Ending to Begin

My intern ship is drawing to a close. I have three more days before I head back to good 'ol BSC and start again with crazy class schedules, homework, and shows. Over the weekend I was dreading leaving the amazing city of New York and returning to school. But yesterday and today I've been reexamining my life as a college student and what I would like to focus on.

I wanted to come to New York for interim was because I needed to find out if this was a place I wanted to live and if I really wanted to pursue play writing. Interning with a production company was the best way to experience both. Not only did I live here for a month, but was privileged enough to get a piece of the producing side of theatre. Obviously, producing isn't play writing, however, they directly connect with one another. Both questions of living and play writing were answered with a resounding "YES!"

So now comes the part where I figure out where to go from here. I have a few things about my schedule to reconsider, but nothing terrifying. And leaving here makes finding ways to return that much sweeter. I now have a goal. I know where I want to go when I graduate. I think I may try and return this summer depending on the results of SETC auditions.

I'm no longer dreading returning school, but excited. Now that I have a stronger idea of what I want to do, I'm ready to take the necessary steps to get there.
This has been such a rewarding experience. Like I said in my last post, I feel like I've conquered one of the world's many perplexities. I see the world slightly differently now, and lemme' tell ya', I like the way it looks!

~Clara

Head First

Hi, Clara here, writing for the first time all the way from New York City. I'm thrilled to say that I am a sophomore musical theatre major at BSC.

Currently, I am spending my interim in Manhattan, interning with a Broadway and film production company. I've very much enjoyed my time at the company, though I feel as if one month is not nearly enough time to get the full experience of the producing world. It has also been especially slow because the CEO, VPs, and Creative Executive, are all out working on a separate project in Los Angeles.

My job has consisted of answering phones, creating lists, and doing a little research. However, with everything moving so slowly, I have time (and have been strongly encouraged) to work on my own writing. Jason, the CEO's assistant, and I have been the only two people in the office for the last three weeks, presenting more opportunity for relaxed conversation. I asked him to read some of my work and he gave me strong feedback on how to improve it. Not only is it nice to get the opinion of someone directly in the business, but it's also relieving when they don't say that they thought your draft was awful. "It has potential." YES!

I've also had a chance to look into the shows they're producing. One of the projects is based off of a book (I'm not at liberty to share this information), and I read both the book and the treatment of adapting it into a musical. It was fascinating how different they were.
Some of the other things Jason and I have talked about are the differences between commercial theatre and not for profit, how production companies are run, budgeting, copyrighting, and play writing. Many of these things are not as complicated as I thought they would be, but I can't say I would do the best job explaining them to anyone else.

While out of the office I have explored several things. I didn't come with much money so seeing many Broadway shows was not in the budget. I actually have yet to see any. I may in my final week here. But instead I decided to use my money to buy a cheap guitar that I named Abel, and go "busking" as they call it. Busking means to perform your talent on the street, in the subway, where ever really, for money. I chose to stick to the subway. Other things I have done include taking an $18 vocal technique class at Broadway Dance Studio, attending a free show of the Upright Citizen's Brigade improvisation company, going to an open call audition for the musical HAIR, and giving guitar lessons to a good friend's daughter on the weekends.

Wait WHAT? Yes, I went to a cattle call. I tagged along with the roommate of my old friend in high school that is letting me stay in her apartment. We arrived at about 5:15am and waited for almost five hours in the cold to sign in. There was at least a thousand people who came. Even though we showed up early, there was still around 300 people in front of us. As soon as we signed in we were given our audition time (2:50pm) and left to get some sleep and warm up our frozen toes. We returned at 2:30 to wait for our time, lined up to turn in our head shots and resumes, sang our 16 bar audition piece, and returned home. It's a huge wait for thirty second slot of time to prove yourself, but I'd do it again I think.

All of those details aside, I've learned so much more about myself as an artist from this little adventure of mine. It's kind of cheesy, but it’s like listening to a song you’ve heard a million times and having that moment when you finally understand what it’s saying. This one time when you hear the song, you connect with its depth and truth, and it strikes an understanding in your heart that changes the way you see the world (if only slightly). But that’s all it takes; a slight tilt in the angle or a small change in hue, to give you the feeling that you’ve just conquered a small piece of the world’s many perplexities.

