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Vocal Coaching session in-person and online

Vocal bootcamps, choreo collabs, audition prep, and more

Last year, when I attempted this exact same marathon of workshops, I showed up like I was packing for war. Foam roller? Check. Biofreeze? Check. Massage gun? Protein shakes? Ice packs? BCAAs? Enough ibuprofen to sedate a rhino? Check, check, check, and check. And even with all of that, by the end I was dragging myself booth-to-booth like a Victorian woman in need of smelling salts. This year? Completely different story — and here’s everything I learned. 1. Strength Training Saved My Body (and My Sanity) Three months ago, I committed to strength training 2–3 times a week. Real, consistent, muscular endurance work. Add in my twice-a-week Theatre Fitness sessions and suddenly my body was ready for this year in a way it absolutely wasn’t last year. No knots in my shoulders or neck No hip drama No “why does my spine feel detachable?” moments I didn’t even use my massage gun — wild I was still tired (because cardio is real), but my body held together beautifully. Honestly, if you teach movement 20 times in nine days and you don’t fall apart, that’s a win. 2. Shockwave Is My New Best Friend Between festivals, I used shockwave therapy to get ahead of some plantar fasciitis in my left heel. Electricity, lasers, all the sci-fi things — basically a recovery tool for when you’re pretending your feet aren’t hanging by a thread. We treated my feet and calves right after Corpus Christi, and it made a huge difference heading into Grapevine. Highly recommend. 3. I Never Lost My Voice (!!!) This was a big win for me. With 75 minutes per workshop this year, I had more time to teach kids not just movement, but how to actually sing while moving. And the crazy part? The techniques I preach 100% worked — on me. The game-changers: Practicing the duality of effort vs. ease (body working hard, face and jaw looking relaxed — like dancers do all the time) Getting rid of more carbon dioxide while breathing (sounds small, feels huge) Vocal placement that doesn’t fight the heart rate Teaching that duality reinforced it in my own body. I walked out of nine days of teaching without blowing out my voice, which honestly feels like a Christmas miracle. 4. Coaching Focus Instead of Just Movement Because we had more time this year, I could build a solid movement foundation earlier — which freed me up to coach vocals and performance, not just steps. I started using a new visual: a circle and a dot on the wall. One tiny focus point. All their energy aimed right there. It helped reduce the overwhelm of: choreography breathing technique lyrics heart rate sweaty confusion And once they narrowed in, their confidence shot way up. I’m excited to keep developing this focus technique across everything I teach. 5. I Will Never Teach Certain Releases Back-to-Back Ever Again I love Hairspray, but two Hairspray releases back-to-back? No. Absolutely not. Never again. Same goes for The Great Gatsby. Between the kicks, the Charleston, and whatever 1920’s cardio fever dream I choreographed… I’m convinced I kicked at least 1,000 times in three hours. My legs were filing HR complaints. 6. Hype Is a Strategy, Not a Mood Last year, I made jokes about how many workshops I had, because I was honestly just nervous I wouldn’t survive. But this year I realized: how I show up directly impacts how the kids feel about themselves. So even when I was tired: I hyped myself with Broadway trivia I blasted great pre-class music I fed off their energy I walked in like it was the first workshop of the day Every group deserves an instructor who shows up ready — even if the previous session wiped me out. And the better I showed up, the harder they pushed, and the more fun we all had. What I’m Taking With Me Going Forward This year taught me that preparation isn’t just foam rollers and protein bars. It’s training, recovery, mindset, and showing up intentionally. I learned: Strength training matters Shockwave therapy is magic Vocal technique under fatigue actually works Focus coaching can transform a room Some releases need a buffer zone My energy sets the tone Twenty workshops in nine days is no joke — but this year, I didn’t just survive it. I owned it. And I can’t wait to do it again next year… (with fewer back-to-back Hairsprays).

