Strange things are happening in the bottom floor of an office building in New York City's Financial District.

Julie Andrews' new Netflix series, Julie's Greenroom, premiered last Friday. I didn't expect to like it since it is geared toward younger audiences, but I ended up loving it! It features really catchy songs and many important lessons about all the different parts of the arts: from singing as a group and writing songs together to improv and even clowning. Here are five of my favorite things about the show:

After countless hours of rehearsal over many months, All That Jazz, our production with the Naden Band is officially over. I am so proud of our school and the Naden band-of the Royal Canadian Navy - thought I would clarify who they were) for the amazing 2 shows we put on. It's a strange thing to have something we have spent so long getting ready for to be over in just 1 day and now we are completely moving on, it feels all too sudden. That's showbiz I guess. I must admit the nights off since we are no longer rehearsing for the show are nice. Though, we won't be missing musical rehearsals for too long; we startDisney's Beauty and The Beast rehearsals Saturday! But, like I was saying, this is the last week of real school where we have our final handwritten assignments due (and a lot of them!). It's nice to have those nights off to finish homework or get a few extra hours of sleep, even if we do miss rehearsals.

Coming up March 24th and 25th, we have the theater club's first short play festival. Completely student run, this festival will showcase published plays as well as two original student works. These plays are performed, designed, and directed by the students. As one of the student directors, I can't begin to tell you about how proud I am to be a part of this festival. This is my first time directing outside of classes and I am absolutely thrilled to be directing Smitten written by Mark Harvey Levine. The entire experience has shaped me as a director, actor, designer, and even an audience member. It has definitely impacted how I will look at future productions and has given me even more respect for the various positions involved in making a production happen. Let's meet some of my other fellow directors shall we?

I was the assistant sound designer and the sound engineer for Auburn University Theatre's production of The Drowsy Chaperone. My duties ran from paperwork, to recordings, to sound pick-up, load-in, running the show, and strike. The sound designer was Anthony Narciso, who we have hired three times previously to design sound for our shows. I am still amazed at how much he can teach me, and how much I still have to learn, regardless of how well I'm doing at sound at the moment. There is never a moment when I want to stop learning about my field, or really when I want to stop learning in general. There is always going to be someone out there who knows more than I do, and it's not as threatening as it may seem. It's a challenge, yes, but also a wonderful experience of sharing and collaborating with what we know. I'm happy to announce that now I know what microphone Mariah Carey wants for her performances, and I know why she wants that, and why it matters. I can tell you what a line array is, and I've learned so much more about EQ than I thought I was going to during the run of The Drowsy Chaperone (like how bringing down a frequency will notch out those harsh 's' sounds, and how I should always cut out the low end of the frequencies).

Broadway shows are amazing, and if I could I'd see one every day. But since I'm a student on a budget, I have to keep my eyes peeled for more cost effective ways to see theatre in NYC. Here are my tips:

With less than 7 days left until opening of 'All That Jazz,' our big concert with the Naden Band of the Royal Canadian Navy, the excitement within the school is practically palpable. We now have had our very first full run through of the show with most of our costumes, and though there are obviously still some rough edges (like any show would have with their first full run), everyone finally got to see the bigger picture as a company, and after seeing everything we have accomplished over these past few weeks, we should all be so proud of ourselves. I know I am sure proud of it and everyone who's been pouring every bit of their time and energy to make it become this incredible show. The high level of performance that is starting to shimmer out from inside each of us is breath-taking to see. Everyone is starting to shine from excitement, I can see the little glimmers sparking behind their eyes, and I'm looking forward to seeing those sparks really begin to ignite day by day as we reach our peak at Naden.

Today begins a new blog by Joscelyne Tamburri, a Year I student of the Canadian College of Performing Arts (CCPA). The college is one of Canada's top training centres for students looking to train for a career on stage, screen or in the recording studios.

Upon the embarking of tech week and opening the production, I had the pleasure of talking to two of the people responsible for creating the hideaway and the world of The Nether. I spoke with the sound designer, Alec Smith, and the set designer, Andy Esborn. They allowed me to pick their brains for a little as I learned about their position and their inspirations for this production.

As artists, actors, and overall human beings, we receive rejection all the time. But how we deal with rejection...that's an art. Rejection 101 isn't taught in any major perhaps because it cannot be defined or streamlined. Everyone deals with rejection differently. I asked a few artists that I look up to how they deal with rejection, in hopes that their methods inspire me to try something new:

It's that time of the semester! The first week of March transports the Bucknall theater at the University of New Haven to Jennifer Haley's cyber world of The Nether. I was lucky enough to get an exclusive first look and talk to the cast about what the process has been like and what you can expect when you come to see the show. Let's find out what they have to say. Shall we?