For the first time in my life, I've been given the opportunity to be completely independent. College doesn't count because you are provided housing, have a cafe to feed you, and it isn't necessary to leave campus. Here, I spent two weeks living by myself (my friend and her roommates weren't back for school yet), and was forced to figure out New York without help. To some of you, this is a "been there done that" statement; "No big deal, easily done" etc. But that is exactly what I discovered myself on this journey.
Let me explain a little.

I originally chose musical theatre as my major because, frankly, I didn't know what else to do. I was a musical theatre major at the creative arts high school I attended, and though I had no idea if it was a career I desired to pursue, I somewhat enjoyed performing so I chose it by default. I also figured it was a good way to receive scholarship money. When it came to deciding on a college, BSC ended up as my only option. You see, I only applied to Indiana University and Birmingham Southern. Yes, I know. It was not the smartest decision I could have made. But this time around, my lack of preparation lead me exactly where I need to be. I was placed on the waiting list for IU, and BSC offered me great scholarships. So there you have it.

I realize now how unbelievably risky that was. For the last year and a half I have, somewhat silently, worried myself over whether or not I had what it takes to plunge head first into this business. I wasn’t only interested in performing, but playwriting as well. Sure, I could “do it” but I didn’t know if I could do it well enough to make it in the real world. "If you imagine yourself doing anything else, than do that," I constantly heard my professors and fellow students fervently advise, "Because this job asks everything of you with a large possibility of not giving back financially." As a perfectionist, I didn't want anyone to know that I didn't "have it together". I attempted to hide the fact that my mind spun like an overactive merry-go-round, arguing myself dizzy with the fear that I was making a very big mistake. However, something in me told me to stay. That "something" was right.

Over the summer I discovered that my passion lies more in writing than performing. Over fall semester it became more and more evident to me that it’s what I want to do. But I was still afraid. The question, “Am I good enough?” hammered me down, among other questions revolving around my sense of ability, keeping me trapped in insecurity.

Last month when BSC held a master class with Ben Vereen, Ben called me out on my overwhelming fear failure. It was astonishingly liberating, however, no less of a struggle to be confronted with in front of about fifty of my colleagues and my professors. I couldn't have been bestowed with a better preface to my adventure here in Manhattan.

And somehow, everything fell together for me to come to New York for interim. Even though I had been planning it since second semester freshman year, the weight of my decision didn't become a reality until the taxi ride from JFK airport to the apartment in which I would have a mini freak out before realizing I wasn't going to get mugged if I walked outside. Then when I realized I was going to be fine, the thrill of independence over took me, and my level of confidence boosted to unbelievable levels. At first I thought it was just being in New York that brought about my oozing confidence. It was when I had time to calm down and realize that New York is just another city, another place that is full of routines, smelly trash, and busy people, that I realized it wasn't the city. I was so excited about my independence that I never gave my fear enough time to tell me that I couldn't do it.

There's still a feeling of fear and uncertainty at times, but now I know to ignore it, because I've been there, done that. I've proven to myself that it is possible. And honestly, I can't see myself doing anything else but theatre anyway. I only wish I could tell Ben!

~Clara

Hamlet

We're fast heading toward our Monday opening of the BSC production of Hamlet. You'll find many students who have taken on significant leadership roles, including Costume Designers, Lighting Designer, Technical Director, Stage Management, Assistant Director and more. Hamlet is our January Interim production, so we have the luxury of working on this one project for the entire month. Students, faculty and staff hit the ground running at 9:30 in the morning and we collaborate for the entire day. As director on the production, I've been privileged to work with many talented theatre students. Whatever our role has been, we've all learned alot about the play!

To Infinity and Beyond...

Funny thing….graduating. It seems cliché to say, but it feels like only yesterday when I started my freshman year at BSC. When I was eighteen and a senior in high school, I was not sure that college was the path I wanted to take. With very big dreams, I wanted to tackle the world of Broadway with a vengeance. My mother, knowing that I was not quite as ready as I believed myself to be, coaxed me into at least giving college a chance. Moving from Virginia to Alabama wasn’t exactly how envisioned the start of my journey, but it proved to be the right decision as I encompass the strength, experience, and confidence garnered in the next step toward my career. I fondly remember my first audition for BSC’s production of Urinetown. I excitedly called home to inform my parents that I had been cast as Little Sally. This role was my favorite portrayal to date and a great learning experience as we took the show on tour for approximately 6 months as it kept being passed as a contender in the Kennedy Center American College Theatre Festival Competition. I will never forget working with Martin Landry, and the mentoring and advice I received from the phenomenal upper classman. I may not have worked in the great city of New York yet, but with help from my theatre, dance, and vocal professors who challenged and prepared me for auditions, I’ve worked summer theatre gigs in both Texas and Vermont. Birmingham-Southern also provided me with the opportunity to work with extremely talented classmates who I have grown to admire through their talent and their commitment to becoming better performers. I am a firm believer that if you want to excel at something, you must surround yourself with people that are greater than yourself so you can continue the commitment to improve yourself. But what would my future hold past college? With my graduation, I can truly say that I am ready to take on the world with the excitement as if I were 18, but with the knowledge of a 22 year old college graduate.

