Notes from the Director are often included in the program for a live theatrical event to add context to the evening and to personally connect with the audience, beyond what's on the stage. Here are some notes I've written for productions I've directed—Big Fish, Miracle on 34th Street: A Live Musical Radio Play, The Rocky Horror Show, and Honky Tonk Laundry.

Richard O'Brien's The Rocky Horror Show

I would like—if I may—to take you on a strange journey. How did a subversive, sci-fi rock 'n' roll sex musical comedy take London by storm, bomb both on Broadway and in it's initial cinematic release, become one of the mega cultural landmarks of the twentieth century, with hoards of devotees still screaming "Slut!" and "Asshole!" at midnight movie screenings nearly 45 years after it's creation?

As with anything worth while, it happened slowly—in the back row, at the late night double feature picture show... 

Richard O'Brien's The Rocky Horror Show endures to this day not only because of the interactive midnight movie screenings that have offered a sort of a community for outcasts, weirdos, and "Others", but also because the score is spectacular, the book is tight, funny and bizarre, the underlying message of allowing yourself to give in to your deepest desires still resonates with audiences today—and most importantly, it's really fun.  Since the midnight shows caught on, the play has enjoyed several high-profile productions around the world, a Broadway revival in 2000, and most recently a made-for-TV movie on FOX, starring Laverne Cox as Frank. Pretty impressive for a little rock musical that initially failed in America. 

I'm thrilled to be directing this brand-new production for Theatre Under the Stars with an all-star cast of Houston's finest. So, if this is your first or 1,000th time to accompany Brad and Janet on their strange journey, you are welcome.

Have fun, keep your wits about you, and give yourself over to absolute pleasure—you'll be glad you did.

Big Fish

My Dad loves to fish. 
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Growing up, he would take me and my two brothers fishing every weekend during the summer. In hindsight, the quiet time spent in the boat soundswonderfully peaceful— however, at the time, I was bored out of my mind and probably acted like a brat. To entertain myself, I brought along books to read or gamesto play—Dad even got me a camera to take pictures, in hopes that it would stimulate me and help me feel included.

We are different in every way—he loves the outdoors and was an athletic teen...I love the indoors and still don’t know how to throw a football. But through it all—he never let me forget how much he loved me. The feeling was mutual. 

Though life with my father was and is largely drama free, and therefore not a true comparison with Will and Edward in Big Fish, it’s impossible to work on this musical and not think of him and our relationship.

Expertly written by John August and Andrew Lippa, Big Fish is about many things: growing up, family, storytelling, legacy, love, life, and death. What is left behind after we go? How does a hero live on? What makes a good father? How does it end? Well, it’s a surprise ending—I wouldn’t want to ruin it for you. 

Above all else, Big Fish is a joyful, fantastical and moving musical, lovingly produced by a stellar company of local actors, musicians, and designers. Thank you for joining us for the grand finale of Stages’ 2015 -2016 Season—I promise, you’ll be glad you did. Sit back, relax, and get ready for the story of a lifetime! To what’s next...

Miracle on 34th Street: A Live Musical Radio Play

There’s magic and miracles all around us, everyday. Especially in the theatre. (And if you’ve ever worked in theatre, you ABSOLUTELY know this to be true!). 

Every time we come together for a show, a little family forms—actors, production staff, and you. I think that’s why I especially love working on shows during the holidays, as it amplifies that familial feeling. I consider the connections made in the theatre mini-miracles: when I met Kendrick Mitchell (Fred in tonight’s show) on the first day of college? A miracle. When I was in my first professional show at TUTS in 2007 with Kevin Cooney (Kris Kringle, making his Stages debut!), who’s kindness, professionalism and demeanor on and offstage remain an inspiration for me to this very day? That’s a miracle too. Or the first time I saw Courtney Markowitz (Doris), Carloyn Johnson (Miss Prong, and others), Jackera Davis (Susan), Kenneth Simmons (Mara and others) and Ben Miller (Announcer and others), either in an audition or in aperformance? Miracles all! I believe in miracles, which comes in handy when you’re directing a play titled Miracle on 34th Street: A Live Musical Radio Play!

It’s the classic tale of believing, faith and miracles as told through the unique lens of a live radio broadcast, complete with live foley (sound effects) AND live studio audience (that’s you!). Ifyou’ve never seen a live radio play, you’re in for a real treat. It’s been such a rewarding, technically demanding joy working on this show. I couldn’t have asked for a better team to explore this piece with than our cast, crew and production staff. Thank you, all. 

‍Miracle on 34th Street is a perfect candidate for the live radio play treatment, in that the story asks the same of its characters AND audience...simply, to believe. The performances require a form of active listening that is almost lost to modern audiences. There is magic on stage tonight, if you only believe.  I believe in miracles. I believe in magic. I believe in our fabulous company. And I believe in you. Thank you for being a part of our family, and for being a part of our Miracle. Have an amazing time, and enjoy the show!

