Hello! We have a last-minute acting opportunity that might be of interest to some of you. I am a casting agent with Theatre Nerds specializing in improv shows, particularly murder mystery dinners. We are contracted through Neon Entertainment, one of the leading entertainment booking agencies in the industry. I have received a request from one of their booking agents to cast a mystery this Tuesday, August 20. The event is scheduled for 6pm-9pm in Long Island, NY. We are seeking one female and three males, of various ages, for this paid job. The roles require minor preparation, and the event promises to be a lot of fun. Compensation is highly competitive (AEA members encouraged!), with additional consideration for travel expenses. Dinner is also provided. Also, we have quite a few future murder mysteries scheduled that any actor who is cast will be added to our company roster of actors, and thus be considered for future paid work.

Improv skills are, obviously, a huge plus for this type of performance, but the most important thing is personality. Being open, engaging others in conversation, being quick on your feet, and the ability to be BIG are key.

If this is something of interest to you, I can be reached anytime at JamieMWeisberg@gmail.com or 717-364-0650. Please feel free to share this with anyone you think would be a good fit, as well.

Thank you.

Jamie Weisberg Damaso
Casting Agent, Theatre Nerds

The post Immediate PAID Casting Call from Theatre Nerds appeared first on Theatre Nerds.

Here are 16 thoughts performers have while waiting to go onstage:

1. Is my mic on?

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2. Oh no. I need to pee. Again.

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3. *IT’S THE FINAL COUNTDOWWWWN*

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4. I might puke.

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5. Wait, I think I’m OK.

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6. Is there a bucket somewhere in the wings? Just to be safe.

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7. If I fall off the stage, I wonder if the front row will catch me.

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8. Did I turn off my curling iron/hair straightener/oven?

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9. I hope my hands dry out before I have to pick anything up. It’s like I’ve taken a shower.

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10. Is that my mom? Oh, she’s seen me. Mom. No, Mom, stop waving! This is not my elementary school recital!

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11. I’m a terrible hack. What am I doing here?

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12. Is that guy in the first row picking his nose?

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13. Wait, did I miss my cue?

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14. What’s my first line again?

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15. I’mamazing, I’mamazing, I’mamazing, I’mamazing.

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16. I am freakin’ Beyonce! I was born for this!

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And just like that, you’re off, making your entrance with the conviction of a general charging into battle. Your momentary panic is forgotten the minute you set foot on that stage. And the feeling of that first step is magic, every single time.

What runs through your head while waiting in the wings? Let us know in the comments below!

The post 16 Thoughts We’ve All Had Before Going Onstage appeared first on Theatre Nerds.

Besides being chock-full of animated audiences and sparkling performances, Broadway theatres are infested with ghoulish histories. Each night, after the curtain falls and everyone goes home, the Broadway spirits come out to play, illuminated by their respective theatre’s ghostlight. However, some phantoms also strut their stuff during the lively hours, playing tricks on current Broadway stars and theatre employees. From vaudeville acrobats flying across the house to former theatre owners dropping by to check up on things, we’d like to introduce you to some of Broadway’s most famous ghosts.

So, light up the fireplace and snuggle up if you dare, because it’s time for some ghost stories:

David Belasco: The Belasco Theatre

As the current house manager of the Belasco tirelessly works in her office, she’ll occasionally hear the man above stirring in his own wood-paneled space. The company comforts her on late nights, but it probably shouldn’t — especially considering that the office above is kept under tight lock and key, motion detectors and all, and has been empty for decades.

Legendary theatre owner David Belasco built the theatre that still stands in his name on West 44th Street. He spent his life there, writing, directing and managing all sorts of plays. In fact, he spent so much of his time there that he dwelled in an apartment above. So, it comes as no shock that Belasco remains in the space even after passing on in 1931.

Dubbed by Playbill as “one of the most solid theatre ghosts,” Belasco began to appear almost immediately after his death. Actors began to notice a lone, dark shadow watching their performances from the balcony. He wasn’t shy, either, going right up to the performers and shaking their hands afterward and saying they had done a fabulous job. Many actresses reportedly complained about an older man in a priest ensemble pinching their bottoms. Considering Belasco was known in his day as a flirt and “The Bishop of Broadway,” this makes sense.

In death, Belasco remains a flirt, holding a relationship with a ghost known as “The Blue Lady.” An anonymous celebrity who appeared in a show at the Belasco recently reported hearing the locked door of her dressing room open while she was taking a shower. She frantically ran out, only to find the door still securely shut. But when she went back to the bathroom, it was bathed with a strange blue glow.

Like his lover, the former theatre owner is not against manifesting himself in stereotypical ghost forms, either. He swings closed doors open, raises the curtain magically and sends out puffs of cigar smoke into the atmosphere when no one alive is smoking. He has also been known to throw wild parties with other spirits, with late-night workers hearing the noise. Despite being sealed up and shut down for years, Belasco’s private elevator has also been heard puttering up to his private office.

