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It’s the first day of school. Theatre teachers are back in their classrooms, students are returning, and another season of auditions, rehearsals and productions is beginning. I recently spoke with a dance teacher who had an incredible year last year. Her concern going into this year was: How do I top it? Around the same time, I came across a conversation where theatre directors were asked what they learned from their own directors when they were students. Reading through their answers, several themes appeared again and again. These theatre teaching strategies offer a useful reminder of what students may actually carry with them long after a production closes. 1. Students Remember Being Challenged—Not Being Rescued Many directors remembered teachers who expected them to do things they weren't sure they could do. They were allowed to struggle, make mistakes and try again. The common thread wasn't, My teacher made it easy for me. It was, Someone believed I was capable of doing something hard. High expectations can communicate confidence in a student when they're paired with the support to keep working. 2. Good Coaching Develops Independent Artists Several directors remembered teachers who asked questions instead of immediately providing answers: What does your character want? Why did you make that choice? What are you trying to accomplish? That's an important distinction. If we make every artistic decision for students, we may create a good production without necessarily creating better artists. The goal isn't just a student who can follow direction. It's a student who can make an informed choice. 3. “Just Ensemble” Is a Missed Teaching Opportunity One director remembered saying they were “just ensemble” when asked about their character. Their director insisted that they still identify who they were and what they wanted—and then connected those individual objectives to the choreography. That lesson stayed with the student into their own directing career. Acting doesn't stop when choreography begins. Every performer onstage can have an objective, relationships and a reason for how they move. 4. Students Need to Learn How to Receive Notes One of my favorite comments was incredibly simple: “You didn't get in trouble. You got a note.” Learning to separate correction of the work from judgment of the person is an important skill for young performers. A strong rehearsal environment doesn't eliminate correction. It teaches students that correction is a normal part of the artistic process. We can demand better work without diminishing the person doing it. 5. Theatre Teaching Strategies Should Create Discovery Directors remembered unusual exercises—changing the expected emotion of a scene, performing without words, adding physical tasks, exploring where a character carries their weight. What made those exercises memorable wasn't necessarily the exercise itself. It was what the student discovered because of it. Great teaching doesn't always mean having the perfect explanation. Sometimes it means creating the right problem, asking the right question and allowing the student to find the answer. A Different Measure of a Successful Year Maybe we don't have to top last year. Of course we want stronger productions, growing programs and excellent work. But those aren't the only measures of whether a year mattered. Our students may forget a lot about the shows we make together. They may remember that someone wouldn't let them quit. That they weren't “just ensemble.” That making a mistake wasn't catastrophic. That they were capable of making their own artistic choices. So perhaps a useful North Star for the beginning of the school year isn't: How do I make this year better than last year? It's: Who might my students become because I taught them this year?

As the new school year begins, life has a way of speeding up overnight. School drop-offs. Rehearsals. Work. Homework. Dinner. Activities. Laundry. Emails. Repeat. It's easy to feel like you're spending every day simply trying to keep your head above water. We tell ourselves, "Once life settles down, I'll start taking care of myself again." But if you've lived through more than one school year, you already know the truth: Life doesn't slow down. If we're going to stay healthy, energized, and balanced, we have to stop waiting for the perfect season and start building systems that work even when life is busy. Goals Don't Change Lives—Systems Do In Atomic Habits, James Clear writes: "You do not rise to the level of your goals. You fall to the level of your systems." That one sentence completely changed the way I think about fitness. Most people have the goal of exercising. They have the goal of eating healthier. They have the goal of having more energy. But goals don't get you out of bed. Systems do. A consistent morning routine removes the daily debate about whether you'll work out today. Instead of relying on motivation, you rely on a habit. And habits are much stronger than motivation. Why Mornings Matter Think about your evenings. How often do they go exactly as planned? A rehearsal runs late. Your child needs help with homework. A meeting gets added. You're simply exhausted, and by the end of the day, the workout