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Last week I went to New York City for the first time. For someone who loves musical theatre as much as I do, that almost feels strange to say. Broadway has lived in my imagination for most of my life. For years, it felt like this distant, almost mythical place where the very best performers in the world existed at a level far beyond the rest of us. But maybe it was perfect timing that I went now instead of twenty years ago. I didn’t go as an eighteen-year-old dreaming about a Broadway stage. I went as a teacher, a coach, and someone who spends her time helping performers build strength, stamina, and confidence through musical theatre training. And New York taught me a lot—not just about Broadway, but about performers, training, and what success in this industry can actually look like. Performers Are Human One of the most surprising things about seeing Broadway shows live was how human the performers felt. Before this trip, Broadway existed in my mind as a place of perfection. I imagined performers who never made mistakes, never ran out of breath, and delivered flawless vocals every single night. The reality is both more impressive and more relatable. Yes, the talent level is extraordinary. But I also heard flat notes. I noticed moments when singers were clearly working hard to manage breath while dancing. I saw small imperfections that reminded me how incredibly demanding live performance really is. And oddly enough, that was reassuring. The performers who succeed at the highest level aren’t perfect—they’re prepared. They have the stamina, technique, and resilience to keep performing at an elite level even when things don’t go exactly as planned. Although I will say this: when Jeremy Jordan sings live, it does feel like something supernatural is happening. Some performers really are operating on a completely different frequency. Some Things Have to Be Experienced in Person I had a similar realization standing in front of a Van Gogh painting at the Metropolitan Museum of Art. You can see photographs of Van Gogh’s work your entire life. You can study the colors and recognize the images instantly. But standing in front of the actual painting is a completely different experience. You can see the thickness of the paint. The brush strokes move and swirl across the canvas in ways that photographs never capture. Live theatre works the same way. Cast recordings are wonderful, but the energy of live performance is something entirely different. The sound vibrates through the room. The actors respond to the audience. The storytelling feels alive and immediate. It reminded me why live theatre continues to matter so much. It creates an experience that can’t be replicated through a screen. Choreography Retention Is a Real Skill While I was in New York, I took several classes at Steps on Broadway. Walking into those studios was a humbling and energizing experience at the same time. One thing became clear very quickly: if you want to dance professionally, you must be able to learn choreography fast. Even the beginner classes moved quickly, and the intermediate classes moved at a pace that required serious focus and agility. The dancers who stood out weren’t necessarily the ones with the highest kicks or the flashiest turns. They were the ones who could absorb choreography almost immediately and start performing it while still learning the sequence. Choreography retention is a real skill, and it’s one that can be trained. That realization actually reaffirmed something for me about the kind of work I do with theatre fitness. When we combine choreography with conditioning, mobility, and endurance, we are training performers to think, move, and perform at the same time. Those are the exact demands dancers face in high-level classes and professional rehearsal spaces. Being the Beginner Again Is Good for You One of the most valuable parts of this trip was putting myself back in the role of the student. At thirty-nine years old, I was standing in a studio surrounded by dancers in their twenties who are actively pursuing professional careers. As we worked through combinations, I had a moment that many performers know well. I caught myself thinking, “Wow… they picked that up faster than I did.” When I was younger, that thought would have spiraled quickly into insecurity. This time, something different happened. It turned into admiration. I genuinely enjoyed watching the dancers who were completely in the pocket of the choreography. Instead of comparing myself to them, I found myself appreciating the skill it took to move that confidently and fluidly. There’s a valuable mindset shift in that experience. You don’t have to be the best person in the room in order to grow in the room. Sometimes the best thing you can do as a performer is stay curious, stay humble, and keep learning. Broadway Is Incredible, But It Isn’t the Only Stage New York City has an undeniable magnetism. The sheer volume of creative energy in that city makes you want to be part of it. But that same magnetism also highlights something important about the performing arts industry: there are thousands of talented people competing for a very small number of opportunities. Watching that environment made me think about something I often tell my students. Broadway is an extraordinary stage, but it is not the only stage that exists. The world is full of places where performers can create meaningful work. Community theatres, regional companies, educational programs, touring productions, and creative projects all provide opportunities to tell stories and connect with audiences. Your impact as an artist is not limited to one location or one type of stage. The real goal is building skills that allow you to contribute, perform, and create wherever you are. The Performers Who Last Love the Work Another thing that became clear during this trip is that the people who stay in this industry for the long haul are the ones who genuinely love the work itself. Performing careers are unpredictable. Auditions come and go, opportunities appear and disappear, and the path rarely looks the way anyone originally imagined. The performers who thrive over time are the ones who find joy in the training, the rehearsals, and the process of continual improvement. Their motivation isn’t just applause or recognition. It’s the work itself. What This Means for My Students One of the most encouraging realizations I had in New York was that the type of training performers need is exactly the type of training we are building. Strength matters. Endurance matters. Mobility matters. The ability to pick up choreography quickly and perform confidently under pressure matters. Whether someone’s stage ends up being Broadway, a college program, a regional theatre, or a classroom full of students, those skills translate everywhere. That’s why this work feels so meaningful to me. The goal was never just preparing someone for a single stage. The goal is helping performers become stronger, more capable, and more confident human beings who can step into whatever stage their life places in front of them. And those stages exist everywhere. Also worth mentioning: Serendipity’s fries