Playbill reported that an usher was closing up the lobby one night at the Belasco and playfully called out, “Goodnight, Mr. Belasco.” And, even though the exterior doors were pulled shut and there was no wind, all the lobby doors swung open in unison. Needless to say, the usher transferred to another theatre. It looks like Belasco doesn’t ever want the theatre to close.

Olive Thomas: The New Amsterdam Theatre

Aladdin’s Genie isn’t the only mystical creature soaring through Disney’s 42nd Street house. The New Amsterdam Theatre is home to one of Broadway’s most active ghosts: Olive Thomas.

This former Ziegfeld Follies girl has been haunting the theatre since she died of accidental poisoning in 1920. Known by her signature outfit (a green-beaded Follies dress, beaded headpiece and a sash), Thomas has been seen wandering with a big blue pill bottle. This is said to be the container that carries the mercury pills she used to poison herself.

Thomas reportedly manifests so frequently that photographs of her have been placed at every entrance of the New Amsterdam so staff can say hello and goodbye to her each day. They believe doing so has kept her mischief at bay, but that doesn’t mean she isn’t still around. In fact, every time there is a malfunction during a performance of the highly technical “Aladdin,” her name immediately comes to mind.

Shortly after the opening of “Aladdin” in 2014, Thomas made an appearance. An audience member in the orchestra asked one of the ushers for a booster seat for her child.

“We don’t like to interrupt a show,” Dana Amendola, vice president of operations at Disney Theatrical Group, told Playbill, “so we waited until the intermission and came to her with a booster. But we found she already had one. When we asked her where she had gotten it, she said a ‘lady at the back of the theatre’ had gestured to where they were. Now, we don’t have a woman at the back of the house who does that in the middle of a show. We checked, and none of the staff had done it. So you can take that how you like, but it was kind of freaky.”

The occurrence seems rare, as Thomas mainly reveals herself to men and acts flirtatious toward them.

Her spirit also recently appeared when Disney employees were talking about the movie “The Artist,” which is set in the era of silent films. After someone mentioned Thomas became a silent film star, someone made the mistake of saying the real silent-era star was actually Mary Pickford (Thomas’ sister-in-law). At that moment, a tall stack of DVDs on a nearby table flew across the room, crashing onto the floor. The group was stunned.

“They didn’t fall straight down as CDs would have done,” Amendola said. “They went flying about three feet across the room and hit a wall. This was witnessed by several people.”

Amendola went on to say ushers and overnight security have felt a presence sneak up on them and touch their back, only to find no one there. Apparently crazed fans hope for that same feeling, some trying to hide in the New Amsterdam overnight with the intention of spotting Thomas. According to Amendola, security does a special sweep each night to catch them.

Louis Borsalino, Judy Garland and Friends: The Palace Theatre

Now here is a ghost you don’t want to see. The Palace Theatre staff will warn you of the tale of Louis Borsalino. In the days of vaudeville, Borsalino had a tightrope-walking act at the Palace. Unfortunately, the acrobat fell to his death during one performance. As years passed, actors saw his ghost walking a tightrope from the house-left box up to the mezzanine. However, these stories can’t be verified. Legend has it that anyone who sees this particular ghost dies within a year.

However, don’t be alarmed if you just happened to see a ghost at the Palace. There are many other spirits in residency, including a cellist dressed all in white who was last seen during the run of “Beauty and the Beast,” a man in a brown suit who is known for haunting the offices at the theatre nightly, a young boy who will play with his toy trucks in the mezzanine and even Judy Garland. That’s right, the presence of the legend herself is palpable near a door that the theatre had constructed especially for her at the back of the house.

Of course, there are a multitude of other ghosts on Broadway. So, the next time you go to the theatre, pay attention — because the stars aren’t just on the stage and they’re dying to be in the spotlight again (*insert maniacal laughter here*).

We couldn’t pack all of the ghosts into one article so let’s talk about some others in the comments below. Any ghost stories of your own?

The post Meet Broadway’s Resident Ghosts appeared first on Theatre Nerds.

With apologies to Bock, Harnick and Stein, the theatre has many superstitions that must be obeyed to ensure a good performance. Some stem from otherworldly beliefs, while others stem from simple logistics.

Let’s take a look at some of the more common myths and superstitions from the theatre:

1. No Whistling Backstage!

Whistling while onstage or backstage in a theatre has long been considered bad luck. This superstition stems from the time before mechanized sets and backdrops. Back then, all the rigging for the sets, lighting, etc., was all operated by hand using ropes. As such, the backstage crew was often filled with sailors, as they literally “knew the ropes.” Just like on a ship at the time, commands and signals were given with distinct whistles. Therefore, if an actor or someone else were to nonchalantly whistle, it could cause confusion and ruin the show.