Warming up your voice before singing doesn’t have to be complicated, and it can be done almost anywhere—even in the car. I love this quick warm-up because it helps you get into the right vocal space, especially if you’re not naturally speaking or singing in your own mix yet. If you have a habit of singing in a choir voice or you’re still figuring out your belt and mixed voice, this routine helps reinforce that new space you want to sing in. Done consistently, it’s like doing reps for your vocal muscles: it strengthens coordination and builds habits that make singing in your mix more reliable. Why does this matter? Without mix, your high notes often flip between your speaking chest voice and your choir-style head voice. That inconsistency can be frustrating and strain your voice. Practicing in this space helps train your muscles to work together, so you can sing confidently, smoothly, and powerfully across your range. 1. The Vocal Fry: Wake Up the Folds Start with a gentle vocal fry (think: the sound you make when you first wake up and say “uhhhh”). You’re not trying to sound pretty—just bringing awareness and gentle closure to your vocal folds. This gets the cords buzzing without pressure, like a slow stretch before a sprint. It’s the most direct way to connect to your instrument before any real “singing” starts. 2. The Creaky Door Next, make a little creaky-door sound—like eeeeehhh or a nastier agh—through a short range. Keep it compact at first; you’re not gliding all over your voice yet. The goal here is to encourage vocal fold closure and sliding—not flipping between registers. If you jump too far or too fast, you’ll start releasing into your head tone, which defeats the purpose. Stay in that smaller range and see how far you can go without a break. This is where you build coordination and stability—like a dancer holding balance before adding movement. Once the closure feels consistent and warm, then start expanding your slides a little higher or lower. That’s how you begin easing through your mixed bridge area smoothly, without pressure or breaks. 3. Lip Trill Octave-and-a-Half Slides Now for a quick range stretch: a fast octave-and-a-half slide on a lip trill. This one does use piano pitches—so if you don’t have one handy, don’t worry. 👉 I actually have a full MP3 warm-up file you can download with all the piano tracks for these exact exercises—perfect for car or home practice. It’s $25 and includes everything you need to follow along without guessing. I use this to prescribe my vocal students with a strategic set of warmups to help them specifically with where their weaker areas lie. Here’s why I love lip trills: your lips can’t consistently trill unless the airflow and placement are forward—right where you want your sound when mixing or belting. That forward focus keeps your tone from falling back or getting stuck in the throat. At the same time, a good lip trill encourages a relaxed, dropped larynx—that slightly “dopey” or “yawny” feeling you want as you move higher in your range. So you’re training two opposite sensations at once: forward pressure and open relaxation. Another reason I love the octave-and-a-half scale is because it’s quick and wide. The speed encourages flow rather than overthinking: you’re not holding a long, sustained note and worrying about “hitting it perfectly.” It’s just a fast, dynamic stretch, lightly waking up your voice and gently building flexibility without strain. Think of it like warming up your body with a dynamic stretch in fitness before doing static stretches—the principle is the same. This combination of forward pressure, relaxed larynx, and quick dynamic slides makes the octave-and-a-half one of my go-to exercises for safely moving through your range and encouraging mix. 4. Whiny “Mum” Exercises Now we get into mix territory. Do your octave-and-a-half again, but on a bright, slightly nasal “mum.” It should feel like a whiny cartoon voice—right in that middle, buzzy space near your nose and soft palate. That’s where healthy mixed singing lives. This one helps massage the middle voice and start training balance between chest and head without pushing. 5. The Sustained “Wah” Cry Finally, move into a sustained “wah” cry. This is where we can put a little more focus and gentle pressure on a single note. Holding this note allows you to fine-tune your placement and make sure it feels easy light and natural. While sustaining, you can check that everything stays open and dropped in the larynx area, giving you rich, forward resonance. Think of this as your final check in the warm-up: you’re making sure the placement is correct, your muscles are coordinated, and the sound is effortless. In my warmup file, I add in a bounce to help encourage a lighter easier feel as well. By the end of this exercise, your voice should feel balanced, free, and ready to move smoothly through your range. 🎶 Pro Tips Keep your volume moderate—you’re warming up, not auditioning for Wicked at a red light. If your throat tightens, go back to the fry or lip trill. And yes, people will stare at you. Just wave dramatically and keep singing. 🏁 Final Thought Your warm-up doesn’t need to be fancy—it just needs to be smart. A few focused minutes in the car can wake up your voice, improve coordination, and get you performance-ready before you even walk into the building. Now go hit that “start engine” and “start vocal folds” button.

