Showing posts with label acting. Show all posts
Showing posts with label acting. Show all posts

07 September 2025

25 Years

This fall is the 25th anniversary of me starting ballet classes. That means I've officially been performing, in some form or another, for 25 years.
 
Especially in dance, and especially for a 'late starter' like me (I was six), 25 years is fairly monumental. Dancers often age out in their mid to late 20s, so for me to still be going is a blessing I don't take lightly.
 
Don't get me wrong, I feel the years a bit. My back has never been the same since my work injury in 2023, and my ankles are often grumpy in the mornings. But I have a HUGE body of work to look back on, and for the time being, I'm still able to add to it.

I'm currently working on a (non-dance) project that chronicles every show I've ever performed in or choreographed for, and so far there are over seventy-five shows represented.

This has made me look very hard at my constant feeling that I don't know what I'm doing. Imposter syndrome has been a thread throughout my entire life. In everything -- school, chores, work, performing -- I have always felt like I wasn't meeting people's expectations of me. And sometimes this perception was enforced by instructors. My childhood ballet teacher literally told my parents that I would likely get a failing grade on an upcoming RAD exam (I passed that exam with my highest score ever, probably because my parents chose not to tell me what she had said till months afterwards). More recently, my college professors would tell me to my face at least once a week that I 'wasn't even trying.'
 
I've mentioned before how I literally made it my goal in my final year of college to practice myself to death, (and almost succeeded) and the reason I made that goal was to prove, once and for all, that I actually was trying (spoiler alert: as far as I know, that professor still doesn't believe I was trying despite me turning in practice logs of 60+ hours weekly, despite my frequent hospital visits because my body was disintegrating in the wake of the effort I was putting in, despite me being the only one from both of my graduating classes from that college still actively performing). Even though I'm no longer actively trying to practice myself to death, the same feeling of inadequacy that drove me to make such an unthinkable goal still lingers in the back of my mind every second of every day. Living in a tiny, artless, colourless, forgotten, literal-hole-in-the-ground desert town has only strengthened that feeling of falling behind... the lack of artistic opportunities make me feel like the few meagre skills I had managed to cobble together are atrophying.
 
But then I look at my list of shows for my project, and I see how I did four shows in 2024 alone, and have added six shows to my résumé in the first eight months of 2025. I'm getting opportunities. I know what I'm doing, and I know how to learn new things.
 
Maybe I'm not the lazy failure that my professors, the church, and my extended family made me out to be. I have 75+ shows and 25 years on a CV that say otherwise.

23 February 2025

Creative Residency Update

I'm now two months into my God-sponsored creative residency.
 
I'm over three-quarters done my next major dance work (Smaller).
 
I've managed to get into four shows so far this year, with two more pending.
 
I've read three books so far.
 
I've started drawing in earnest, especially in these past few weeks.
 
I've done a lot of cross-stitching (on both my theatre jacket and my husband's).
 
I've noticed my memory is getting stronger. I'm in my biggest post-pandemic acting role yet, and... I wasn't even the last one off-book. It feels -- at this exact moment, anyway -- that maybe I can still have a viable theatre career despite everything. And maybe I don't have to destroy myself to do it... theatre is no longer my only reason for living. It's a huge part of keeping my mental health in shape and it still brings me much joy, but I don't have to be in four shows at a time to earn the privilege of breathing oxygen.

When there are no shows, I can spend time with my husband, and I can draw, and I can read. I also discovered the Sims, and that's the first computer game besides Spider Solitaire, Ultimate Yahtzee, and Minecraft that I'm both competent in and actually enjoy.

I have been very productive (see above), but I have also managed to learn to ACTUALLY relax, for possibly the very first time in my entire life. I'm a little worried about how re-integrating into the workforce next month will go (especially with my two biggest shows of the year so far ramping up around that same time), but these months off have been a much-needed break so far. I don't think I have properly let my mind, soul, and body rest since I was 18 years old. That was... well over a decade ago. I still wake up in the morning and have to consciously remind myself that I don't have any looming deadlines or responsibilities that day and that I can relax.

I do wish I was doing more creative things sometimes, but at the same time, I'm happy with what I've accomplished so far, and am happy to carry that momentum forward.

I'm also somehow less stressed about money? I did apply for (and receive) unemployment benefits from the government and what they're paying me is comparable to what I was making, but somehow we don't seem to run out of money as quickly. I don't know if I'm just less stressed in general which is carrying over to our finances or if we're being more responsible, or what, but I'm not going to argue. I'm just hoping that peace continues even after I go back to work.
 
The only thing I haven't done yet that I still want to establish before I go back to work is a dance studio. I want to start ACTUALLY moving my body again. I can feel it locking up, and I hate that feeling. But the only way out from stiffness is to get moving.

13 August 2024

Things I Did At Thirty

I never thought I'd make it to thirty. And then when I did get to my thirtieth birthday, I mostly felt washed-up and useless.

If you are coming up an thirty and are feeling the same way, let me tell you that your life is NOT over yet.

After my thirtieth birthday, I...

- Choreographed my first full musical production.

- Submitted a dance film to a major film festival.

- Finally made a sorely-needed career change.

- Made yet another dance film -- my favourite so far.

- Auditioned for four things -- the most since the pandemic, and impressive when you consider the real lack of art in my general area. Was offered a role for two of them.

- Got into a different show without an audition.

- Almost finished rewriting the first half of my novel for the second time.

- Got two crochet commissions.

- Started streaming.

- Started drawing (mostly pencil crayons).

- Injured my back to the point where I could not walk... and then rehabilitated it to the point where I can dance again.

- Acquired three more houseplants (that have survived. There was also a lavender tree that died a very dramatic death almost immediately after purchase).

31 December 2022

2022 Goals Retrospective

I feel more satisfied about 2022 than I have about any year since 2018. I would not yet say I'm in top form yet, but I'm closer than I was.

This year, I...

- choreographed 24 pieces. My goal for 2022 was 14. I literally doubled my output from 2021.

- got 35k into revising Kyrie. The thing I'm most glad about here is how not-overwhelmed I feel about it. For eight years, I would try to revise this novel but my brain would go into nuclear-meltdown mode within literally ten minutes. This year I spent three months making a timeline, then started rewriting entirely from scratch. And we're still going.

- made a Ko-fi page for artistic income... and got my first donation.

- wrote my first poem since before my cousin died in early 2015.

- took an online tap class in which I learned some historical repertoire AND took a summer dance intensive.

- did live improv tap dance for the first time ever and loved it.

- wrote a 50k novel in November.

- performed in two theatre shows.

- got my first paid acting gig.

In many ways, I feel like I didn't do much of anything this year. These were all small changes that (aside from the dance classes) took maybe twenty minutes out of my day, but that was the point. I knew I didn't yet have the mental strength to overhaul my entire life, so I dedicated myself to shoehorning artmaking into my days as they already were, just enough so that I wouldn't lose my skills. It really doesn't feel like I've done much, but I look at this list of things I accomplished in just 365 days and I'm surprised at how big some of these things really are. A full novel? A paid gig? 35k into a project that stymied me for nearly a decade? Twenty-four pieces -- over an hour and a half -- of choreography? At least half of the things I accomplished here were not on my original list of goals for 2022, and all of the rest -- save NaNoWriMo -- were achieved in ways or to an extent I very much had not expected.

All I hope for is for this to double again in 2023. I would be completely happy with that.

21 November 2022

New Professional

 Last night, I officially signed the contract for my first-ever paid acting gig.

It's such a surreal feeling. It's an honourarium (plus transportation costs) for a small local show, but it's still a paid gig. This is exactly the thing I was striving so hard for between 2018 and 2020; the thing that literally every performing arts authority at college said I would never be good enough for.

I have officially exceeded their expectations of me. And I'm only going to go farther.

This wasn't a fluke either. I have worked with this director before (as an ensemble/nonverbal character actor), so he knew exactly what I'm like to work with -- and still hired me. (This was something that my college professor was VERY clear on -- that nobody would want to work with me because I 'don't take direction well/am too stubborn.') Not only did this director hire me, he gave me a character with lines. I would also like to point out that I did not audition for this role -- I was personally invited by the director to be a part of this production.

This show is a production associated with a MAJOR annual summer production that is known internationally (that I've also been in twice now). It's a smaller show that they've never done before, but it's well-known that the venue wants to make this production an annual one as well. The show is already completely sold out.

So I guess if being paid for my work makes me a professional (I know it's attitude more than money that makes one professional, but it seems nobody outside the industry knows that), then that means I am OFFICIALLY a professional actress.

And everybody who said I couldn't do this was -- as I suspected -- extremely wrong.

02 July 2022

Semi-Annual Update

Thought I'd do an update on my goals for 2022. The National Choreography Month update is here, but for the rest, read on.