2. No Green or Blue Costumes!

While theatrical costumes are now often bright, flashy and full of color, two colors used to be off-limits for the superstitious actor. Wearing a green or blue costume was once thought of as very bad luck, though for very different reasons.

Green costumes were thought to be bad luck for two reasons:

1. Everyone wants to be in the spotlight, right? Well, back in the day when the first spotlight was invented, it worked by burning a chemical called quicklime. This gave it its original nickname, “the limelight.” True to its name, the limelight had a greenish glow to it, so if an actor wore green, he or she might not be visible when hit by the spotlight.
2. The other reason green was deemed unlucky has to do with famed actor/playwright Molière. In 1673, Molière was performing in his play, “The Imaginary Invalid,” when he suffered a coughing fit onstage brought on by tuberculosis and started to hemorrhage. He finished his performance (talk about dedication) but died a few hours later, still in costume. The color of the costume? Green, of course. It was considered unlucky ever since.

Blue, on the other hand, has a slightly less exciting reason for being considered unlucky. Blue dye was the most expensive of the colors, so producers began to spread the rumor that blue was unlucky for costumes. However, blue costumes with silver lining are very lucky, as it meant the theatre company could afford expensive costumes and was therefore very successful.

3. “The Scottish Play”

Shakespeare’s “Macbeth” is one of the most popular plays ever written. It’s also believed to be the most cursed — so much so that just saying the name of the play in a theatre is considered very bad luck. Most actors will only refer to it as “The Scottish Play,” “The Bard’s Play” or even “Mac B.”
Some believe that Shakespeare gave his three witch characters actual spell incarnations for lines. As retaliation, a coven of actual witches cursed the play for all eternity. This could seem silly and/or highly doubtful in the modern world, but it’s hard to deny that “Macbeth” has seen more than its fair share of unfortunate incidents.

It’s believed the first occurrence of the “curse” actually happened during the first production of the play. It’s said that the young man playing Lady Macbeth (actors in Shakespeare’s time were, by law, all men) tragically died on opening night and Shakespeare himself had to step in. There have been numerous incidents of actors getting accidentally stabbed during fight scenes. In 1934, four actors had to step into the role of Macbeth due to illness or accidents in one week. It was also the show in which dueling productions caused the great Astor Place Riot in 1849, leaving at least 25 dead and hundreds injured.

Luckily, there is a way to combat the curse! If you say the play-that-must-not-be-named in a theatre, you must run around the building three times, then spin around, curse and beg to be let back in.

4. “Goodnight Olive”

If you are ever so lucky to go backstage at the legendary New Amsterdam Theater in New York, you may notice a portrait of a beautiful showgirl hanging on the wall right as you enter. Her name is Olive Thomas, and her picture is there for a very specific reason.

Olive Thomas was a Ziegfeld Girl (and, for a time, was Ziegfeld’s girl) and a silent film star in the early 20th century. Later, she married Jack Pickford, brother of silent film superstar Mary Pickford, and the two had a passionate but volatile relationship. In 1920, they were on a second honeymoon in Paris when tragedy struck. Jack was awakened by Olive screaming, having ingested mercury bichloride that had been prescribed to Pickford to treat his syphilis. She died four days later at age 26. Was it an accident? Was it a suicide? Or was it something more sinister?

However, Olive has not entirely left us. It is widely believed that Olive’s ghost haunts The New Amsterdam, the same theatre where she performed in the Ziegfeld Follies and Midnight Frolics. She can reportedly be seen carrying a small blue bottle (like the one containing the chemicals that killed her) and wearing a green, beaded dress. She even caused a security guard to call the vice president of Disney Theatricals (the owner of the theatre) at 2:30 a.m. in a panic after seeing her. She is said to appear to mainly men and is even known to be naughty and pinch a bottom or two.

The portrait of Olive hangs right by the stage door to the theatre so that the cast and crew can say goodnight to her as the leave to appease her.

5. “Break a Leg”

Almost every actor knows that it’s bad luck to say “good luck” before a performance. But where does that phrase come from? There are actually many different theories regarding the origin of the phrase, but there’s no hard evidence to prove any of them. Some theories have origins in Ancient Greece, Elizabethan England and the Civil War era. However, it doesn’t seem that the phrase was used until the 1920s.

Some believe that it refers to bowing, which is also known as “breaking the leg” because of the bended knee. Others attribute the saying to an old German toast, “Hals und Beinbruch,” which means “neck and leg fracture.” Still, some say it has to do with the curtain legs, which are the side curtains in the wings of a stage.

Which one is the real origin? The world may never know.

6. No Peacock Feathers!

There are several items you are never supposed to use onstage. Peacock feathers are considered bad luck because the pattern on the feather creates an “evil eye.” You are also never supposed to use real money or jewelry onstage. This stems from simply trying to deter theft, which was rampant when theatres were not considered the respectable places they are today.