Honky Tonk Laundry

“Home is where the heart is.” 

I’ve been thinking about this phrase a lot recently. Not only is it actual dialogue in and the unifying theme of Honky Tonk Laundry, it’s also a sentiment that I’ve been feeling the past few months as Stages has moved into our glorious new complex, The Gordy. It’s been thrilling and inspiring being on the front lines to see this transformation take place.

I started working at Stages in 2011, during the run of the original The Marvelous Wonderettes. The first musical I ever directed was at Stages in2012—Roger Bean’s Life Could Be a Dream. It’s only fitting that nearly 8 years later, for the first show on the Rochelle and Max Levit Stage, Roger’ swith us again with Honky Tonk Laundry, a joyful musical that celebrates country music, friendship, and yes...even home. 

I consider myself extremely lucky to get to collaborate on this fabulous show with amazing people. Brooke and Holland make coming to work an absolute joy...they’re the Real Deal, and continue to inspire me every day. We’ve also been lucky to have Roger in the room throughout rehearsals—his loving, funny and calming nature, paired with his insightful tweaks and edits to his script, have been invaluable, and I’m so glad he was on hand as we launched his play in our new space! In addition to the steady hands and ears of Steven Jones, our inspired design team and the tireless and incredible production staff here at Stages, we couldn’t be in better hands. 

Stages is home. It’s been my home since 2011. Just like Lana Mae and Katie find home in each other and at the Wishy Washy, thank you for making a home with us at Stages—we’re so glad to have you. Smile, and keep on alookin’. Enjoy the show, and come back and see us at the Wishy Washy real soon!

Dear friend, 

I love the holidays at Stages—I love the decorations, the families in our theatres, popcorn and British candy in the lobby. It also reminds me of the first time I ever saw a show at Stages: Panto Cinderella in 2008. I was a junior musical theatre student at Sam Houston State University and had several friends in the show (which I later learned was one of the first official performance internships between Stages and SHSU). That memory is so clear...experiencing a theatrical form for the first time (British Pantomime), feeling proud that I knew people on that stage and marveling at the community that Stages provides. Little did I know then how much influence Stages would have on my life.

A year after I graduated from college, I was hired as Stages’ Artistic Associate, where my role includes working with Artistic Director Kenn McLaughlin on season planning, directing one or two shows each season, helpingcreate some of our institutional communications, and more. In the seven seasons since I started here, I've experienced so much joy through Stages: directingand choreographing my first musical (Life Could Be a Dream), meeting my husband, seeing this organization grow and blossom. The incredible community of artists, audiences and advocates that surrounds Stages creates a special kind of magic—a spirit—that’s unlike anything else I’ve experienced. It’s that same spirit that helps us find our way through the inevitable rough spots that come with producing live theatre.

Here’s one behind-the-scenes challenge that I’ll never forget: We were nearing the end of the tech process for Big Fish in 2016, and it was a giant show for Stages in terms of scope and technical production. We made it through the first preview performance, still with plenty of work ahead us, but excited to finallysee it in front of an audience. Then one hour before our afternoon rehearsal leading into the second preview, we were hit by a perfect storm of technical difficulties: our light board failed, losing 80% of the light cues along withthe backup. It was a devastating moment. Weeks worth of work were suddenly gone, with a preview that night and opening the next. We briefly grieved, then in true Stages fashion, we closed ranks and got right back to work. After the preview that night, myself, Kenn, the lighting designer, and all the production crew and staff who were able stayed at the theatre into the wee hours, re-writing every light cue we lost. All things considered, it was a surprisingly joyful evening, full of hard work, pizza, and a lot of camaraderie and encouragement. The show opened the following evening (with a full and complete lighting design), and went on to have a hugely successful run. It'sthis "can-do" Stages spirit that saved the day for Big Fish and that runs through the heart of every show we produce. 

One of Stages' core values is generosity, and I am the poster child for that value in action. It is because of the generosity of Stages’ staff and organization that I have been able to grow as a director both at Stages and at other amazing institutions in this city, including Theatre Under the Stars and Houston Grand Opera. Stages is generous with its time, art and community, and I am a better human for working here. None of this would be possible without the support of our community. You. You make this happen, you make this possible, you are the reason why we do what do. I hope you'll consider making a donation to help Stages continue doing this work and creating opportunities for artists in Houston. I can't wait to see what the future has in store for us, and I'm especially excited to share what we’ve been working on for Little Shop of Horrors and Murder for Two, both of which I'm directing in spring 2019. Thanks for your generosity, and thanks for being part of our family, our community, and the Stages spirit.