- 14 dances in 12 months.
Just finished the fourteenth dance yesterday, 1 July. My subgoal of this was to choreograph at least sixteen counts every single day this year. So far the streak is unbroken -- yesterday brought it up to 182 days. I'm currently trying to decide what song to do next. I still plan on choreographing sixteen or more counts every day this year, and now my motivation is to see just how much choreography I can do in a year at that pace. Sixteen counts is a challenge (but not an insurmountable one) for choreographing tap dance, and it's a breeze for a moderate-tempo ballet piece. I seem to be alternating between choreographing ballet and tap, which is keeping the challenge level up but also balancing it with some-lower brainpower times. I think (hope) it's keeping me from burning out. At least, it seems to be working so far.

- Publish the Patreon.
I had a launch date set and everything. I had even cleared it with my husband's caseworker, which I thought was going to be the worst part. And suddenly I wondered if I was ready... if I could justify asking people for money for something I have not properly done in years, if I could make it worth their money. I am now focusing on re-building who I am as a producer and artist, strengthening my work so they can feel confident that I and my work are things worth investing in, especially with the cost of living as high as it is.
I'm doing that by forging on with producing the dance film I want to do this summer. I am also currently performing in an internationally-known show, so I've been doing promotional posts for that on my social media, reminding people that I am back and I am still doing this.
I'm also praying a lot about this. My dad and I had a long talk when I last visited my parents about God's timing, and this has been a big factor in my decision to hold off on this for now. I'm not convinced I'm in God's timing if I publish the Patreon now. It may still work out, but perhaps not as well as if I wait -- however counterintuitively -- for Him. It's hard... I haven't listened to God in close to eight years, and I'm not sure I remember what He sounds like. I'm not quite sure if I'll know His voice when I hear it. I'm hoping He has somebody (who doesn't know I already have this set up) literally tell me I should publish a Patreon, otherwise I'm not sure I'll catch on.

- Take some dance classes.
In January, a well-known figure in the tap dance world (who I auditioned for an age ago and follow on Instagram) contacted me saying she was running a rep class right at my level and would I be interested? She was willing to work out a payment plan. So I got to participate in the class -- learned so much about both myself and the art form -- and have already registered and started paying for another class session with her (takes place later this summer). I would still love to audition for the ballet company in the closest city for the 2022-23 season, but the fees are quite high (I would use Patreon to cover this, but see the discussion above about God's timing).

- Make at least two dance films.
This was supposed to be done by the end of last month, but I chickened out. After the projected film date had passed, I contacted the dancer and asked if she was even still interested. She was, so I sent her the choreography and she's currently rehearsing it. My job is to develop my character's costume, buy a fill light, and pick a shoot day/location. I have a couple ideas for the second one, but I'm trying to really focus on this one first.

- Do a live performance of my choreography, somehow/somewhere.
This is kind of on the back burner for now. I would busk at the farmer's market, but that currently runs the same days as the show I'm in for the next month.

- Actually (re)learn some of my pieces. Make a rep-building schedule and stick to it.
Struggling with this one yet again, for the same reason. It's just not fun to re-learn old pieces (says ADHD). Haven't figured out how to make it fun yet. I've relearned Emotional Tourist and half of two other pieces in spite of myself though.

- Busk at the farmer's market.
See above. I NEED to learn rep for this to happen, but I just... can't. It's so frustrating.

- Do at least one theatre show.
I guess you already know how that one's going. This is my first full show since February 2020. It's been rough but mostly due to administrative issues. The actors are great, and the show itself presents beautifully. I'm proud to have my name attached to it.

- Continue posting on this blog.
A little disappointed here, but not overly. The lack of posting here is because I'm putting in so much work on choreography, performance, and writing. At least that time wasn't spent scrolling social media.

- Do NaNoWriMo again.
We'll see come November. I'd still like to do this. I'm thinking of some kind of space story, but I haven't figured one out yet. There's one in my 'story ideas' file, but I'm not sure that's the one I want to do yet.

- Publish a short story.
This is way on the back burner for now.

- Write a short story in German.
Also on the back burner. Still learning German, but I've taken the pressure of writing a story with it off myself for now.

- Actually finish a Kyrie revision.
Believe it or not, this might actually be the year. I am some 10k words deep into this thing (the farthest I have ever gotten), and have managed to put in at least a couple sentences of work almost every day since 30 April. Having a timeline of events have helped infinitely. (Also watching a good friend of mine publish her own book and wanting to have that experience is a good motivator right now too.)

- Be more intentional about reading the Bible and praying.
Currently in a dry spell here, but this was going decently well. I've found that walking to work is a good time for praying, so at least I pray a little on the days that I work. Still haven't figured something out for my days off though.

- Pick up an instrument.
Back burner. Mostly pending money.

- Save up a $1000 emergency fund.
Not quite halfway there.

- Make myself a sweater.
I think this might be a winter project. It's so hot here in the summers that the absolute last thing I want is a heavy sweater on my lap while I work on it.

- Make birthday presents for my siblings.
I am three siblings behind. One is in progress. One I have an idea for. And one I have no idea what to get her.


Overall, I'm proud of where I am, especially in terms of the daily choreography streak and the Kyrie revision. I'm happy with how I've prioritised this list -- there's nothing on the back burner that I regret putting there. Once this Kyrie draft is finished, I'll pull something off the back burner (maybe publishing a short story?) to replace it while I wait for beta reader feedback. That'll be a while yet. I am intentionally moving slowly with the rewrite so I don't fall into the 'quantity over quality' trap and have to rewrite the thing again.

Also, I think while writing this post I may have picked my next song to choreograph. Let the streak continue!

21 January 2020

The Curly-Haired Man (My Side of the Story)

My fiancé discovered my blog, noticed a lack of posts mentioning him, and insisted I write about how we met. I did actually plan to do a post about it, but my depression (as well as my lungs) hit an all-time low and I am still honestly having a hard time getting out of bed every morning. I'm still feeling pretty hopeless and abandoned by God. But my fiancé insisted, so here we are.

(For his version of the story A.K.A. the Cliff's notes version, click here.)

It was during my first show back in Alberta after graduating college. I stayed in Saskatchewan and finished out two other shows (Jesus Christ Superstar and The Sound of Music), then, two days after Sound of Music closed, I packed my entire life -- three years of hopes and dreams -- into my Chevy Uplander and drove seven hours to a new life in Alberta, in a city that I had only seen twice in my life and never lived in. I had a rental place and one show lined up and nothing else. No job, nothing.

As I've mentioned in earlier posts from 2019, I had planned to make my life in Saskatchewan for several years after graduating. I had already made a couple inroads into theatre there and most of my friends were there as well. But in the course of three or four days, all of my plans for Saskatchewan fell through entirely. I had the one show lined up in Alberta... I had almost backed out of it because I had planned to stay in Saskatchewan but I had procrastinated on actually sending the email telling the people in the Alberta show I was backing out. When everything fell through and I made the decision to move to Alberta, I emailed them asking if I could join rehearsals late (as I was in Sound of Music until mid-June). After a week of deliberation, they said I could join late. I would be joining during rehearsal week five out of ten.

I moved to Alberta on 11 June and reported for my first rehearsal on the 15th. The venue was rather farther away from my city than I thought it was, and I ended up staying in the private campground reserved for the actors (rehearsals and performances took place on a massive outdoor amphitheatre). I didn't bring a tent because I despise camping. Instead, I still had my little mattress that I had bought in Saskatchewan sitting in the back seat of my van, and my plan was to simply sleep in the van, on top of the mattress.

During the first day of rehearsals, it somehow came out to some of my castmates that I was planning on sleeping in my van. But before I could explain that I had a mattress and wasn't just sleeping on a bench seat, one woman maybe ten years older than me insisted that I stay the weekend in her camping trailer. I tried to explain, but she would not hear of it -- "you are not sleeping in a van." I accepted the offer, feeling it would be impolite to refuse her kindness. She said her son was usually with her, but he happened to not be there that weekend so she had a bed free in her trailer.

At the time, I was extremely depressed, having been told repeatedly throughout the previous year that I was worthless as a performer. This was the last show I had lined up, and I had prepared to quit performing entirely. I was also by this time starving myself in an effort to hasten my end. My life was ending -- performing arts had been all I had and without it there was no point in eating to prolong it. My plan was to die very shortly after this show ended.

As such, I was not doing a lot of socialising. Usually I'm fairly quick to make friends or at least talk to people during rehearsals for shows, but my bitterness and my fast-approaching death sucked away all my motivation to do so here. I deliberately isolated myself, telling myself that nobody here would really want to talk to me once they knew the real me -- which they would know real fast once I started talking to them because I apparently have this horrible habit of 'oversharing.' My plan, therefore, was to not talk at all. Nobody wanted to hear it, so I wasn't going to share it.