7. No Mirrors!

It’s very bad luck to have a mirror on your set. However, the reason has nothing to do with spirits or omens, but rather lighting. Mirrors can reflect the lighting and disrupt the look of a show, though it sees to have worked out just fine for “A Chorus Line” and “The Phantom of the Opera.”

8. Three Lit Candles

While the “rule of three” usually means that it’s good luck to have things in sets of three, this is not true when it comes to the theatre and candles. Having three lit candles onstage is said to be very unlucky, and the person standing next to the shortest candle will be the next one to get married — or die. While the origin is not perfectly clear, it’s widely believed that this came from the time when theatres were lit with candles and torches, not electricity. Hundreds of theatres burned down in that period, so it’s believed that the superstition stems from trying to eliminate the amount of candles onstage.

9. The Ghostlight

Just about every professional theatre in America has a ghostlight. It’s a long, simple pole, usually three to five feet high, with a single bulb that’s either bare or has a wire cage around it. It’s placed onstage every night after the show is finished and everyone has gone home. With everything else in the theatre turned off, the ghostlight will be the only thing still on until work begins the next day. Why?

Well, it turns out the history of the ghostlight isn’t actually super clear. However, there are many myths and legends on hand to try to explain the ritual. One believed by many scholars takes us back to before the invention of the light bulb. Back then, theatres were lit with gas-burning lights that ran on gas generators. A single light would be left, burning all night to alleviate the pressure on the gas lines, which might otherwise build up overnight and cause fires. Then, somewhere along the way, the word “gaslight” morphed into “ghostlight.”

Another theory has it that in 1919, when Actors Equity was first recognized as a union, one of its requirements was that a single light had to be left onstage so that rehearsal pianists could come and set up for rehearsals without having to wait for the house electricians to turn the lights on. Though it’s unclear whether this is true, to this day, some people still refer to the ghostlight as the “Equity Lamp.”

Another famous legend has it that a robber broke into a theatre in the middle of the night, and not knowing about orchestra pits, fell off the stage and broke his leg. He then sued the theatre for negligence — and won! So, ghostlights are there to prevent liabilities. Robber or not, many believe that the reason for the ghostlight is simply to prevent anyone from falling, breaking their neck and becoming ghosts themselves.

Still, the most prevalent reasons given for the ghostlight involve, obviously, ghosts! As all thespians know, most theatres are haunted. Depending on the theatre nerd you talk to, the light is there to either help or hinder said ghosts. Some think that the light shoos away mischievous ghosts who might mess with the sets or costumes if left to their own devices. Since most theatre ghosts were once performers, others think that the light is left on to appease the spirits and give them lighting for their ghostly nighttime theatre.

Whatever the reason, the ghostlight has become a beloved theatre tradition. Record labels, musicals, biographies and many theatre companies have adopted the name “Ghostlight.” It’s come to symbolize those that have tread the boards before us and it’s our way to honor them.

Do you follow any of these traditions? Have any theatre superstitions of your own? Let us know in the comments below…

The post 9 Theatre Superstitions Explained appeared first on Theatre Nerds.

Despite the great love theatre nerds have for Shakespeare, some find fault with his language, claiming it’s too difficult to understand. In all fairness, some of it is. The guy also created nearly 2,000 new words that we still use in the English language. We use so many words and phrases by him on a daily basis and don’t even realize it.

We’re used to hearing the cliche “To be, or not to be” used without much thought or the classic “Romeo, Romeo, wherefore art thou, Romeo,” but here are 10 words and phrases you might not know came straight from the pen of Shakespeare:

1. “Break the Ice” — “Taming of the Shrew”

Just think icebreakers. Every time you start a new show and need to get to know the cast, the first rehearsal consists of at least three of these. Funnily enough, it pretty much meant the same thing during Shakespeare’s time. Aside from referring to those awkward get-to-know-you games today, back then it also meant to make someone a little less frigid, i.e., Katherine in “Taming of the Shrew.”

2. “Swagger” — “Henry V” and “Midsummer Night’s Dream”

Bet you didn’t know this one had Shakespearean roots! This word was used in such phrases as “What hempen home-spuns have we swaggering here, so near the cradle of the fairy queen?” Yes, it was used a bit differently than it’s used today, but still is all Shakespearean.

3. “Bedazzled” — “The Taming of the Shrew”

Before referring to the trend of putting rhinestones on anything you could get your hands on, this word was used by Shakespeare to describe the sun. Featured in such lines as, “Pardon, old father, my mistaking eyes, that have been so bedazzled with the sun that everything I look on seemeth green,” the word had a much nicer meaning a few hundred years ago.

4. “Come What May” — ”Macbeth”

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Though you may think “Moulin Rouge” helped catapult this saying to popularity, Shakespeare is the one to thank for this saying. When Shakespeare used it in “Macbeth,” it went a little something like, “Come what come may, time and the hour run through the roughest day.” Try putting that into song.