As I took my last bow in Striking Twelve in November, I found it ironic to end my last performance in a show of that title. For in my childhood memories, it was at the stroke of midnight that Cinderella’s experience would most probably end, but at the conclusion of Striking Twelve, my Cinderella experience would begin. For my first out of college job opportunity will begin with Disney Entertainment as Ariel from The Little Mermaid in January. I can happily relay that my response from Disney has been welcoming and gracious. Opportunities abound. Theater is about conquering different roles, well….I think I can handle being a princess. I haven’t had the opportunity to be cast as anything royal thus far, but I’m ready for a castle in a warm environment.

I say goodbye to my professors, friends, and former cast mates. I wish you all the best in your career journey. When you wish upon a star…..

Skyler

A Holiday Non-Spectacular, Non-Extravaganza

I've often heard it said that Stage Managment is the hardest job in theatre...now I believe it. From the beginning of October through the weekend before Thanksgiving, BSC Theatre students have been working on our Fall holiday musical, Striking 12. Strking 12 is a contemporary pop/rock musical written by the band GrooveLily. What started out as the three member band playing all the instruments and playing all the roles has evolved, under the direction of Michael Flowers, into a twelve person cast and equally as large crew. And all of this is what I've had to make sure works and runs as smoothly as possible.

The show's minimalistic simplicity can only be contradicted by the technical complexity that went right along with it. For an 80 minute show, it certainly had enough compacted into it to be a small technical marvel. The set consisted of a series of platforms with all structural aspects visible to the audience. Behind the platforms were six scrim panels that hung from the grid. These panels served as three dimensional screens for images to be projected on. And right in the middle of the stage was the band; a six person band consisting of keyboards, violin, cello, drums, bass, and guitar. So, needless to say, the stage was pretty full.

As for the show itself, it is an inspiring holiday story of life changing proportions; achievable only by such great authors as Dickens...or in this case, Hans Christian Andersen. Andersen's story "The Little Match Girl" is paralleled with a modern day account of a man who has had enough of of the holiday season and a girl selling full spectrum holiday light bulbs. After the man has a conversation with the light seller about Andersen and dismisses her, he pulls out his handy "Collected Tales of Hans Christian Andersen" and begins to read the story. After reading the story, with some help from some whimsical characters in between that rap and mug in 19th century clothing, stop mid-show to complain about how small their part is, and make sound effects for every action of the Man, he can't believe that no one made an effort to help the little match girl, leaving her to freeze to death in the snow. After re-evaluating his own life, he rushes out into the city streets to find the light seller. And unlike the sad ending of Andersen's tale, this story ends with the man and girl finding each other on the first day of the year.

This was my first time ever stage managing a show of this scale. It's definitely a job not to be taken lightly. With it comes a massive amount of responsiblity. The responsiblities included, but were not limited to, making sure 35 people where they needed to be at the right time, overseeing the rehearsal, pre-show, and post-show process, and calling 97 light cues, 41 follow spot cues, and 15 projection cues all within a span of 80 minutes. Multitask much? I'd say so. I realized just how focused and aware of every minute detail a stage manager has to be. And even though I already had immense respect for the crew of a show, being the leader of the crew made me realize just how crucial they are to pulling off a successful show. Just like the old saying "There are no small parts" applies to actors, it applies to the crew as well. It's a team effort, this theatre thing; and being able to lead this team was a very rewarding experience. Ah, stage management...power, yes...authority, yes...perfection, no. But I think I got pretty close a few times.

Even More Sound, More Music

Our Blog Corner...