To that end, I brought Lila, my faithful word processor, to the campground with me. I had intended to sequester myself in my van and work on the Kyrie revision. I brought her with me to the trailer. My host went to the washroom building to shower, and I pulled Lila out of my backpack and put in the key code. She returned an error message. I turned her off and tried again. Same message.

A quick Google search (on my phone and 1GB of data) suggested that her memory was corrupted and she was gone for good. I emailed the address provided in her error message, then set her aside and began to mope, sliding into the abyss of boredom and subsequent despair. Lila had been with me for nine years. I haven't even been friends with any humans that long. It was almost like another death.

My host returned. "They're playing some games in one of the other trailers," she said. "I can introduce you to them if you like."

"No," I said. I was too listless and depressed and had no interest in being around people who would inevitably think I was too much if they knew anything about me. She accepted my answer and engaged me in conversation. I did try, though I'm sure my responses came off as somewhat anaemic. After some time, she said, "Come; I'll take you to that trailer and introduce you." I agreed, telling myself it would be good to at least learn more names.

She led me to a tiny refurbished 1970s trailer about the size of a postage stamp and ushered me inside. I found myself in the middle of a dozen people crammed around a table, on a bed, standing on the two square feet of copper and beige linoleum available for standing on. I was offered a chair -- which I declined -- as well as food and a spot at the game table. I declined the latter as well, but ate a couple bites of something, I don't remember what. A man with a red beard stood in the centre of the tiny trailer and said, "This here is Betsy," sweeping his outstretched hand around the air above all our heads, indicating the trailer itself. Everybody introduced everybody else and I somehow managed to more or less retain all the names coming at me.

I leaned against the counter -- there was nowhere else to be, and I didn't feel comfortable sitting and taking up so much space that way. I was coughing a lot due to my ongoing lung issues, and a curly-haired man with with a handsome beard and an orange hat put his hand on my shoulder at one point. "Don't die," he said. I gave him a very brief overview of my lung situation (this particular coughing spell became pneumonia by the end of the show's run).

Throughout the night I noticed the curly-haired man seemed to look at me a lot and I suspected he was flirting with me. But, unpracticed with men as I am, I didn't dare jump to any conclusions. He wasn't making me uncomfortable, so I stood where I was and observed his behaviour. I was suspicious enough of his intentions by the end of the night that I texted my best friend about it before I went to bed that night. She told me not to freak out, and I tried my best to take her advice.

The next day, we were rehearsing in a large tent due to weather, and the curly-haired man came up to me and flicked the brim of my sunhat.

"Hello," I said, too taken aback to think of anything more eloquent.

"Hello," he said with a smile.

Over lunch I texted my best friend about the incident and she said, "he's into you. Guys don't flick girls' hats if they're not interested in them." I began to freak out a little bit. I couldn't deny I was somewhat drawn to him, but after a previous bout of male attention I'd gotten during a show the previous year, I had made a rule that I don't date guys I'm currently in a show with. If they are still willing to pursue something after the show closes and we're not spending sixteen hours a week in rehearsal together, that's fine, but I was absolutely not interested in dating someone only for the duration of a show's run again. To be getting this kind of attention from a castmate again unnerved me.

As rehearsals progressed, I continued to find myself drawn to him, despite my repeated attempts to deny it even in my own head. Every move I made was soon calculated to be near him as much as possible without it looking like I was trying to be near him as much as possible. (Apparently I succeeded, as he didn't fully realise I was hanging around him deliberately until I told him this after we started dating.) I would watch the entrance to Betsy from the side mirror on my van, and if I saw him go in, I would wait a few minutes, then go in. I never went to Betsy unless I saw the curly-haired man go in first.

During one of these visits, he and I ended up sitting on the bed/couch, in the corner, talking. He told me his entire life story, plus the stories behind all his tattoos -- some three hours' worth of material. I was so fascinated that somebody else was willing to tell me their entire life story, the good and the bad, and drank in every word of it. It was a nice change from me having to bare my soul. I think it was during this conversation that we exchanged phone numbers.

At some point, we developed a pattern of him walking me to my van at the end of the night and giving me a good night hug. I'm not a touchy-feely person, but I was extremely touch-starved and always felt safe in his arms, with my head resting against his chest. I began to look forward to the nightly hugs and would replay them over and over in my head once I was in bed.

Eventually I added him on Facebook... along with about eight other people in the cast so it wasn't as obvious that I was just adding him.

Opening day dawned extremely rainy. Our campground was quite close to the river, and the rising levels were visible to the naked eye. We were told the show would go on that evening, so during the day the cast either hid out in their tents or gathered in the big central tent in the middle of the campground. Several of us spent the day playing card games -- mostly Racko, a game my dad and I have played for years. The curly-haired man sat beside me.

Near the end of the game session, when people were starting to make their early suppers before going to the amphitheatre, my text alert went off. It was the curly-haired man. 'You're awesome,' it said. I wasn't sure how to respond, but eventually settled on 'Thanks... so are you.'

He was called to the theatre earlier than I was to review the stunts. When I got to the theatre for warmup, he met me at the warmup location and we started chatting. He brought up his text to me, then said, "I almost used a different word."

"What do you mean?" I asked.

"'Like,'" he said. "The word 'like.' I like you. You're a cool girl."

I stared off into the horizon, not sure of how to respond. I don't actually remember how I responded. I remember thinking how I had to focus on the show and not the fact that a man I was not willing to admit I was drawn to had just said he liked me. I had never had that happen in my entire life. I'd had guys flirt with me and even take me to dinner, but none of them had ever been man enough to actually admit they were interested in me.

I managed to get through the performance without being too distracted, and after opening night, the production team held an ice-cream social for the cast. He and I sat next to each other and the topic quickly shifted to us, as friends.

"What do you want it to be?" I asked him.

"I'd like to get to know you more first," he said.

I nodded.

"If you're okay with that," he added.

"I'm just skittish," I said.

"Why?"

I told him my rule and the story behind it -- how someone from a show I was in led me on and then ghosted me, and how I later found out he was dating a friend of mine (from the same show) and was cheating on her with me.

"That's wrong," he said. "If you don't want to date till after the show, I'll wait."

I told him I appreciated that, and we continued our friendship. We began texting each other during the week -- constantly. Eventually I texted my dad, letting him know of the developing situation. He and my mother were planning on coming to the show the next weekend and I wanted to hear my dad's impression of my curly-haired friend. I did not, however, want anybody else to know in case it didn't work out, and I swore my dad to secrecy.

That Friday, I admitted to the curly-haired man that I liked him back. I still remember the look on his face. My parents saw the show Sunday and I managed to introduce him as a friend. It raised no suspicions from my mother, as I had so many theatre friends already so what was another one? But I had texted my dad his name, and when I said, as casually as possible, "This is Jacob," my dad caught the significance of the introduction immediately. I managed to draw my mother into a separate conversation as Dad and Jacob talked for a few minutes.

I should mention at this point that what I fell in love with was his tender heart and kind personality. I was actually not physically attracted at all at first -- which was the way I always wanted it to happen. I never wanted to fall in love with a guy's looks; I wanted to fall in love with his heart. I don't remember the exact moment I fell in love with his heart because it happened quite gradually, but I remember the moment I fell in love with his looks...

The dressing room for an outdoor amphitheatre is little more than a shack behind the set lined with wooden benches and covered with corrugated tin. There are no walls except the set wall itself. Jacob and I happened to have claimed spots on benches that were back to back. I could look across and just to the left and see him.

One night after the show, he went to put away his costume, and I hung around on my side of the bench, looking at my phone as I waited for him to come back. I heard him return, but didn't look up until he asked me a question. I looked up and his face was RIGHT THERE -- all hazel eyes and freckles -- and for the first time I felt my heart skip a beat at the sight of a man.

We continued talking through the rest of the show's three-week run -- joking about dating and even marriage, but with the understanding that we were not actually discussing dating until after the show. It didn't stop the speculation among our castmates though... Jacob would come hug me before each show and during each intermission in addition to our ever-lengthening good-night hugs. We began holding hands, less and less covertly. It was little surprise when people starting asking if we were dating, and it became harder to answer that question.

He discovered fairly early on that I was only just eating enough to stand upright, and he used his texting privileges to plead with me to eat (spoiler: he still does).

The night before the final weekend of the run, we got talking about it again. I asked what we were doing, and he said, "It's up to you. I've already told you how I feel and what I want. But I want us to decide together, not just me. I won't pressure you into dating. I'll just wait and not say anything about it until you're ready."

"No," I said. "Let's try it."

But we didn't use the words 'we are dating' until two days later. There had been a situation where our friend group had decided the night before to go out to the dollar store that morning. I had been part of this discussion and was, I thought, part of the invitation. I had no connections in my new home city yet so this was my final opportunity for human interaction. I had told them to wake me when they were ready to go.