5. “Love Is Blind” — “The Merchant of Venice”

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One of the most overused romantic sayings in history, this phrase first sprung up in “The Merchant of Venice.” Shakespeare wrote, “But love is blind, and lovers cannot see the petty follies that themselves commit, for if they could Cupid himself would blush to see me thus transformèd to a boy.” This one has pretty much kept its meaning through the years.

6. “Rant” — “Hamlet”

Is anyone surprised Shakespeare is responsible for coining this word? Though the first recorded use of this word was in Shakespeare’s “Merry Wives of Windsor,” it seems more appropriate to use this line from “Hamlet”: “I’ll rant as well as thou.” Like his creator, Hamlet was not very brief.

7. “Green-Eyed Monster” — “Othello”

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Responsible for coining “green-eyed” in “Merchant of Venice,” Shakespeare took it a step further in “Othello” with “O, beware, my lord, of jealousy; it is the green-eyed monster.”

8. “Not Slept a Wink” — “Cymbeline”

More formally spoken in Shakespeare’s work as, “I have not slept one wink,” this one is pretty self-explanatory and is used pretty much the same way today. Whether it be the night before a big audition or all of tech week, this saying is extremely applicable to theatre nerds.

9. “Eyeball” — “The Tempest”

You probably thought this one was created by some physician a couple hundred years ago, but credit goes to Shakespeare yet again. The use of this word has not changed since the late 1500s: “Go make thyself like a nymph o’ the sea: be subject to no sight but thine and mine, invisible to every eyeball else.”

10. “What’s Done Is Done” — “Macbeth”

First used in “Macbeth,” the title character says, “Things without all remedy Should be without regard: what’s done, is done.” Today we use this saying in the same way, though not to refer to a recent murder we’ve committed.

Did any of these words surprise you? Do you have any other Shakespearean words that you use constantly? Let us know in the comments!

The post 10 Words And Phrases You Didn’t Know Came From Shakespeare appeared first on Theatre Nerds.

1. It’s totally fine to inform me if there’s a problem with your costume.

I’m here to help you tell the story of the show as best as you can. That can’t happen if your shoes are too small, your pants too big, or if you keep tripping on your skirt’s hem. I’m happy to resolve any issues, but you have to communicate with me.

2. At the same time, don’t be a diva.

Your costume might not fit your personal style, but it does fit the overall look of the show. Despite what you might think, I have spent a lot of time thinking about the way you’ll look on stage. So if you’re playing a poor farmer, please don’t come to me complaining that you don’t look “cute” enough. Also, I don’t have control over everything. Many details come from the director’s concept, so if you have an issue you’ll have to take it up with him or her.

3. I don’t care what your body looks like.

You were cast in this play because the director thought that you were the best actor for the job. Period. Besides, I’ve seen it all. So there is no need to be embarrassed about your weight, height, stretch marks, acne, etc.

4. Your underclothes really do matter.

If I ask you to wear a certain kind of underwear/bra/dance belt it’s because your costume won’t look right if you don’t. If I ask you to bring said underwear/bra/dance belt to a fitting, please do. I need to know exactly how you’re going to look on stage. Same goes for shoes.

5. It’s worth your time to be nice to me.

First of all, I’m an industry professional. The same industry that you’re trying to break into. I know a lot of other costume designers, actors, and directors, and if you’re rude your name will come up. And you really can’t afford to burn bridges. Secondly, I have the power to make you look bad on stage. So be nice.

6. You need to know that costumes take a really long time to make.

I had to buy a pattern, choose fabrics, cut out the pattern pieces, sew them together, alter them to your body … you see where this is going. The process takes a lot of time and effort. Even if I bought or reused old costumes, choosing them took many, many hours. So please treat them with respect. Every time an actor throws a costume on the floor, eats in costume, or gets makeup on a costume, a designer’s soul dies a little bit.

Are you a costume designer? What else would you like actors to know? Leave a reply below…

The post 6 Things Your Costume Designer Wants You To Know appeared first on Theatre Nerds.

1. The Note Giver

The actor who gives another actor a note. *BIG SIGH* As much as you want to scream “no, no, no” to them and explain acting etiquette 101, just nod your head and try to ignore them. Let them think you’re daft for not taking their brilliant insight and try to forget it.

2. The Un-memorized

It’s show time and they still aren’t off-book. Nothing like a not knowing what’s going to come out of their mouth next to keep you in the moment! This is a scenario where knowing all the lines and the layout of the scene is key so you can recover any blunders or dropped lines.

3. On Drugs or Possibly Crazy

Everyone has worked with that one actor who’s just a little off. It can be unsettling. It can be brilliant. It can cause you ulcers. Do your best to roll with the punches and chalk it up to experience.