served from a mini trash can may have changed my life, and their frozen hot chocolate absolutely lives up to the legend. What This Means for Theatre Students Right Now If you’re a theatre student, there are a few things I hope you take away from this. First, the professionals you admire are not perfect. They are highly trained, highly prepared human beings doing extremely demanding work. That means the things that help you improve are not mysterious. Consistent training, building stamina, learning to pick up choreography quickly, and developing strong technique will take you farther than waiting for natural talent to magically appear. Second, it’s normal to be the person in the room who needs a little more time to figure things out. Every performer has experienced that moment of looking around and realizing someone else picked up the choreography faster or sang the phrase more easily. The goal is not to be the fastest learner every time. The goal is to stay curious, keep working, and continue developing your skills. Third, the stage you imagine today might not be the only stage where your talents will shine. Broadway is an incredible place, but meaningful work in the arts happens in many different spaces. Schools, community theatres, regional companies, touring productions, and creative collaborations all give performers opportunities to tell stories and connect with audiences. The real goal is not just reaching one specific destination. The real goal is becoming a performer who is strong, skilled, resilient, and capable of contributing wherever you go. Those are the kinds of skills that open doors in ways you might not even see yet.

When administrators evaluate instructional programs—especially in fine arts—they’re looking for more than energy, enthusiasm, or performance outcomes. They’re looking for clear objectives, observable instruction, student engagement, differentiation, and alignment with state standards . That’s exactly where Theatre Fitness workshops through inMOTION Studios are designed to live. These workshops don’t replace a director’s curriculum or creative vision. Instead, they equip students and teachers with shared tools  that strengthen instruction, rehearsal efficiency, and performance quality—while aligning with the instructional frameworks schools are already accountable to: UIL expectations, Texas Theatre TEKS, and T-TESS domains . Below is a snapshot of how Theatre Fitness training supports those goals. Supporting UIL Performance Expectations UIL adjudication consistently evaluates clarity of storytelling, ensemble effectiveness, physical and vocal choices, and intentional staging. Theatre Fitness workshops directly address these areas by giving students repeatable, teachable systems  rather than isolated choreography or notes. Movement & Choreography Training supports UIL by developing: Intentional use of space, levels, and stage pictures Clear ensemble storytelling , especially for non-speaking roles Purposeful blocking and transitions  instead of visual clutter Consistency across the ensemble so no performer “sticks out” Physical storytelling that reinforces theme, tone, and genre Components of Choreography workshops help students understand: Levels of variation and contrast Shaping and spatial design Locomotion and directional intention Motifs and repetition for clarity How movement choices support narrative—not distract from it Rather than overcomplicating choreography, students learn how to use movement strategically , resulting in cleaner staging and stronger visual storytelling—two areas frequently addressed in UIL feedback. Aligning with Texas Theatre TEKS Texas Theatre TEKS emphasize inquiry, creative expression, performance, and critical response. Theatre Fitness workshops are structured to support these strands through guided instruction, student-centered exploration, and application to live productions . TEKS alignment includes: Developing effective use of body and voice for performance Applying movement and vocal choices to character and story Strengthening ensemble collaboration and cooperation Engaging students in creative problem-solving Reinforcing discipline-specific vocabulary (movement, blocking, dynamics, energy) Students are not simply copying movement—they are learning how and why choices are made , then applying those tools directly to their current production. Strengthening T-TESS Instructional Domains Administrators observing Theatre Fitness workshops will see instruction that aligns with multiple T-TESS domains—not through worksheets or lectures, but through observable, active learning . Domain 2: Instruction Clear objectives tied to performance outcomes Demonstration and modeling of skills Layered learning that meets students at different ability levels Ongoing feedback during rehearsal-based instruction Students applying skills immediately and visibly Domain 3: Learning Environment High student engagement and accountability Collaborative ensemble-based learning Clear routines and expectations Productive rehearsal culture focused on growth Respectful peer interaction and critique Domain 4: Professional Practices (for PD workshops) Transferable tools teachers can reuse in daily instruction Shared language for movement, voice, and staging Increased instructional clarity and rehearsal efficiency Support for differentiated instruction within the ensemble Professional Development That Equips Teachers For schools investing in professional development, Theatre Fitness PD workshops focus on instructional clarity , not performance polish. Teachers leave with tools to: Communicate movement and vocal expectations more clearly Teach choreography and staging with intention—even without a dance background Use layered instruction to support diverse learners Translate artistic vision into teachable steps Strengthen UIL preparation through purposeful ensemble work Rather than adding more content to manage, PD sessions simplify the rehearsal process  and help teachers teach with confidence. Why This Matters to Schools Strong theatre programs don’t happen by accident. They’re built on: Clear instruction Shared tools Efficient rehearsal practices Students who understand why  they’re making choices Theatre Fitness workshops support those outcomes while respecting existing curriculum, rehearsal schedules, and administrative expectations. The result: More unified ensembles. Stronger storytelling. Clearer instruction. And performances that reflect both artistic excellence and instructional integrity. Want more information on our workshops? I’ve put together a Director & Administrator Packet designed to speak the same language your campus leadership uses—so theatre directors aren’t left trying to translate the value of their work on their own. The goal is simple: help bridge the gap between administration and the theatre department, advocate for meaningful funding, and equip directors with clear documentation that supports stronger instruction, higher performance standards, and real student growth. 👉 Download the Director & Administrator Packet here It’s built to make collaboration easier, conversations clearer, and support more accessible—so your students and your program can thrive.