I once watched a scene between a fitness instructor and a frustrated participant. The member was visibly annoyed — questioning every move, every cue. Without saying a word, the instructor took off their mic, handed it to the member, and said, “Here! You teach.” The participant’s eyes went wide. They quickly handed it back. How easy it is for our opinions or passions to get the better of us. A good dose of perspective can go a long way. Recently — and shamelessly — I found myself in a conversation about a director. Somewhere in the mix of thoughts and honesty, my opinions came out more bluntly than they should have. I walked away from that conversation feeling uneasy, and I knew why. Because I’ve never directed a show. I’ve never managed the moving parts, the cast, the crew, the tech, the budget, the calendar, the late nights, and the responsibility of holding an entire vision together. And the truth is — it’s easy to have opinions when you’re not the one holding the mic. That realization humbled me. It reminded me how quick we can be to comment from the sidelines, forgetting that leadership always looks simpler from the audience. We don’t see the private decisions, the problem-solving, the sleepless nights, or the emotional load of making it all work. We don’t feel the pressure of being the one who has to decide — not just dream. So this is my personal call to repentance. I should have never shared such blunt opinions without first honoring the fact that someone was doing their best — showing up, giving what they had, and carrying a role most people wouldn’t dare step into. Not everything runs perfectly. Leadership never will. But we can choose to extend grace — especially when we don’t have their point of view. Because at the end of the day, they’re the ones holding the mic. And we get to be partakers of the work they’re doing. So next time we’re tempted to criticize, maybe we pause. Maybe we listen. Maybe we recognize the weight someone else is carrying and say, “Hey — I see you.” A little perspective goes a long way. ✅ To every director, educator, or leader out there — thank you for holding the mic, even when it’s heavy. We see you.

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inMOTION Studios encompasses all aspects of performance. With its Theatre Fitness program, students participate in a cardio class including progressive choreography building into full dance routines and exercise to musical showtunes. We train aerobic capacity, singing under fatigue, quick choreography recall, and projection. Each workout brings a variety of dance techniques and genres like jazz, Latin, modern, Fosse, hip hop, tap, and more! Musical theatre training that builds choreography retention, stamina, and vocals under fatigue- Out Train. Out Last. Out Perform. Every Time. WORKSHOPS Train your cast or team- masterclasses, vocal boot camps, movement, choreo collabs, and professional development for directors. Book a Workshop T-FIT ON DEMAND Access our full library of recorded Theatre Fitness classes anytime. Train at your own pace, repeat combos, and build stamina and vocals on your own schedule. Start training now T-FIT LIVE CLASSES Join us in person or live on Zoom for real-time coaching, energy, and feedback. Build stamina, master choreography, and layer in vocals. Join a live class The Missing Link Between Rehearsal and Performance If you've ever lost your breath in the middle of an audition, forgotten choreography under pressure, or struggled to keep your vocals strong while dancing- you're not alone. Theatre Fitness fixes that. Build stamina to last through auditions ad show week. Keep your vocals powerful while you dance. Retain choreography faster and more accurately. Improve dance technique and stage confidence. Project with presence and authority. Kevin Roberts Performer Waxahachie, TX You get to come out of your shell. You acquire a skill for stage that you normally wouldn't have. It's something you don't get from any other workout. Ready to see the same results? Book your spot today. Book a Workshop Upcoming Live & Online Classes Every class is a complete stage workout- progressive choreography to showtunes, layered with stamina and vocal training- so you can perform stronger, longer, and with more confidence. Class Schedule Theatre Training You Won't Find Anywhere Else From stamina to choreo retention to vocals under fatigue- get proven tools for your next show or audition. Email* Subscribe I want to subscribe to your mailing list.

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