It’s been a while since I have last blogged. I hope this finds you a little bit more enlightened in some way. I was asked to blog about my summer and I think now, after much thought, I will blog a bit about my experience but also about the “big picture” aspects of where hard work and “following the dream” can get one and a few initial steps in getting a foot in the door in the entertainment industry.

Let’s see, in my last blog I left off talking about WorkPlay and the new journey it set me on. Upon finishing up an internship there, I knew I had no choice but to challenge myself further. I have had one goal in sight for my career for the past year and a half. That single goal is music supervision. For any that do not know what exactly that is, let me provide you with a little definition. A music supervisor is the person who communicates with producers and directors of t.v or film regarding the placement of music in the show or movie. The supervisor can do everything from actually placing, picking, and editing the music in for the final edits of the show or film in a final mix to clearing, negotiating, and licensing the actual songs to be placed throughout the process. Music’s role in t.v and film is only increasing in importance as the years go on. You may be asking… Why this career goal? I am absolutely fascinated by the ability of music to move an audience when it is accurately placed in a scene of a show or film. If you think about it, we all have those scenes in a particular movie or show that we remember because of what song or score was being used…we remember it because ultimately, whether you realize it or not, the music stirred some kind of emotion in us-it served as a parallel to what was being said on screen (thus, not taking away completely but only aiding the script). The job title of “Music Supervisor” has not been around forever. Although music in film dates back to silent films, an official person overseeing this placement process was not officially a job until much later. I knew I loved the creative aspect of the job. I read books, researched, and knew I needed hands on experience. I had questions that I needed answered- What is the proper way to clear a song for usage? What technology is involved in editing in a piece with picture? How much of a role does budget play in choosing music? Ultimately, I knew I needed the business experience. I don’t think I will be the only person to say that there is only one place someone can go to gain this sort of entertainment industry experience…that place is the City of Angels- Los Angeles.
In January of last year, I began to use my resources I had. I got in touch with a former student of my father’s who has a long record of success in LA as a producer with various companies (Disney, CBS, HBO). I expressed to him what my goal was and he graciously worked with me on connecting to many people and perfecting my resume. I landed an internship with True Music. True Music has a music library, in house music supervisors, and an in house music licensing division. Kurt Farquhar opened the company years ago after having a successful career himself as a prime time t.v composer. I could not have picked a better place to work with for a summer. I headed out to LA in May and stayed until August-a solid three month internship. Throughout this time, I worked on a day to day basis with True Music editing music to picture, seeing example clearances be done, communicating with producers, working on the song catalog, placing songs, going to the SONY lot for mixes and spotting sessions, and ultimately seeing the way things had to be done to be successful in the music for film/t.v world. On days I did not work, I made it a point to connect with people that were “good to know” whether they were people I was referred to or people who’s career paths I truly admired, I made it a point to meet with them in order to gain different perspectives and insight into the biz. All in all, the summer was what it was to me because of the relationships I formed. I can now sleep a little more peacefully at night knowing that I have formed solid relationships that can continue to guide and serve as connections throughout my career. Without my True Music internship, I would not have been able to realize my own potential in the music for film/t.v world. True Music laid the foundation for what I will always proudly consider the “start of my career”.

When I talk to people about my summer, I tend to usually get similar responses. I get something along the lines of “Oh my God, that’s so cool.” Don’t get me wrong, it is cool and I am lucky but that’s not at all why I am choosing to pursue it. It did not just fall in my lap and I did not wake up one morning with a sudden urge to be the next Alex Patsavas, placing an emotional song in a dramatic scene of Grey’s Anatomy. It was a process for me- a process of discovery. A process that led me to a path that I am still on-a path that I now know is the most fulfilling for me- a path that has just started. Wherever it may lead me next, I am proud to say that I know I made the right career choice for me in being in LA for a summer.

I cannot stress how much of a firm believer I am in internships. Without hands on experience, how will you ever know if a certain career is the most fulfilling for you? How will you gain the experience you need? It is not always in the classroom. I encourage anyone that has an urge for something in the entertainment biz to search within yourself for what it is you truly want to do-narrow it down. Secondly, start with your resources at hand, do your research, connect with anyone and everyone you can because you never know where they may lead you in the future. Read books. Surf the net. Google the professionals you want to be. Work on your resume-perfect it, find a way to make everything on that single sheet of paper relate to the field you want to be in. Make it impressive. Obtain an internship-don’t be afraid to ask for help. You must be willing to work for something. You must be willing to start at the bottom. Make the first steps and see what happens next- and oh yeah, I almost forgot, don’t forget to breathe along the way.