That morning I woke at 11, found my curly-haired man, and told him I was ready to go.

"We already went," he said.

It gutted me. I was in a funk for the rest of the day. Another friend tried to cheer me up but I couldn't shake the feeling of betrayal. Finally, Jacob invited me to walk with him and we wandered around the campground. He apologised, explained the reason for the change of plans, and said he had tried to wake me but couldn't rouse me (this was entirely believable as I will probably sleep through the apocalypse). Then he asked my forgiveness. I gave it to him, and the conversation turned to other things, namely, our relationship status.

"What are we doing?" I asked. "Are we dating?"

"Do you want to?" he asked.

"Yes."

"Then we are dating," he said.

And that's how I started dating a curly-haired fellow actor in a show that I almost wasn't in. We are now engaged, set to be married within a year.

It's weird -- part of me never thought I would date anyone, let alone get married. I always thought I would be too much for anybody -- after all, literally everybody in my life up to this point has had that exact complaint... 'you're too much.' 'Nobody will ever love you.' 'You need to be more positive before anybody will want to have anything to do with you.'

How then does a man fall in love with me while I am actively starving myself because I had tried so hard to be positive and make myself fit their mould and I couldn't? Was everyone else lying? Is he sent from God? Both?

It is no exaggeration to say I am still alive today because of this curly-haired man. Recovery is still ongoing, but he is just as stubborn as I am. He wants me to live even more than I wanted to die (which was quite a lot). He is slowly convincing me that I want to live too. I am glad I met him and I am even more glad that we get to spend the rest of our lives together.

20 January 2020

My Fiancé Takes Over My Blog

(Title is self-explanatory. My fiancé and I thought it would be fun to write the story of how we met and publish both sides of it. For the extended version -- A.K.A. my version -- click here.)

Hi, I'm Jacob, Kate's fiance. I'm 6'3" tall, fluffy, bearded man with tattoos.
This is our story from my point of view.

I want to start this story with why I joined the Passion Play in 2019. The whole winter and start of summer I had people say to me that I was happy that I was in the Passion Play in 2016 and that was true but I was not really happy and not feeling God in my life so I just thought why should I even be allowed to go to do something I loved and the people I loved, if He wanted me to join give me a sign and yet they were all around me and I didn't even know it at the time. It was May 17 I woke and still felt that I should go to the Passion Play and I called my mother and asked what should I do about it, she said trust in God and do what He says so I did and I rode my bike to the Passion Play not knowing His plan so I watched the first half of rehearsal and said to myself I'll trust in God and sign up. When I went to sign up my name -- full name -- was signed up for the Passion Play and I asked around to all my old friends and none of then signed my name, so there was a reason for me to join and I had to find out why.


The day was June 15, 2019, it was a nice sunny day no rain in sight that I remember.
It was the start of that week of PP (Passion Play), and I've been doubting God through 5 weekends, asking 'why am I here?'
Right when we start warmup, I see this geeky little girl (remember I'm 6'3), as I said sunny day, but she's wearing a sunhat, jean shorts, pink fluffy legwarmers, and at the time I thought she was wearing a winter jacket. But I was wrong, it was a rain jacket and 2 hoodies. First impression was 'how the heck is she cold?' I'm a hot blooded man, I'm wearing a tank top, shorts, and sandals. I didn't see her again till lunch but sadly I didn't sit with her because I was sitting with friends (this is my second time in the PP).
When I noticed that no one was sitting with her and she was lonely, I got up and put one step in and we were told we had to start up again.
So I was invited to the PP camp site yet I live in the same town as the PP. I was in a camper called Betsy (I am friends with the owner of Betsy). I was invited for a beer and games so I came and it was fun, still doubting God but I listened. After a hour and a half of of talking and not playing the games (I'm not a game player I like watching them though), the door opened and I looked and 2 people walked in. And ding ding you guessed it Sarah was one of them. She walked in the same outfit that I first saw her in. She was so quiet and shy that she didn't say a word, it was weird for me not to say "hi I'm Jacob and what's your name" and there was no answer so I thought to be kind and wait for a little bit and ask again, that didn't happen because I said "does anyone smell gas?" she by accident turned Betsy's gas stove on. After that I said, "There's a spot next to me." She said, "No, I'm gonna go." I said, "Let's talk for a bit before you go." She sat and we talked for an hour. I was the one who started off the conversation with my story (too long to tell, if you want to know ask Sarah-Kate and maybe I'll do a part 2). She was interested in my story of my faith and pain that was night 1 that I met Sarah-Kate.


The next morning I thought to myself why the hell did I share my life story to a girl I don't even know. It's going to be weird seeing her again today (I thought this while riding my bike to the PP). I was fine not seeing her again till lunch (I had a lot to do; I had 6 or 7 roles to do in the PP). I was so busy I didn't have lunch that day. But I was again invited to the campground for games so I went. And ding ding she came back to Betsy, and this time she opened up with her life off faith and pain (if you want to know about her faith and pain just read her blog). I thought it was cool we kinda have a similar story but not the same, but this time it was a longer talk, like 3 hours' worth, but it was weird I walked her to her van where she was sleeping at the time to say goodnight. Again, something I never do.
I didn't see her for another week and yet I missed talking to someone who got a similar story like mine, and yet I was excited to go back this time and I didn't know why.
I started to hang out with her more and more and I felt happy and it was weird, later in our relationship I found out that she felt safe with me, a guy she didn't even know. I got off track -- I felt angry, happy, and sad at the same time that the days were getting closer to the end of PP.

Opening day I prayed for a sign that what she was was a friend, not a girlfriend, but if she was the one for me, give me a sign. That day she asked to be my friend on Facebook. Later again in the relationship she just wanted to add me but thought it would be weird that she just added me and no one else from the PP.

So I took it to God and trusted Him. That day, opening day, I said to her, "I think I like you" and went to do my stuff, thinking she probably thinks I'm a dick for telling her I like her and leaving right after that. Honestly I felt like a dick. The whole show I wasn't in the same scene as her so I didn't feel super bad. She offered to drive me to the campsite and I thought sh*t she's not gonna be my friend anymore. I was wrong. She said she didn't date guys in the same show that she was in, and I said, "I will wait," and we were friends and that was cool. After losing 3 shows due to weather and a tornado warning, the end of the show was here and she and I were sitting in her van, and said "well, it's the end of the show, what do you think?" She said, "about what?" Then I told her again that I liked her and what she thought of it. We have been talking on Facebook a lot, not about us, about PP things we like and don't like, you know, friend stuff. When she thought for a while she said to me, "I do like you," and I said, "Then let's try it. If it doesn't work at least we can be good friends." She agreed.

And now we're engaged, but that's a story for another time.

23 October 2019

The Cost of Dance

Life update: I have moved back home -- as in, to the little town where I grew up. My focus right now is on theatre and it's killing me because what I really want to do is dance. The city I was in this summer has WAY more dance opportunities and even training options than my home city. But I have literally zero savings to fall back on and it's cheaper to do theatre than dance. Yes, really.

First -- auditions.
I have never in my life paid for a theatre audition. I've auditioned for the biggest theatre company in Regina (twice), as well as the one in Edmonton. This past September alone I auditioned for thirteen small volunteer-based organizations. Not one of them -- not even the one that's several thousand dollars in the hole -- charged me an audition fee.
Conversely, every single dance audition I have ever done has come with an audition fee. I've paid as little as $25 and as much as $80 for a single dance audition. That's a lot of money to throw into the abyss on the tiniest off-chance that you might actually outshine the 300 other dancers who are no doubt also sending in video auditions.

Second -- training.
I had the opportunity this fall to train with one of western Canada's only tap ensembles but I had to pass it up because I was barely able to scrape together the last few dollars of my savings account for the audition fee (see above), let alone the $400+ required for registration for the actual training.
Dance training -- just to keep up your technique FOR auditions -- costs about a thousand dollars a year, per hour/week. (It does depend on the region a bit, but that's about average in western Canada.) Ideally, dancers at a professional level should be taking at LEAST twenty hours of class per week. That's $20,000 a year. That is fully half the average annual salary (in US dollars) for a professional dancer. That doesn't count transportation, pointe shoes ($120/pair, new pair every two weeks at that level of training), dancewear (one bodysuit averages $100), physiotherapy (every two weeks at least), and things like medication, counselling, food, rent -- you know, regular living expenses that everyone has to pay for.

On the other hand, I have never, ever had to pay for acting training (my degree doesn't count because I got exactly two acting classes out of a $100,000 degree and the director straight-up, to my face, refused to give me more even though my degree program actually required me to have more acting credits than that). All of my acting training has come on-site -- actually on the stage, in the rehearsal room, doing shows. I'm basically self-taught because nobody thought I was good enough for them to bother actually trying to teach me.