4. The Combatant

The scene partner who takes the on-stage physical aggression too far. This is never okay. If you ever feel unsafe on-stage speak to your director ASAP.

5. The Arguer

This actor has a chip on their shoulder and feels the need to argue with everyone including the director. Best to stay out of it and create distance from the arguer. Never provoke the arguer no matter how entertaining.

6. Diva

We’ve all known one. We’ve all been one. Just tell them how pretty they are and hope for the best.

7. The Unwelcomed Improviser

The actor who improvises during a scripted scene when improving is not welcomed. It can be disorienting, it can throw off the timing, it can occasionally, be brilliant. That said, it’s best not to improvise if it’s not what the piece or the director calls for unless it’s out of necessity as in a dropped line. If you’re stuck with the unwelcomed improviser stay on your toes, stay in the moment, and enjoy the ride.

8. The Stinky One

Bad breath, body odor, dirty clothes… you name it. Not much you can do other than offering a breath mint or spritz some Febreze around the stage.

9. Stage Hog

The stage hog is the one who literally pushes you out of your light. Politely speak up and mention that you need to be in your light in order to be seen. The director and the tech department will have your back on this one.

10. The Intellectual

Wastes all your rehearsal time sharing their brilliant insights into the script and their character’s inner thought process instead of running lines. Tell them you never knew how smart they were, then quickly change the topic to the ticking clock and your need to run the scene a few more times.

11. Meanie

The darn right mean-spirited kind. This scene partner breeds toxicity while putting you and your other cast mates down. Best to be the bigger person and try to find some common ground. The meanie needs love. If that fails, give yourself some self-love and call it a day.

12. Cootie Concerned

You have to do a kissing scene and your partner acts like you have cooties. Don’t take it personally, it can be a nerve-racking time and sometimes that makes people act weird. Break the ice with a joke and try to make them feel as comfortable as possible.

13. Space Cadet

The space cadet is off in la la land and drops all their cues. This can be great practice for you on thinking on your feet. Challenge yourself to connect with them more on-stage in order to keep them focused and on planet earth.

14. The Flake

This one cancels your rehearsal and reschedules it over and over again. Scream into your pillow then politely explain that your time is valuable too and please stick to a time and date.

Have a story about a crazy/smelly/bossy scene partner? Tell us in the comments below…

The post 14 Worst Scene Partners And How To Deal appeared first on Theatre Nerds.

Emma Livry, the Ballerina Whose Tutu Caught Fire

As she steadied herself for her performance she made the fatal mistake of fluffing her tutu next to a gaslight

If you had the privilege of growing up a dancer, you’ve probably heard the cautionary tale of the ballerina who caught on fire during a performance. Details of the tale may have been fudged during the backstage gossip, but regardless, you knew you better not stand too close to the lights in your tutu otherwise you might have ended up like Emma Livry, the ballet prodigy of the romantic era, that is, until her untimely death.

The story begins with Emma waiting in the wings before her second act grand entrance. As she steadied herself for her performance she made the fatal mistake of fluffing her tutu next to a gaslight. Her skirt burst into flames sending Livry into a panic as she ran onto stage screaming and running around frantically in circles all while the audience and other dancers watched on in horror. Eventually, a fireman and another dancer helped to put out the flames but Emma’s burns were extensive. In an effort to be modest, she had clasped the fabric of her corset to her torso causing the corset to melt into her ribs. Additionally, she suffered burns on forty percent of her body including her waist, back, shoulders, thighs, and arms.

Emma spent the next eight months recuperating but ultimately died of sepsis upon the reopening of her wounds. Perhaps the most tragic part of Livry’s death was that it was all too avoidable. A fireproofing method for costumes was available and it was Livry herself who insisted against it due to the yellowness and stiff feel it gave the fabric. As if that weren’t bad enough, Ms. Livry didn’t even learn her lesson. During her recovery she remained opposed to fire-proof skirts: “ Yes, they are, as you say, less dangerous, but should I ever return to the stage, I would never think of wearing them- they are so ugly.”

Moliere- A Grave Performance and the Superstition of Wearing Green

Molière, died in the most dramatic of fashions- while he was on stage performing

France’s Greatest Playwright, Jean-Baptiste Poquelin, better known by his stage name, Molière, died in the most dramatic of fashions- while he was on stage performing. Molière had long been suffering from tuberculosis, a condition he was thought to have acquired during a prison stay due to debt. Tuberculosis or not, nothing was going to stop him from pursuing his artistic endeavors.

The tragic night was set during a royal performance before King Louis the 14th. Ironically, the performance was Le Malade imaginaire (The Imaginary Invalid, AKA, the Hypochondriac) it was during this performance that Molière began to cough and gasp uncontrollably until he collapsed and began to hemorrhage. The performance stalled but, briefly, and Molière insisted that the show go on. After bravely forging his way through the rest of the play, despite a secondary collapse, he finally made it home. Hours later, Molière passed away. Sadly, he was denied his last rites, which led to a rumor that his soul didn’t make it to heaven, and that his ghost is still lurking about. On the night of his death, Molière’s costume was green; offsetting the superstition that green is an unlucky color to wear on-stage.