-Anais


It has been a very long time since our last post. Lots of developments have come about since we were last on here. I followed right behind Anais and spent my summer interning at WorkPlay. Since she has already gone into great detail about what that internship entails, I'll avoid repetition and tell you about specific things that I got out of the internship.

I went into WorkPlay knowing that I wanted to know everything I possibly could about the live music industry, specifically booking, production and tour management. Thankfully, I got to experience all of these things. I'll tell you briefly about two of my experiences. First, as part of an outside promotion, the talent buyer of WorkPlay helped bring in Gov't Mule to Sloss Furnace Amphitheater. He gave me the opportunity to work production for this event. Up until this point, I had been working production in the small WorkPlay Theatre where the most a band travels with is typically a van or bus and a trailer. Gov't Mule was a whole different experience. Instead of a trailer, they work with a full size 18-wheeler. Now I know that this is still tiny in comparison to some major tours that travel with 10+ 18-wheelers, but this was a huge step up for me in the production world. It was fast paced, it was dirty, it was hot, it was exhausting...and I loved every minute of it. There's just something about the thrill of putting a huge show together in a short amount of time and then taking down, packing it up, and heading off to the next town. Call me crazy, but life on the road sounds like it would be fun...for a while, at least. My second major experience came when I actually got to talk to a tour manager. I felt ridiculous for being so nervous, but to me, talking to a tour manager is the equivalent to talking to a celebrity. If names mean anything to you, I spoke with the tour manager of Medeski, Martin, & Wood. Though this encounter was quite brief due to his incredibly hectic schedule, it was a few of the most enlightening minutes of my life. He told me things I didn't know, some things I already knew, and some things that I really didn't want to know. To be honest, there are parts of the job that don't sound to appealing. He even went so far as to tell me that if I ever wanted a family one day that I should absolutely not want to be a tour manager. Harsh words, but very true.

So, this has led me to where I am now. To continue to gain more experience in the management field, I will be stage mangaing our fall production of Striking 12, an almost folk/pop-rock chamber musical. I imagine that there will be many similarities between stage management and tour management; mostly in that everyone looks to you for pretty much everything. It will definitely be a challenge, but I'm up for it.

I couldn't agree with Anais more about the value of internships, networking, resumes, and all the other stuff that comes with finding a job. Unless you're very lucky, your dream job isn't going to fall into your lap. You have to work hard for it. Thanfully I made some wonderful contacts from working at WorkPlay, but all of that is for naught if I don't follow up with these key people in the entertainment industry and continue to improve and challenge myself. Also, Anais and I both are very lucky to go to a school that is very supportive of internships. Both of us essentially contracted our own class with the help and support of a Theatre faculty member. Not only did we get the experience from the internship, but we also got class credit for them. We are very lucky to have theatre professors that are very supportive of our individual interests that can be best cultivated outside of the classroom in a real world envrionment. If you haven't done an internship yet, find one! You'll be amazed at what you can learn about yourself through that process.

-Matt

I SHOULDA LISTENED TO MY MOTHER (or “How Acting Like a Jerk is Making Me a Better Person”)

Hi, my name is John, and I’m thrilled to be a new-ish member of the BSC Theatre Department … the best-smelling theatre department in the world!

 

My momma taught me not to judge a person until I had walked a mile in his shoes.  Well, I’ve found that other people’s shoes are pretty hard to come by … and they usually don’t fit very well.  But in the unique discipline of acting I’ve found that it is possible, however, to do the next best thing: walk someone else’s mile … in your own shoes. 

 

Lemme ‘splain.  No, it’s too much… lemme sum up.

 

Over the past nine months I’ve walked, let’s see … one, two, three … nine of those miles here in the BSC theatre department, playing nine different people.  Among them, a former male prostitute, a politician, a laid-back grandpa and a beggar – each one a very real person with very real circumstances, desires and beliefs that shape his life and actions. 

