enraptured for the length of an entire novel.

For the past few months, I have been working on a film adaptation of the novel. Before we started filming, I talked to Caroline Garret, who plays Tegan Everly in the film about the upcoming production and her character and the upcoming production.

After a few months, The Villanova Belles were brought to life. But, don’t forget, I’m a dancer first. I was suddenly the President of a group of twelve girls eager to start singing, and I was terrified. Thankfully, a few of our girls are very skilled when it comes to arranging music, but truthfully I had no clue where to begin.

I knew there were three things I had to do for my tech week to be as successful as possible:  1. Establish a new routine   2. Lean on my new support system at college   3.Be open to taking risks and going out of my comfort zone 

Getting back into the rhythm of school is difficult after a week off. Spring break is timed perfectly to throw students right back into the deep end of work when they return. My friends and I were met with exams and papers as welcome back gifts from our professors. While most students were enjoying our time away from the stress of classes, assignment notifications were eagerly awaiting our return.

None of my routines are perfect or even fully intentional. They’ve really just developed over time for me, and they are guided by the pace of my BFA program and my life as well. I’ve realized that my routines make things just a little easier to manage every day.

When not all the elements of a traditional production are present, things get stripped down to a more raw place. The focus is almost entirely on your voice, your instincts, and your ability to bring the material to life in a more intimate way. I had to trust that even the smallest decisions could still carry importance, and I wanted to challenge myself to approach things differently.

I owe gratitude to many women–ancestors, family members, teachers, friends. As the final hours of Women’s History Month tick by, I want to dedicate this post to the women in my life who have poured love into my life’s foundation.

March madness for some means a basketball frenzy. For me, it means crouching in the tech booth at the corner of the theater trying not to lose my mind. 

As most hardcore theatre fans can agree, the world of musical theatre is a beautifully sacred place. For many of us, it’s where we retreat when our real life problems seem too intense to take on.

We’re constantly told to 'innovate' and 'disrupt,' but what happens when the pursuit of the new gets in the way of the intended creative risk?

As a theatre major, I obviously have to read a lot of plays for classes. This article will discuss a few of them from an analytical lens, and I’ll add my comments about the messaging and tactics (with as few spoilers as possible).

I am someone who values routine. I prefer things that are repetitive and familiar; I've always done so. I like to keep to myself, except for when I am on stage.

Graduating early is risky. Here’s why I did it anyway.

Spend a Wednesday with me as a Musical Theatre student with a double minor at Otterbein University. Go through the day from early morning, to dance classes, to rehearsals and more.

Ultimately, designing has made me a better producer. As someone primarily interested in arts management, producing is my main focus. However, after stepping into the shoes of a designer, I can now better anticipate the needs of my creative team. It has expanded my versatility and allowed me to engage with projects from multiple angles.

When asked to write about creative risk and stepping out of your comfort zone this month, I wanted to reflect on the benefits I’ve had with breaking the typecast to provide comfort to those who may be afraid to take that risk.

There’s something about the green room that doesn’t quite translate to anyone who hasn’t sat in it. On paper, it’s nothing special; it’s really just an open space filled with couches, mirrors, and tables, it’s a place to wait. But to us, it’s the heartbeat of the department. It’s where real things happen, before and after the illusion of a show.

Nowadays, it seems like everything has been infiltrated by artificial intelligence. From medical scribing to releasing entire albums, no field of work is safe from the impending doom of AI. In a creative field such as theatre, it's a difficult line to toe with the ethics of using AI. As students, especially, the use of AI is becoming inevitable in our everyday lives. The key is to take the creative risks that AI cannot replicate.