Third -- costumes.
In dance, there is always a costume fee. Always. From the time you're a three-year-old in a costume-shop tutu sickling your feet to the time you're a college student taking professional-level classes, you always, always, pay for every single costume you wear -- whether or not you are actually allowed to keep it.
In theatre, I have only paid a costume fee once. I've had to supply parts of my own costume -- slips, blouses -- but even the pieces that come out of the company costume room are free for me to use as long as I am in that particular production.

Fourth -- mentally.
Theatre is (usually) quite good at meeting their actors where they're at mentally and emotionally (my college and their 'you MUST be happy all the time whether or not the script even actually portrays this character as happy' attitude notwithstanding). They require a lot, but they also give a lot of empathy. If your depression is acting up, they'll accept whatever you can do with gentle encouragement. If you've twisted an ankle, they are happy to let you sit to the side with an ice pack as long as you're paying attention to what your blocking will be. If you haven't eaten in three days because you haven't had time, they will cobble together all their collective snacks and feed you, and they'll probably all remember your allergies and texture issues too.

Regarding dance, Sydney Magruder Washington has actually described it much better than I could in her excellent post on ballet and mental illness. Dancers are constantly told to shut up and smile. Grin and bear it. The show must go on. No negativity allowed. Ever. At all. Not even a hint of a breath of anything less than sunshine and rainbows and unicorn poop. And if you can't do it, there is NO END to the emotional and verbal abuse you will get if you can't fit the artistic director's mould of perfection and happiness, even during barre when you're still trying to get your exhausted eyelids to stay open. In dance, if you're having a rough depression day, you get fired on the spot. And then the director blacklists you to anybody who will listen for the rest of your life.
Also, for reference -- one (1) counselling appointment can be over $200. Each. When I was in my most intense period of counselling (which lasted for about eight months), I was going once a week, but probably should have been doing twice a week.

Don't tell me this huge financial disparity is because nobody goes to the ballet anymore -- nobody goes to the theatre anymore either, and yet the theatres somehow manage to run without soaking their usually-not-well-off performers for money. And when can these performers work? All the job openings insist on evenings and weekends. When do performing arts companies rehearse? Evenings and weekends. We can work OR we can perform, not both. And if we choose the latter, we can't even afford to get proper dance shoes, let alone get our properly-clad foot in the door with an audition.

All I want to do is dance, and I HATE that I'm too poor to afford it.

03 October 2019

Numbness and Rebuilding (Part I)

28 July 2019, 2.01am.

I've just begun the process of rebuilding... rebuilding everything.

In June I completely uprooted and moved to a city I'd only seen three or four times in my entire life. I had $200, no job, and only one show lined up. As alluded to on this blog, I was already not in a great place mentally or physically (college had sapped the last of my strength), and the anonymity of the unfamiliar big city gave me the chance to do what I'd always wanted -- to spiral.

I deliberately put on a brave face at rehearsal. I did more acting backstage than I ever did onstage for that show. Because I knew if anybody knew I was about to give up, they would try to fix me for about two weeks (a month at best) and then turn their backs on me, most likely with a cutting tirade about how I was 'too much' and 'not trying hard enough.' I already knew all that, I didn't need to hear it again. I've had this happen so many times I have the script memorised, even though the other person always thinks it's improv. Better to not even start the show.

By the last weekend of the show, I had almost completely stopped eating. The cooler I brought to the campground was mostly just a prop for the show of 'I'm fine.' I did a three-hour performance on a pizza pop and a container of yogurt -- as in, that was all I had eaten all day. At the cast party after the final performance one of my castmates literally had to carry me to the food line because I was so depleted I couldn't stand on my own. I wanted to tell someone but I knew no-one would believe me because I've struggled with this so publicly and I knew I was beyond help because of the sheer severity and stubbornness of my condition. It was my last show anyway, with no plans or hopes of any others on the horizon... this was the best way to go out. Just fade away into obscurity, like so many artists before me. Literally, physically, fade out. It was better than burning alive. And it was better than suffocating.

The only person I had even sort-of opened up to on that cast was that castmate who carried me to the front of the food line. Even he didn't know the whole story, but he knew I had a history of depression and he had figured out that I hadn't been eating. For two weeks -- probably longer -- he texted me every day, multiple times a day, insisting that I eat something. I literally only ate one bowl of cereal each day for at least a week, even in the face of his insistence. I was so depleted that I couldn't have made anything more substantial even if I had wanted to.

At some point, for some reason, I decided to rebuild my tap repertoire... it had deteriorated significantly since I had essentially stopped practicing in February. I made up a schedule, holding myself to only half an hour each day, just slowly and calmly learning a piece I had choreographed about a month and a half before. I gave myself two weeks to learn it. Just that, nothing else. No rush. No pressure. Just learning the dance.

The first (spoilers: only) day wasn't hard on my body so much as it was hard on my mind. The last time I had practiced dance consistently was at a time when I was trying desperately to prove myself, as my program director and I were clashing with greater frequency over my lack of ability and whether or not I was actually trying, as my carefully-laid plans to move to Regina and pursue my career there crumbled around me. I had largely forgotten all that -- not 'gotten over' or 'worked through,' forgotten... numbed by the ache in my hollow stomach and the fog clouding my undernourished brain. Dancing again brought all those old feelings back, all that barely-cold criticism, all that still-smouldering self-hatred.

But the numbness didn't completely go away. And I was able to hold onto that numbness through that practice session. The venom of the words that so many have spoken to me didn't bite anymore. The sharp sting wasn't gone, but it was dulled. I had accepted my fate of literally physically fading into nothing and as such I had nothing to prove anymore.

'You'll never be good enough. You don't try hard enough.'
Yeah, I know. So what does it matter to you that I'm stretching today?

The overwhelming numbness drowned out the answer.

26 June 2019

Art and Fog (The Raft In The Sea)

I forgot how much I love the performing arts.

I'm into my third week living alone in a bigger city than I ever have before, and last week did NOT go well. As I suspected would happen, I felt unseen and unheard and trapped, not in the concrete/steel jungle, but in this huge empty house. I didn't (still don't) even have gas money to go out to a bookstore or something (nor would I have had money to spend at said bookstore). Longtime readers know this is a recipe for disaster, and by this past weekend I literally did not care about anything. I think I ate a total of three actual meals from Wednesday till yesterday (Tuesday), supplemented by Pop Tarts, watched TV for literally three straight days, and went off my asthma meds completely (mostly by accident, but that did not help matters).

At some point during that fog, between episodes of Brooklyn Nine-Nine, I followed every actor/dancer/theatre Facebook group I could find in my new city. Between those and some groups I already follow from elsewhere, I found a handful of auditions, and most of them would accept video auditions.

Most were due this weekend and I'm gone this weekend, so I set aside today to film all of them in one go (I discovered if I pray enough, that piece-of-trash memory card does work intermittently. At this point it's better than nothing). And afterwards, as I sat sipping my peanut-butter smoothie, I felt... just a tiny little bit better. Acting and dancing for the camera all day had distracted me from the dark fog long enough to catch a breath.

I've hinted at this but never actually come out and said it publicly -- in April I decided to quit the arts. I had three shows outstanding at the time I made this decision, and I planned to finish those and then... fling myself into the artless abyss, whatever that looked like. I literally do not have any interests or passions outside the arts. Literally none. I assumed I'd die shortly after finishing my last show (which I suppose is still not outside the realm of possibility as I haven't finished that show yet). I stopped auditioning, I stopped looking, I stopped practicing, I stopped trying.

But today, having spent all day acting and dancing... I don't know if turning my back on all that training and joy is wise... or even sane. I often think I'm exaggerating when I say I can't live without the arts, but today reminded me that's actually true. It keeps me at least somewhat afloat in this dark heaving sea of life and depression that pulls me down into its depths with full intent to smother me.

To quit the arts is a literal suicide mission. But so much of the performing arts is dependent on someone actually casting you.

Say what you will about autonomy and self-sufficiency and independence and all that crap, my life is in the hands of the local casting directors.

04 June 2019

JCS Debrief

I was recently in a production of Jesus Christ Superstar.

I initially turned down the role (for several reasons) but two and a half months after the show was cast, just before rehearsals started, the producer asked me if I would reconsider my initial refusal. I agreed to reconsider and within three days I committed to JCS. At the time I had heard the soundtrack exactly once in my entire life (the day before I said I'd do the show).

Even at first, I didn't particularly enjoy the show. The ensemble work in the first act felt like paper to me -- happy, happy, light, light, fluff and fairy floss. I am not any of these things and I kind of despise shows that require me to be that because life is not that.

Then I had to take a week off from JCS to open my concurrent show (Sound of Music), and when I returned to JCS, they had blocked all of Act II. I saw it for the first time in rehearsal on a Sunday night. I was coming off of nine straight days of rehearsals plus the opening weekend of Sound of Music (which, Nazis aside, is arguably one of the lightest and fluffiest feel-good shows ever written) and I was not prepared for what was about to hit my heart.