(The piece nobody talks about) There’s plenty of advice in theatre: Practice harder, be yourself, don’t compare, but there’s a quieter truth that keeps a lot of talented people stuck: You don’t become what you resent. If you secretly despise the people who “always get cast,” your brain will fight becoming like them—no matter how badly you want the role. The Ice Cream Aisle Problem I was trying to explain this idea to my 10-year-old, who spirals into negativity often. Nothing was landing—until I put it this way: Life is an ice cream aisle. Every day, you get to collect scoops: progress, joy, wins, moments you’re proud of; but if you take a scoop of poop and put it on the ice cream, the whole thing is ruined, and you don’t get to enjoy it anymore. That’s what happens when you notice something good and immediately tack on something negative. “They got the role… but casting is unfair and biased.” “They look amazing… they’re vain.” “That performance was great… but it’s only because they have the money.” You just ruined the ice cream, and here’s the part people don’t like to admit: Nobody wants to hang around someone who smells like that—especially in a collaborative art form. If you’re always looking for poop, you’ll always find it, and you’ll ruin every scoop you could have enjoyed. What Do You Say About People Who Have What You Want? This is the question most people avoid: When you see someone who’s very successful at something you want, what story do you tell yourself about them? Be honest. When you see someone extremely fit, do you think: They’re so vain. They only care about themselves. And yet… you want to be healthier. When you see someone extremely wealthy, do you think: Spoiled brat. They are so selfish. And yet… you want to be wealthier. When the same actor gets cast again, do you think: They’re such a try-hard. They’re not even that nice. They don’t deserve it. The whole decision is political. And yet… you want the role. To protect our ego, we turn success into a character flaw. That way, we don’t have to ask the harder question: What might they be doing consistently that I’m not yet willing to do? That moment is where growth either opens—or shuts down. Why This Actually Affects Casting Research across psychology shows that people learn best through observation—but only when the brain feels safe and curious. Resentment triggers threat and threat shuts down learning. Admiration does the opposite. When you respect someone—even quietly—your brain starts noticing: how they rehearse how they take corrections how they prepare how they pace themselves If you label high performers as “not my people,” your behavior will unconsciously align with not becoming one of them. That shows up in auditions, it shows up in rehearsal, and casting panels can feel it. The Uncomfortable Practice (This Is the Work) So here’s the practice—and yes, it’s awkward at first. When you catch yourself thinking: They’re so vain. Try: “They’re taking care of themselves. They look so awesome. Good for them!” They always get cast. So annoying. Try: “They work hard. That consistency is paying off. They’re on fire! ” They don’t deserve it. Try: “They earned this moment. I can learn from them.” You don’t have to fully believe it yet. You just have to understand this: It is not worth the risk of putting poop on the ice cream. Not yours. Not theirs. This isn’t about being fake. It’s about keeping your growth pathway clear. Theatre Students: Competition Isn’t the Enemy Competition is essential—when it’s framed correctly. Healthy competition raises standards, sharpens awareness, and shows you what’s possible. Unhealthy competition turns into bitterness, isolation, and self-sabotage. When comparison becomes judgment, it poisons the process. When comparison becomes curiosity, it becomes fuel. The students who grow the most don’t ignore excellence—they study it without resentment. Remember, growth cannot happen in isolation; keep yourself close to those who push you. Refuse to be intimidated and choose to be inspired. Director’s Notes This applies to directors, too. Directing is hard. You’re juggling limited time, limited resources, conflicting personalities, and constant pressure to deliver. If you walk into rehearsal looking for obstacles, you’ll find them. If you walk in looking for solutions, you’re statistically more likely to find them. Mindset research consistently shows that a positive, opportunity-focused orientation improves: problem-solving creativity under constraint collaboration performance from others Your cast feels which aisle you’re shopping in. If you’re looking for poop, the room will smell like it. If you’re looking for ice cream—possibility, solutions, growth—the show gets better. The Bottom Line You don’t become what you resent. Students who resent excellence don’t grow toward it. Directors who