Drury Lane Theatre and The Man in Grey

The Man in Grey is thought to be the ghost of a man who’d been stabbed to death

The Theatre Royal, Drury Lane, is the oldest operating theatre in London and is quite possibly the most haunted. Although there are many ghosts that have shown up at Drury Lane, it is the ghost referred to as The Man in Grey that is perhaps the most popular. The Man in Grey is thought to be the ghost of a man who’d been stabbed to death and whose remains were found in 1848 inside a passage of the theatre that had been walled up. The Man in Grey is said to dress like a nobleman of the late 18th century donned with a tricorne hat, dress jacket, cloak, riding boots, and sword. The ghost is said to lurk about between the fourth row and the royal box, which is near the spot in the wall where his remains were found.

Palais Garnier and the Truth behind the Phantom of the Opera

The chandelier in the theatre really did fall

You may already know that the Palais Garnier theatre in Paris is the setting for the famous novel and musical, Phantom of the Opera. What you may not know is that the writer, Gastón Leroux was a French journalist whose specialty was investigative journalism on real-life incidents; Leroux’s famous tale, is indeed full of many real-life truths. For instance, the lake of water under the theatre is real, it’s actually more of a water tank, but it’s a body of water under the theatre. Also, the chandelier in the theatre really did fall, not only that, it killed someone. Yikes! Creepier still, is the disfigured contractor that helped build the theatre and who lurked about wearing a mask to hide his unsettling appearance. The man, named Erik (yeah, really!) was born disfigured and abandoned by his family, joined the circus, and eventually became an architect, of sorts. He was even said to walk about wearing dress suits and a cloak. Erik also had his own personal box to watch the performances without being seen. The creepiest part is that he really did fall in love with a singer who performed at the Garnier and he kidnapped her! Luckily, she was found and fled Paris. Erik was so distraught he walled himself up into his apartment under the opera house and ultimately died of starvation. Some time later his suspected remains were found, wearing a gold ring that he was known to wear.

If these stories don’t give you a newfound respect for the spookiness of the theatre than I leave you with this bit of trivia: The ghost light in theatres generally serves a practical use- safety; however, it’s there for superstitious reasons too- to appease the ghosts that are thought to haunt each theatre. The light remains on stage long after the actors go home so that the ghosts may perform thus, preventing them from cursing the theatre. So leave those ghost lights on and have a Happy Halloween!!!

Have your own theater ghost story? Tell us in the comments below…

The post Theater Ghosts: 4 Spooky Stories Of The Stage appeared first on Theatre Nerds.

Stage 1: Denial

You wake up in a panic thinking you lost your script, or are late to rehearsal. You continue to have theatre nightmares where the stage collapses on you or something goes drastically wrong.

Stage 2: Sentimental and Sappy

You post pictures of your awesome cast and crew all over social media to show off the amazing new friendships you made. You plan reunions for your cast to spend more time together to sing karaoke to your favorite cast recordings.

Stage 3: Identity Crisis

You start an extensive search for auditions in the area to get back in the rehearsal room ASAP. Because if you’re not at rehearsal or on stage, who even are you?

Stage 4: Reliving Every Moment Of The Show

You reminisce with your friends about the show, and try to get them to join you in sing/dance-alongs.

Stage 5: Regret

You suddenly are overwhelmed with a wave of “what if”s.

“What if I made a different choice here?”

“Oh man, I wish I didn’t fall during that dance sequence.”

“That would have been so awesome if I had done something different for that scene.”

Stage 6: Depression

Some people skip right to this step and fall into a dramatic, tear-filled depression like the dramatist they are… This step is rough. Go buy some ice cream, listen to the cast recording, and wallow. But keep it in check…give yourself a few days, a week at most, and then put on your big-kid character shoes and get back out there!

Stage 7: Acceptance

You realize that while you will cherish your memories of show’s past, you need to keep moving forward and make new theatre memories.

Stage 8: You Get Cast In Another Show And The Process Starts Again

That wonderful moment when you can look forward to months filled with theatre and all of the wonderful experiences that come with being a part of a production. It’s the Circle of Life.

As Sherie Rene Scott would say, “The scary thing about theatre—it doesn’t live on… It doesn’t last. Only in people’s memories and their hearts. That’s the beauty and sadness of it. But that’s life—beauty and sadness. And that’s why theatre is life.”

Did we miss a stage that you experience? Leave a reply below…

The post The 8 Stages of Post-Show Grief appeared first on Theatre Nerds.