Even in the high school auditorium we rehearse in, even with a dollar-store toy gun for a stand-in prop and the cast still dressed in jean shorts and assorted show t-shirts, the second act completely arrested my attention. I watched unblinking as the priests surrounded Judas, then left him to spiral alone, the scream, the clatter of coins falling... that was the day I began to get excited about this show.

I knew going in that I would be stretched vocally (and heaven knows I needed the help), but as we got into opening week my acting abilities were also challenged... as ensemble in the show, I was part of the mob that screamed for Jesus' crucifixion. We were told to spend the second act in a state of joyous murderous glee, enjoying the trials and the whipping and the death -- "you don't have television -- this is your entertainment. You're loving this," the director told us. And somehow that clicked in my head. I developed an alter ego, a person who grow more evil and twisted with every rehearsal and every show of the run. The sardonic smile grew bigger, the screams grew louder, the facial expressions more judgemental. I'd watch, breathless from the weight, as Judas died in agony and thirty seconds later I'd be out on the stage, watching in a dark and horrific glee as Jesus was whipped.

The crucifixion grew harder to watch every night. Even though I knew it was acting and I knew the man on that cross on the stage wasn't the real Jesus, it still took all of my concentration to keep up the persona -- to keep laughing at the cross. It wasn't the remnants of my religious upbringing making it hard -- it was the experience of watching this kind man suffering and struggling and then ceasing his writhing, that sudden awful stillness. The line from the show that haunted me most was Jesus, on the floor before Pilate, gasping, "Everything is fixed and you can't change it."

Usually after I've done a show I have to abstain from hearing the music for at least a year after the show closes because it's been so overplayed (even if I like it... I have a VERY low tolerance for overplaying music), but within a week of closing JCS I was listening to the soundtrack again. I have never, ever done this with any show I've ever done before. This is how deeply this show impacted me, even as a performer -- I can't imagine what it was like for the audience, to go in blind and have the full, finished product radiate out in its full intensity from the stage. I fully believe that it would have taken an audience more than one viewing to fully comprehend the depth of what the director did with that production.

By the end of the run, I felt that I'd grown in my acting abilities, but it was only a subconscious feeling -- I didn't dare admit it even to myself. I shone bright and big -- that was my goal and that was what I did. I was screaming for his death, darn it, and it couldn't be half-hearted. To be so into the role scared me a little, but I convinced myself to press into that dark space, just for the week, just for the run, just for the stage. But I didn't dare acknowledge that this might have been growth -- how many times do I think 'wow, I've grown a lot in this area' and then someone tells me I'm the worst actress/dancer/singer they've ever seen? Better to not even have the initial hopeful thought than to hope it's true and then have that hope torn to confetti.

At the cast party, one of the other actors -- who I'd only met during this show -- looked me dead in the eye and said, "You are amazing. I'd always watch you from across the stage... I really think you should keep acting. No -- actually, I don't 'think' -- you NEED to keep acting." I didn't have the heart to tell him I'd already planned to quit the arts. But my friend who did know I was planning to quit was sitting right beside him, unnaturally quiet, undoubtedly listening, most likely making an 'are you hearing this?' face at me. I could only manage a 'thank you,' from the deepest part of my heart. He barely knew me. He didn't know I'd planned to quit. But here he was, not just hinting -- literally telling me not to quit acting.

I don't know yet if I'll heed his advice. It's been a difficult year in many ways (including but not limited to performing). But I'm glad I got to be in this production. It was one of my greatest artistic experiences and if it does turn out to be one of my last, then I'm glad to go out on such an incredible note.

04 January 2019

The Annual Goalpost

I kind of dislike the annual goal-setting. It's hard. Part of it is because a lot of these goals are pretty abstract and difficult to measure progress in, but part of it is also because I genuinely have no idea what province I'm going to be in this time next year. I graduate (hopefully) in April... and then what? I have three viable options, and at the moment it's a waiting game to see which will pan out.

As far as that goes -- I want to stay in the performing arts. I've already got a few auditions lined up for 2019 -- the second is in less than a week. So I guess that counts as a goal. But what do I want to do around that -- when I'm not actually at rehearsal or practicing or performing? What do I want to work on in practice?

First -- dance.
If I do end up moving, goal #1 is to find a practice space. I'm spoiled here right now -- I have relatively unlimited access to a studio a five-minute walk from my house, and I have a connection to another studio in the next town over if I need it. I've had the opportunity to practice literally every day for the past two years and I would not be where I am now as a dancer if it wasn't for that. In dance, perhaps more than any other discipline, daily practice is absolutely CRUCIAL even just to maintain technique. Dance technique/ability gets lost faster than technique in any other discipline I've attempted.
Goal #2 would be to find classes (and a job to pay for them). If I can't find a studio to practice in on my own time, this would be the next best thing, plus it's also important to have a trained teacher looking at my technique and giving corrections on a regular basis even when I am practicing on my own regularly. I know at this point a career as a full-time classical ballerina is not likely, but I would still like to train toward that level, just for my own strength and enjoyment (and also to prove to those who said I couldn't that I can).

I want to do more choreography. Of course this includes National Choreography Month in January, but it also includes more dance videos. For 2018 my goal was to make multiple new dance videos (I believe I actually said 'one per month'), but unfortunately I only accomplished one (plus two live videos). I do want to continue the videos into 2019 though. At least two videos? I hope? Hopefully more, but realistically (financially) I might only be able to pull off two. I'd like to do at least one ballet one (to show that I'm not just a tapper -- then again, I'm definitely stronger in tap than ballet and I don't want the ballet videos to suffer artistically because of my lack of ability).

Talking of choreography, I've been wanting to make a longer story-show for a while now. Like maybe a half-hour to an hour of dance that somehow follows a cohesive story or at least a theme. I'm not sure how to approach it or what exactly to tackle, but I would really love to do something like this at some point in my life -- why not lay some groundwork for it now? I've already begun work on this a bit -- choreographing the first side of Daniel Amos' phenomenal album Doppelgänger as a long(ish)-form work to start.

I want to make a proper memorial dance for M. Ideally I would also like to actually have the opportunity to stage it (still haven't been able to stage Brittney's, my cousin's, or my grandpa's...).

I want to start doing more live (dance) performances. Right now I'm thinking competitions, coffeehouses, talent shows, et cetera (in addition to the one college recital). Just to get more audience response to my performance and choreography so I can see what needs to improve. Plus it'll keep me comfortable with live performance as opposed to the safety net of video editing.

I want to continue working on my flexibility. I feel less tight than usual (overall), but so far it's not translating into actual flexibility. This is still my greatest hindrance as a performer. Not just as a dancer, as a performer, full stop. I have had theatre directors pass over me even though I'm technically excellent, fairly expressive, and relatively strong simply because I'm not flexible. I'm so so close to my left front split and it's absolutely driving me crazy that I can't get those last two inches (I've been stuck there since probably about late September/early October).

I need to work on allegro more. I have some level of natural gifting for it, but I don't push myself in it nearly enough. It's hard to get up that much energy when practicing by oneself.

I also want to work on my wings (in tap), both single and double-foot. I'm decent at them actually... what I need is stamina. On that topic, I want to work on my stamina in general. It's MUCH better than it was when I started college (I couldn't even get through the first side of the Intermediate port de bras without literally collapsing), but it's still not great. Again, if I would actually just do allegro instead of avoiding it all the time...

I'm realising lately that I have a lot of mental tension around dance, of all things. I think at least part of the reason I don't push myself in allegro a lot (*cough* at all) is because I'm not confident I'm doing everything correctly (which is why I need dance classes with actual teachers, not just self-directed practice...), so 1. I'm scared I'll get incorrect technique in my muscle memory, and 2. I'm scared I'll injure myself. The one and only dance injury that ever actually sidelined me (ankle) happened during allegro. I'm also starting to wonder if mental tension is at least part of the plateau in my stretching. I notice during one stretch in particular that I can push myself farther without pain, but when I do, I just really, really dislike how it feels in my body -- so much that I actually feel slightly sick -- so I ease off it. So far I've only noticed it in that one stretch (on only one side... the other side I can push it fine), but maybe there are others I haven't clued into yet.

Regarding voice...
It's hard to set goals here. I still know very little about singing and what I should expect of myself. What's reasonable? What do I even want? I don't know. Until very recently, my only goal was to not suck. Now that I'm getting past that point, I don't really know what's next. I'd kind of like to learn more opera and musical theatre (mostly to challenge my acting skills, actually -- since I don't really know what to strive for in actual sound/technique).