dwell in bitterness struggle to lead beyond it. Stop looking for poop. Collect the ice cream, and protect it from any unwanted toppings. Learn from the people around you. When mindset shifts, the work improves, and everyone in the room can feel the difference. Would you join me in a New Year’s Declaration? My old ways of thinking does not serve me. I choose to think in ways that support what I want. HAPPY NEW YEAR! Let’s get out of our own way and find as much “ice cream” as we can! RESOURCES: Bandura, Albert. Social Foundations of Thought and Action: A Social Cognitive Theory. Prentice-Hall, 1986. Christakis, Nicholas A., and James H. Fowler. “Social Contagion Theory: Examining Dynamic Social Networks and Human Behavior.” Statistics in Medicine, vol. 32, no. 4, 2013, pp. 556–577. Oyserman, Daphna, et al. “Identity-Based Motivation: Implications for Action-Readiness, Procedural-Readiness, and Consumer Behavior.” Journal of Consumer Psychology, vol. 27, no. 1, 2017, pp. 69–82. National Bureau of Economic Research. Peer Effects in Education and Beyond. NBER Working Papers, www.nber.org .

Theatre Fitness is a dance fitness program for musical theatre enthusiasts and performers including progressive choreography that builds into full routines. It trains aerobic capacity, singing under fatigue, quick choreography recall, and projection. Each release brings a variety of dance techniques and genres like jazz, Latin, modern, Fosse, hip hop, tap, and more! This class turns a “triple threat” into a “quadruple threat”. You’ll sing, dance, act, and be FIT! T-FIT LIVE and ONLINE JOIN ON ZOOM MW @ 9:00AM CST Book Your T-Fit Class Workout with us! This isn’t background cardio to show tunes. It’s real choreography — set to the music you already love. Every class blends musical theatre dance with strength, stamina, and conditioning so you leave sweaty, energized, and feeling like you just stepped out of rehearsal. If you’ve ever wished workouts felt more like the stage… This is that. No boring playlists. No shrinking your energy. Just big music, big movement, and a room full of people who get it. Show up. Hit it full out. Start your day feeling unstoppable. Plans and Pricing Pick a training slot T-Fit Live Class Breakdown Time: 1 hr What Happens in Class Every TFIT Live class is one hour and divided into two parts so you get cardio, strength, and flexibility in one workout. You can stay for the full hour or just join the section that fits your schedule. Part 1: Dance Cardio This is where we turn the music up and move. • Warm-Up – wake up your body and get ready to move • Hype Song – a quick burst of energy to get your heart rate up • Dance Block – choreography set to your favorite show tunes • Cool-Down Song – bring your heart rate back down while still moving Expect big music, big movement, and choreography that feels more like rehearsal than a workout. Part 2: Dance Conditioning Now we build the strength behind the choreography. This section blends movement inspired by barre, yoga, and Pilates to develop: • strength • balance • agility • core control We finish with twists, hip openers, and hamstring stretches so you leave feeling strong, mobile, and refreshed. The Result In one class you train: cardio, strength, flexibility, and dance technique. All set to music you actually want to move to. Stay for the full hour, or drop in for the section that fits your day. Either way, you’ll leave feeling stronger, sweatier, and more alive. Explore Other Services Are you a beginner? Trying something new can feel awkward at first, and that’s completely normal. At T-Fit, no one is judging your turns, your memory, or your rhythm—everyone in the room is learning, sweating, and figuring it out together. You might miss a step, you might laugh at yourself, and you might surprise yourself, and all of that is part of the process. Give yourself three classes to settle in. Once the patterns start clicking and the choreography begins to land, something really fun happens—you stop thinking so much and you start performing. And that’s when the magic starts. "The first time you learn and explore. The second time you crave the encore. The third time you’re ready for more!" Upcoming T-Fit Events No events at the moment

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Why your voice falls apart when dancing. This mini vocal stamina training for musical theatre performers explains breath, heart rate, and how to build singing endurance under movement. Join me for some musical theatre chaotic bliss This is just a preview of the program that will change your life. Your assignment is simple: Commit without hesitation. Let it out. If you’re looking for a fitness instructor who will let you bring your crazy, you found her. “I love crazy.” Want more? See our full list of workouts, and try it free for 14 days. More workouts