‘G’ for Glossophobia

Glossophobia: Fear of Public Speaking or Performance

Greek γλῶσσα glōssa, meaning tongue, and φόβος phobos, fear or dread

‘T’ for Triskaidekaphobia

Triskaidekaphobia: Fear of the Number 13
Greek tris meaning “three”, kai meaning “and”, deka meaning “10” and phobos meaning “fear” or “morbid fear”

Theatres offer many things to thespians, such as a place to try new things, a safe space, a creative sphere of awesomeness, and the physical place of many a life’s firsts. Theatres give those who partake countless opportunities and outlets. Theatres help take small ideas and morph them into larger-than-life productions.

So it seems only natural that theaters would be breeding ground for superstitious beliefs.

1. The Scottish Play

Belief:

Unless you are on stage, rehearsing or acting in Shakespeare’s Macbeth, you are under no circumstance ever to say “Macbeth” while on a stage or in a theatre. Doing so will lead to you ultimate failure, the theatre’s collapse, and the stage manager losing their production notes.

Background:

Some historians believe the “Scottish Play Curse” came to be after a series of rumors evolved that the Witches’ spells within the text contained actual black magic curses. Other theatre historians believe Shakespeare’s plays were often produced (on the cheap) to help failing theatres pull out of financial ruin; cheap budget cuts paired with onstage duels and normal theatre stresses led to larger-than-life rumors of horrible acts occurring during production.

Reverse the Curse

Undoing the curse of saying Macbeth on stage:
Turn around three times
Spit over your left shoulder with each turn
Swearing between each spit
Complete spins and reciting another line from a different Shakespeare play
Curse Reversed*

Source

*Note: No promises of any actual curses reversing. Also note that this is one of more than a dozen “curse reverse” practices.

2. “Break A Leg”

Belief:

Saying “Good Luck” will ensure your DOOM when in performance. Instead, “Break A Leg,” should be said as nod to fortune and never-a-forgotten-line

Background:

The saying started popping up in Western theatres, it is believed, around teh 1920s

“Break A Leg” didn’t work its way into an English publication (directly) until the late 1930s. Edna Ferber was the first to print anything about the superstition, writing, “…all the understudies sitting in the back row politely wishing various principals would break a leg.” **

Of all the theatrical origins, “break a leg” has more than this one blog post can report on.

Some research favorites include:

Understudies wished the leads to “break a leg” so often it became considered rude for someone not to say it

Shakespearian English: “Break” = “Bend”

“Break a Leg” = “Bend a Leg” or “Cheers to a bow at the end”

Fooling Theatre Sprites! By saying “break a leg,” mischievous sprites would do the opposite, granting wonders and good things.

And My Personal Favorite: The Lincoln Conspiracy! ***

After shooting President Abraham Lincoln, John Wilkes Booth leapt from the theatre box, breaking his leg before running out of the theatre. Booth later wrote in his diary (between fleeing and his own death) that his performance would always be remembered… ‘Cause broken leg.

Source

3. Whistling In A Theatre

Belief:

It is bad luck to whistle in a theatre

Background:

Ok. This one has been difficult to find printed history about. All the following is compiled from theatre spoken lore.

Fly crews in theatres used to hire out-of-work sailors. Sailors communicated through a series of high pitched whistles with each other. This form of whistling was used on boats to express quickly how sails should be raised and lowered. As these men moved to theatrical spaces to work, the whistling continued. Being that the only individuals privy to this form of communication were sailors, it was believed sandbags, flys, scenery, and other such things could be dropped on an actor’s head with the simple act of a whistle.

Source

4. Always Light the Ghost Light

Belief:

One should always leave a light on stage in a theatre, even when it is unoccupied, to keep the space from being completely dark. Usually, in modern theatres, this consists of an exposed bulb with no lamp shade.

Background:

Ghost lights became theatre staples around the same time that England and America became more interested in communicating with the supernatural. If you review history as electricity was more widely introduced and interest in the spiritual other world, many theatre superstitions seem to have origin stories dating back to this time. There is not a definitive “this theatre left a ghost light starting at this time”  history. Superstitions have oral origins about leaving the ghost lights out for former thespians to take the stage in their next-life form and reenact their roles with lighting.

Practically? Technicians are often the first in and last out. The light is a safety precaution in a dark theatre to prevent actual broken legs.

Source

Have proof these superstitions are REAL? Reply below…

1. Source: Burt, Richard. Shakespeares after Shakespeare: An Encyclopedia of the Bard in Mass Media and Popular Culture. Westport, Conn.: Greenwood, 2007.

2. Sources:** Ferber, Edna. A Peculiar Treasure. New York: Doubleday, Doran, 1939*** Kauffman, Michael W. American Brutus: John Wilkes Booth and the Lincoln Conspiracies. New York: Random House

The post Don’t Say That! A Look At 4 Theatre Superstitions appeared first on Theatre Nerds.