 

Most of our study here follows a Stanislavski-based approach to acting – in brief, actively engaging the imagination in a detailed exploration of the character’s internal and external life and circumstances.  For example (and I know I’m preaching to some of the choir here), when a character says or does something in the script, the actor may ask himself/herself such questions as: Why is he saying that?  What circumstances have brought this about?  What’s going on in this person’s life to which he is responding?  Is it hot or cold in the room?  Is he tired or hungry, or has he been drinking?  (“Did I leave the iron on?”)  How concerned is he with what others in the room think of him?  What is he trying to accomplish? …

 

Perhaps, more importantly, he might ask questions such as: What does this person believe and why?  How are those beliefs shaping his actions now?  What may have caused him (in his past) to develop those beliefs?  How strongly does he cling to them?  Is he willing to change his beliefs?  What are his expectations for this moment in his life (we all have them), and what are his hopes for the future (we certainly have those, too)?  What is at stake for him in this moment?  How critical is it that he gets what he is after right now?  How far is he willing to go to get it? … ad infinitum.

 

As you would imagine, this kind of thinking (to the n^th degree) can take you deep into an analysis of the mind, will and emotions of the character.  Then, however, acting provides an opportunity like no other study I know – the opportunity to turn that analysis into behavior.  To do what that character would do.  To experience what it is like, not just to think someone else’s thoughts and feel someone else’s feelings (someone who may or may not hold the same beliefs as you) but to actually put them into practice.  To act on them.  To walk that person’s mile…

 

…but in your own shoes.  Even the great Stanislavski acknowledges that the idea of “becoming” the character you are playing is a ridiculous notion.  You cannot separate yourself from yourself.  In fact, you are your greatest asset – your experience, your convictions, your beliefs.  I’ve found that my own beliefs are an invaluable touchstone for illuminating in my mind the beliefs of the character I’m playing.  When playing someone who holds beliefs that are consistent with my own, the playing of those beliefs is strengthened immeasurably by my own conviction.  When playing someone who holds opposing views, it is the contrast with my own established beliefs that makes them vivid in my mind and allows me to play them with clarity.  Of course it’s usually not a simple either/or scenario but a mix of the two, with some of the character’s beliefs and views matching my own and others in contrast.  Either way, I find I’m walking in my own shoes.

 

When we were working on Dead Man Walking, I learned that Susan Sarandon (who played Sister Helen in the film version) had called acting the business of “forced compassion.”  I’ve found this to be a very accurate description of the acting process.  Here’s why I think so …

 

When playing a character who holds views that differ from my own, if I am willing to play him honestly, I must look intently at his beliefs, to consider them, to consider his justifications for those beliefs, and the depths of his conviction.  Then, acting on them, to play them as sincerely as possible.  Through this process I come to see him (and all who share his views) more clearly, perhaps in a new light, often with a greater understanding.  This honest process “forces” me to find compassion for this individual, even if I continue to disagree strongly with (or even despise) his views and actions.

 

Sometimes I’m compelled to acknowledge that my own beliefs and actions need to change.  And isn’t that a good thing?  Sometimes the opposite is true, and I come out with even greater clarity and conviction of my beliefs than before, having put them to the test.  And isn’t that a good thing, as well?  I’ve come to think that the constant scrutiny of my beliefs and values which acting affords me is a very healthy thing for me!  And I have a lot to learn about our world and myself in it.

 

Jesus Christ once said, “You will know the truth and the truth will make you free.”  We all need truth - to know what truly is and what is not.  To see clearly.  Our world.  Our times.  Ourselves.  Sometimes it’s hard to look (and sometimes I shy away); but if I am willing to commit to this work and all of its opportunities, I believe theatre, as much as any good philosophy or religion course, is an excellent tool in the search for that truth.  (At the very least, it’s more than just goofing off!)  Am I saying that acting is guaranteed to make you a better person?  Of course not.  But I’ve found that it can be a very useful tool for someone who wants to be. 

 

Perhaps Shakespeare said it best in the voice of Hamlet when he wrote, “the purpose of playing … was and is to hold, as ‘twere, the mirror up to nature, to show virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure.”  We’ll be diving into his world in January for our interim production.  Don’t miss it!  (A shameless advertising plug, I admit.)

 

If you’ve read this far, you’re either: a) a fervent fan of the theatre, b) a close personal friend of mine, or c) you’re trapped under something heavy.   Either way, thanks for reading.   Having quoted my mother, Jesus and Shakespeare, I don’t think I have anything more to say… except, perhaps, that my mother was probably right: You shouldn’t judge people until you’ve walked a mile in their shoes (which probably means you shouldn’t judge them at all) … and you shouldn’t put anything in your ear other than your elbow.