I recently had the pleasure of joining classmates in the participation of the 49th Annual Kennedy Center American College Theatre Festival for Region 1. I found myself immersed in a world of talented future theatre professionals and current professionals that helped to mold my experience and bring me one step closer to accomplishing my goal.

If you've been living under a theatrical rock, you may have missed the Ghostlight Project, a national movement to pledge or reaffirm diversity and equity initiatives by artistic communities that launched on January 19, 2017.

Last month, my sister and I attended the third and final day of BroadwayCon 2017. We had such a great time all day, but here are the highlights of our day:

For those that don't know, I personally identify as a 'techtor'. This term came to me one day when I was scrolling through Pinterest. It means an actor who is also a techie. Most people will pick one or the other and solely focus on one. That is honestly great for them. I, however, find that I am not alone in my adventure to learn everything. Several people that I've worked with are actors that also do tech or are techies that also act.

After receiving a new script and knowing what you have been cast as, the first thing actors generally do is look through their script and identify their lines. If you are worried about learning lines quickly, here are some tips that have helped me learn lines quickly.

The Westside Theatre pulsed with hip hop music and glowed with the neon lights on stage. Did I come to the right place or was this a club? I settled into my seat, ready for this one act ride.

Content warning: This article describes art about sexual assault.

It's everywhere. Body Positive ads and videos work its way into the media on practically a daily basis. Stores are expanding the sizes they carry, girls are encouraged to embrace their curves, but all the same a photoshopped fantasy takes over our minds thinking what the ideal image is. I decided to take a look at how this affects the theatre world that I am so blessed to be a part of. I surveyed one hundred random, anonymous participants. The survey was distributed to several different theatre pages on social media where participants have a wide range of experiences and opinions. I also had the pleasure to interview Michael Kennedy (a student at the University of New Haven), Stephen Sheperd (a recent alumnus of the University of New Haven), and Diana Dart Harris (a professor at the University of New Haven whom has degrees in both dance education and exercise science).

I bet you think I'll say 'built in friends' or 'fun classes' or 'hanging out in the green room' or 'doing shows,' and while all of those things are great and mostly true, none of those things are the best thing about being a theatre major.

A big part of show business is typecasting. There are 'types' that people fall into. These can be based around age, race, gender, and personality. Some people this as an opportunity to play to their strengths. I once participated in a workshop where the instructor told us to 'know our types'. He then began to call people out one by one: 'You're a Fierstein. Try looking at Edna Turnblad or Tevye.' 'You're a Broderick. Look at his roles.' 'Streisand. You have a lot of options for material.' He compared us to already well known household names in the theatre world. What about embracing who you naturally are? Why be the next insert celebrity here , when you can make a name for yourself and be original? There are stock characters that people naturally gravitate towards with ease whether it be by look or by personality, but if people get locked into these types it begins to be all they are seen as. To some people, these types can be seen as limiting. There's not much variety in roles if they play the same kind of part over and over. Actors should try to expand their range of roles when possible. The popular belief of what is attractive doesn't necessarily need to be the leading players driving the action, but just because someone who isn't conventionally attractive drives the story doesn't mean it is an ugly duckling tale. Dramaturgy also comes into play if a character description is explicitly influencing the script. That being said, I've seen several productions where the characters look phenomenal. They are a perfect depiction of how the story describes, but the talent was subpar. It was very clear that a different person was a much better fit, though they might not have been the perfect image. This idea got me thinking: Just because you look the part, does that mean you deserve it?

Earlier this month, I saw Natasha, Pierre, and the Great Comet of 1812 on Broadway with my mom and sister. It was unlike anything I've ever seen on Broadway-or anywhere-in the best possible way. Here's a list of my top three favorite things about the show:

Going to the theater is the best study break in the city. For a few short hours, the stress dissipates and you get lost in stories that actors pour out in front of you. Spontaneous excursions to the theatre have become the occasional treat that I greatly enjoy. After seeing seven shows this semester, a few have stuck out in particular.

Ah, New Year's Resolutions. I make these every year and I dread them every year, mostly because I know the lifespan of these promises might not outlive the month of January. However, this year, I am taking a different approach. Maybe it's because I'm smack dab in the middle of senior year and I'm really feeling that 'transitional life change' crisis, but I've been getting really inspired lately. For 2017, I'm creating artistic New Year's Resolutions where, if I (hopefully) complete them, the principle of each can translate to 'real life' (whatever that is).

I know it's been a couple of weeks since I last posted!! I've been very busy with exams, but now they're done!