And piano...
Oh yes, by the way, I started piano this past semester and absolutely fell in love with it. I took one semester at the beginning of my college career in 2013, but I was too angry and tense and perfectionistic and easily frustrated to enjoy it so of course I didn't really get anywhere in my abilities. Now I'm in a better place to receive the joy that playing piano brings me. I really just want to learn as much as I can. I just get lost in playing, and before I know it, a whole hour will have slipped by. The only other thing I have EVER done that with is dance.
Over Christmas break I've gone through my sister's earlier piano rep (she's a few grades ahead of me) and pulled out probably about a dozen songs that I feel are around or not insanely far above my current level of playing. I'm trying to think of a piece that I can set as a reasonable goal for the end of the year that won't be too easy for me to get by April, but also won't still be completely out of reach by November. I feel like I don't have enough of a sense of my growth trajectory yet to really make any solid long-term plans here so for now I'm just trying to take this a few pieces at a time, while consistently challenging myself.

Writing...
Of course I'd like to do NaNoWriMo in 2019 as well, but I'll ponder that more after graduation (I usually start percolating ideas around June).

I want to continue work on Kyrie. I had some momentum on it before NaNoWriMo this year, and it actually influenced my NaNoWriMo novel quite a bit because I couldn't quite get out of Kyrie brain during November (at one point during the month I said 'this novel is basically Kyrie but less good').

Theatre...
Basically the plan at the moment is 'audition for ALL the things!' I'm currently lining up my audition schedule for the next few months (I have one next week) and I have to say, I am VERY excited.
I want to work on my acting skills. I don't quite know how that looks yet. I'm trying to figure something out, but it's hard when I don't really know what the goal actually is, or even how you 'practice' acting.

Goals for life in general... These are the ones that are hardest to attain. The performing/artistic ones can be so easily incorporated into a schedule -- go to a practice room/studio for a few hours. But these are harder -- 98% of my life is wrapped up in the arts, so to do anything outside of it feels clunky and unnatural (well -- more clunky and unnatural than my artistic endeavours).

The biggest one is keep in contact with my friends.
This is a hard one. Due to depression, the way I was raised, and the way I was treated by my peers during my teen years, I have this deep-seated belief that nobody has time for me (and this belief is strong in my mind whether I'm in a good headspace or not). People have better things to do than spend time with me. So 99% of the time I don't even try to initiate contact with other people, even my closest friends. I'm terrified I'm going to wear out my welcome and then I'll be truly friendless, and I don't ever want to go back there again. I'd rather have a 'friend' that I'm too scared to talk to than overdo the talking and end up with no friends at all.
I think a subgoal of this might be to quit apologising that I'm spending time with them on the rare occasion that I actually do convince myself to spend time with them.

The other one is to not move back home immediately after graduating.
As much as I love my family and my friends at home and my home dance school and the city and the landscape, I don't dare go back too soon and settle back into my pre-college rut. I did that after I graduated with my Associate in 2015 and it almost literally killed me -- I had a $60,000 degree that I was doing literally nothing with and I was living the same dead-end life that I had before I went to college. I wound up feeling like my life was a waste and that I was a waste. There's an overpass I drive over on the commute from my home dance school and I cannot even count how many times over that next year I almost pulled over and jumped onto the busy highway below. Knowing this, I need to make a life for myself outside of both home and school, at least for a time. Once I know that I can survive on my own without school to set my routine, maybe I will end up back around home, closer to my family. But if I do it too soon, all the growth and excitement of what I've been learning out on my own in college will fizzle and I'll dead-end again. And that's so dangerous for me. I need to keep forward momentum, and I won't be able to do that if I move back home immediately after graduation.

I need to nail down my 'why.' Why do I perform? Why do I keep practicing? Why do I do this? 'Because I love it' is a good start, but I'm not convinced that it's really enough (it sure isn't when I'm struggling to motivate myself to practice an allegro that I know nobody will ever see me do). That reason seems inherently selfish to me, so I feel guilty about it. Which of course makes me second-guess myself which makes me tense and frustrated which of course means I continue to suck at performing. I need a strong reason to keep slogging through when it's tough. I am definitely the type of person who absolutely WILL NOT do something unless you can give me an extremely good reason to do it/do it this way. 'Because I said so' has never worked on me, even as a kid. 'Because it'll make this easier/sound better/look better/give you a better foundation for what's to come' resonates with me. Tell me why and I'll do it gladly. But so far I haven't been able to tell myself on the hard days why I do this. I love it. I do. I have never known joy like the joy I (usually) have during performance runs. But somehow that doesn't feel like a good enough reason, and it's keeping me hesitant.

18 November 2018

Novel Update - Day 18

I've almost come to a complete standstill on this novel. I only wrote 500 words on Friday, and I didn't write anything yesterday. I literally just stared at the screen and then eventually just went to bed. I don't think I have ever hated a novel during its creation as much as I hate this one right now.

And it's not even that bad. The story has potential. I just can't get it there right now. I don't know how to pull it out.

Currently writing a character in the midst of early grief. Trying to write the initial anger, and it's hard. As I've mentioned before, writing is a lot like acting -- you have to feel, really feel, what you're writing.

And because I'm in school, and because I am on my literal last chance to be happy enough to keep my place in this program, I can't let myself feel the anger that I need for this novel. I think that's why I'm struggling SO MUCH with this novel. I am no longer allowed to be angry or even remotely sad because my friends have died and my cousin has died. I'm not even allowed to access those feelings for the purposes of creating a character and telling a fictional story. And it's stifling me. It's stifling me as a human with a soul that's prone to wounds, and it's stifling me as an artist trying to come alongside those who feel alone in their anger and grief and the pain of being alive while others aren't.

I hate that I'm being told what I can and cannot feel, and I hate what that kind of Cloud Cuckoo Land restriction is doing to my artistic output. This novel is an abyss of repetitive character ramblings on nothing at all because they're not allowed to feel anything because I'm not. I guess art does imitate life. As readers we'd never stand for such an emotionally flaccid book but we expect it of our real, theoretically bright Technicolor lives all the time. And that's what I tend to write about -- stories that could be real life. What a sad state society is in. But is it society or is it just me?

(Yes, I will be booking a counselling appointment tomorrow...)

10 June 2018

The Fading Beauty of a Dream-Chapter

We wrapped up another show's run yesterday. Even though I tentatively have another show on the horizon for July, I still feel the dip -- the sense of having nothing to do, nothing to work for. It becomes a big empty pit in my chest so quickly. It's like waking up from a dream -- I was surrounded by people, some friends even, for a month and a half and now in a matter of twenty-four hours, all of that is gone. The bows have been taken, the goodbyes have been said, and the weight of emptiness/loneliness/purposelessness has settled in.

In many ways, you can never go back. There will never be those exact people in the cast together again -- for some, this was their last show with us. Others will join for future shows. But these people, in these roles, in these shows will never happen again. It's well and truly over, and it will never be truly replicated.

I was reading C.S. Lewis' The Weight of Glory the other day, and in it he mentioned how we often can only see beautiful things when they're ending -- the sunset just as it fades to grey, the final cadence just as its echo dies away. I feel this now -- I was a lot snippier during this show's run than I think I ever have been during a performance run, and there were definite moments when I took it out on people who didn't deserve the amount of snark I gave them. Perhaps I'm becoming a jaded struggling artist with years of experience but nothing really to show for it except a reservoir of bitterness. But today, at the cast party, I realised with more clarity just what I've been missing out on -- all these human lives and personalities and idiosyncrasies that I could have been interacting with but didn't because I was scared they wouldn't want me so I thought it better to stay out of the way.

I've had realisations like this before, which brings me more frustration and despair right now because I also realise this is very likely just another one in a long line. After years of isolation and abuse/being manipulated and now the self-hatred that arose from that even though I'm no longer in that situation, I have virtually zero people/conversation skills. Not only that, I have an impossibly high standard of perfection for myself that means the second I feel awkward (as I do when talking to people), I beat myself up about it for not being better at it, not being more confident, not saying the right thing, not keeping my mouth shut when I said the wrong thing... it's easier to wait for people to come talk to me than jump on that merry-go-round of frustration and futility. At least when they come talk to me, they (sort of) have some idea what they're getting into, so I feel less bad about my stumbling. So now we have this situation where I want to get to know people and interact with them and learn their little things that make them special, but I feel paralysed from actually making the first move.

I'm rambling. When I don't know what to talk about/write or how to finish something, I usually start talking about my insecurities in a desperate attempt to help people understand why I am the way I am. I know I find myself better able to interact with a person once I know where their tender spots are so I can tread carefully when I'm getting near those spots. So I assume others are the same, and it continues to surprise me when they get angry about me about giving them this information about myself.

I'm still rambling.

All I wanted to say was that this ending today -- even though I didn't let myself appreciate the cast during the show's run and was grumpy for most of it -- felt like waking up from a dream. It was a chapter in the beginning of my dream life (being a performer), and today feels like the alarm going off and now I have to go to work and push a pencil and for what? a dead-end job with nowhere to go that means anything. I didn't appreciate the dream when I was in it, but I don't want to leave it. As much as I personally struggled with various things, I do truly love the performing arts world and the people in it, even when that doesn't come across (and I wish it did).



What do you see when they finally turn out the light?
What do you hear when the music is stopped for the night?
Is there an answer
Or just a dancer leaving an empty stage?

~ Leslie Phillips, Beyond Saturday Night, 1983.

26 April 2018

Acting in Writing - The Difficulty of Being an Artist

I think one thing fiction writers sometimes underestimate is how much acting ability you need to write well. You need to be able to put yourself in the heads of your entire cast and write the scenes from their emotional/logical perspective in order to do a story justice. You need to BE the character, no less than an actor on a stage or in front of a camera needs to BE the character.

Today I wrote a scene for my novel that occurs a few days after an important character's death. I write this two days shy of the anniversary of my cousin's death, and even three years removed, I can still remember the weight and vastness of the shock and the grief in the days that followed. A person who has not gone through this cannot do justice to it in writing or acting, but I can come close because I've been there. In some ways I'm still there. I know this grief. And that background makes the stories I tell more believable.

In the art I take in, that's what I look for -- I look for the person who can describe/express what I'm experiencing even when I can't. The only way you get to the point where you can describe it with intimate accuracy is to go through it. This scares me -- how much experience (heartbreak) am I going to be entrusted with as I continue to develop and pursue this calling to be an artist?

This is what makes the arts so difficult -- you have to go through so much in order to do justice to what you're talking about. This is what separates the posers and the wannabes from the true artists. The posers are in it for the prestige, for the elitist rush of complaining no-one understands them, so they can feel more intellectual. But the ones who truly are artists know, as the great Terry Scott Taylor once said, 'There's not a holy man who doesn't know grief well / Or think the road to heaven doesn't pass through hell...' (Jesus Wept, 2013).

08 January 2018

Remember... Remember... (2017)

This post is mostly for myself, so feel free to skip... I just thought I'd take a few minutes and note the changes that happened in 2017, the good things, the things that only a few short years ago I only thought about wistfully and the things that I never could have foreseen.

Overall, 2017 -- mostly just the past few months -- was a year of significant upheaval for me emotionally, mentally, and spiritually. I'm still in the middle of it and I'm still processing a lot of it (it'll likely take years), but so far these are my observations.


- January: First posted an excerpt of one of my dance practices on social media. (This was actually supposed to be a one-off thing, but it set in motion almost literally every ounce of dance growth that would happen over the rest of the year.)

- January: Began a consistent dance practice schedule that would continue until the college Christmas break.

- March: My first comedic role (Person in Chair in The Drowsy Chaperone).

- March: Choreographed for a stage production for the first time (The Drowsy Chaperone).

- April: Finally admitted to another person just how much I was struggling mentally/emotionally.

- April: Began counselling. (This in turn set off the long, long process of beginning to deal with my friend's death, my cousin's death, my extended family's issues, the emotional abuse throughout my childhood and teen years, the neglect and mistreatment from my former church, and the perfectionism -- both forced and self-imposed -- that almost literally killed me.)

- April: Performed literally the hardest, most complex tap dance I could ever have dreamed of in my worst nightmares... and performed it really quite well.


- April: Began my internship (as director's assistant).

- May: Told a few close friends about my depression.

- May (ish): Found my head voice. This opened up a whole other world for my voice.

- June: Performed a high G for the first time.

- June: After years of crap, finally left the church I'd attended for ten years and began attending a different one on the recommendation of a school acquaintance. So far I enjoy the new church. (At the very least it got me out of the old one.)

- July: Finished my 2016 NaNoWriMo novel draft.

- August: A few college friends got together and put together a book of encouragement for me.

- August: Moved into a legitimate house -- not dorm -- on my own (well, with roommates) for the first time.

- September: Submitted a statement to my former church about my reasons for leaving their church, including detailed stories of the way the leadership at this church mistreated me.

- September: Landed a job for during the school year.

- September (ish): Began making it a point to dress up a bit more. (Up till this time in my life I was dressing almost exclusively in jeans and t-shirts.)

- October: Learned/performed my first opera solo (Stizzoso, mio stizzoso from La Serva Padrona).

- November: Did a 30-Day Choreography Challenge, involving choreographing a minimum of 32 counts every day and posting the day's output on social media every day.

- November: For the first time in my life it occurred to me that I might actually be able to separate the depressed voice and my voice in my head... that they might actually be separate.

- December: Filmed, edited, and released my first dance video.


I won't say too much more because today was a rough day and if I throw a pity party here after this list that I made to look back on good things it would pretty much negate the purpose of making the list in the first place. But there it is. Things did happen... they're just not going as quickly and improvement is not as dramatic as I had been hoping.

08 September 2017

A Day in the Life...

9.30am - Wake up.

10.15am - Meet with voice teacher about rep.

10.30am - Practice voice.

11am - Work.

2.30pm - Practice voice.

2.45pm - Check callback list.

2.46pm - Bitter disappointment.

3pm - Get hair done.

4.30pm - Do makeup.

5.30pm - Supper with dance friend.

6.20pm - Arrive at theatre.

8pm - Perform full show.

10.45pm - Return to house. Eat cereal.

12am - Start memorising new voice rep.


And I didn't even get dance practice or writing in today...

29 April 2017

The One

The first time anyone actually told me that I was valued in any capacity was at the very end of my second year of college. That was the semester the school put on The Secret Garden. It was my theatrical debut, and I played Mary Lennox -- the main character. It was a role I absolutely did not expect to get. The director of the show was also the director of my program (both the program I was in at the time and the program I'm in now). After the show was over, after all the exams were done, just days before grad, I was in his office -- he had been trying for months to convince me to transfer into the Bachelor's degree, which would take an additional two years. I had finally decided to at least see what it would look like if I did, so we met and went over how my academic life would look if I stayed.

After the discussion on academics, he shifted into 'convince-her-to-stay' mode (or at least that's how I thought of it at the time), because I was still not committing and there was less than a week before I graduated out and then it would be too late. Because I had just stunned everyone on campus with my ability to act in The Secret Garden and because he had directed it, that show was a large focus in the conversation. At one point, he was talking about the process of casting and how it's always kind of a crapshoot on some level, and he said, "Sometimes I get it wrong and sometimes I get it right." He looked at me. "With you I got it very right."

I sat stunned.

I had spent twenty years being told -- both by people close to me and by people on the periphery of my life, verbally and non-verbally -- that I was unimportant. Useless. Annoying. No good at anything. And if you're told something often enough -- by enough people, and by people you are supposed to trust -- eventually you begin to believe it. And the more you hear it, the more deeply ingrained it becomes in your thought process. It's called indoctrination. I had thoroughly believed that I had no importance or usefulness or value whatsoever. In anything. I fully believed that I ruined everything just by the mere fact that I existed and was just wasting valuable oxygen that could have been used for other, more important people. People that others actually needed and liked.

Sure, I grew up with people telling me God loves me, but I had no reference point for that. What is love? His people pretended I didn't exist as much as they possibly could. Because I was so quiet and shy, they could get away with being downright rude about it because I'd never say anything about it and they knew it. I certainly saw it, but I never said anything. Who could I go to? Nobody would have listened to me anyway -- they were all too busy ignoring me.

I tell this story because I am up against this again. Recently I hit my absolute lowest point, and it scared me enough to send me to this same director and tell him I needed help. (He was literally the only person I could think of who I knew would properly listen to me.) He's told me many things in the days since then which have given me the strength to keep fighting, but one of those things was a question: 'why do you believe this lie?' At the time he asked it, I was so exhausted from fighting just to stay alive that I couldn't think of an answer, but the question haunted me: Why do I believe the lie? And it brought me to all these reflections that I shared above -- for twenty years of my life, it was all I knew. It was all I was told. I had literally no reason to believe otherwise.

There was a flash-in-the-pan Canadian boy band in the late '90s/early 2000s that made this song that received fairly significant radio play when I was a kid. It was actually one of those cheesy 'follow your dreams' songs, but if I may shift the context a bit... the chorus ran as follows:
You could be a star shining out in the darkness
You could be a fire blazing into the cold
You could be a voice calling into the silence
You could be as bright as the morning sun
You could be the blue sky after the grey
You could drive the clouds of fear away
You can bring the healing to a world that's come undone
You could be the one...
(Jake, You Could Be The One, 2000)

And you could, dear reader. Just as a college performing arts director was the first person on the planet to tell me I was worth something -- when I was already into my twenties -- you could be the first one to tell someone else that they're worth something. Go do it. Don't wait. You may be the only one who will.