is usually the first thing to disappear. That's why mornings are so powerful. Before the demands of everyone else begin, you have an opportunity to invest in yourself. Even thirty minutes of movement can increase your energy, improve your focus, reduce stress, and help you approach the rest of your day with greater confidence. Instead of wondering whether you'll have time to exercise later… You've already done it. Stack New Habits onto Old Ones One of the most practical ideas in Atomic Habits is habit stacking. Instead of trying to remember a brand-new routine, attach a new habit to something you already do every morning. For example: After I turn off my alarm, I'll put on my workout clothes. After I brush my teeth, I'll drink a glass of water. After I pour my coffee, I'll start my workout. Those existing habits become reminders for the new ones, and over time, your morning routine begins to happen almost automatically. You're no longer forcing yourself to work out. You're simply following the next step. Fitness Is a Keystone Habit It's tempting to think of exercise as just another thing to squeeze into an already crowded schedule. But fitness isn't competing with the rest of your life. It supports it. When you move your body consistently, you have more energy for work. More patience with your family. More stamina during rehearsals. More confidence in yourself. You're not losing thirty minutes. You're improving the quality of the next sixteen hours. Become the Person You Want to Be Brendon Burchard, in High Performance Habits, reminds us: "Clarity precedes mastery." Before your schedule becomes full of everyone else's priorities, take a moment to decide who you want to be this school year. Do you want to be someone who constantly feels behind? Or someone who begins each day intentionally? A morning routine isn't just about checking off a workout. It's about becoming the kind of person who keeps promises to themselves. Every morning you choose movement over the snooze button… Every morning you choose preparation over procrastination… You're casting another vote for the person you're becoming. Start Small You don't need a two-hour morning routine. You don't need fancy equipment. You don't need to wake up at 4:00 a.m. You simply need one small promise you can keep tomorrow morning. Ten minutes. A short workout. A walk. Some stretching. The goal isn't perfection. The goal is consistency. Because consistency compounds. One good morning becomes one good week. One good week becomes one good month. One good month becomes a completely different school year. Give Yourself the Best Part of the Day Busy isn't going away. But being busy doesn't have to mean putting yourself last. When you choose to begin your day with movement, you're not taking time away from everything else. You're giving yourself more energy, more focus, and more resilience for everything that comes after. So this school year, don't wait for life to calm down. Build a simple morning routine. Stack it onto habits you already have. Protect it. Repeat it. You may discover that the secret to balancing it all isn't finding more time. It's deciding what deserves the first part of your day. References Burchard, B. (2017). High Performance Habits: How Extraordinary People Become That Way. Hay House. Clear, J. (2018). Atomic Habits: An Easy & Proven Way to Build Good Habits & Break Bad Ones. Avery. Ready to Build a Morning Routine You'll Actually Stick With? You don't need another fitness program you'll quit in two weeks. You need a simple system that helps you start your day with energy, consistency, and confidence. Try your first Theatre Fitness class for free and discover how a morning routine can change the rest of your day.

Starting a workout program sounds simple on paper. Pick a program, put on workout clothes, and go exercise. In reality, it is rarely that straightforward. For many people, the hardest part of fitness has nothing to do with squats, running, push-ups, or burpees. The hardest part is having the courage to begin. Starting requires us to acknowledge that there is an area of our life we would like to improve. It often means showing up feeling inexperienced, uncomfortable, and vulnerable. It may mean exercising in a body that doesn’t yet feel like the one we want. It may mean wearing clothes that fit differently than we’d like, standing in front of mirrors, or walking into a room full of people who seem more experienced than we are. Those feelings are real, and they are completely normal. If you’re feeling intimidated about starting, you’re not weak. You’re human. The good news is that the very act of showing up despite those feelings is often the first victory. The Stars Will Never Align One of the biggest mistakes people make is waiting for the perfect time to start. They tell themselves they’ll begin after the vacation, after the busy season at work, after the kids’ activities slow down, after they buy new workout clothes, or after they find the perfect program. The problem is that life never stops happening. There will always be another busy week, another unexpected expense, another family obligation, another trip, another reason to wait. The people who maintain healthy habits over the long term are not the people with perfect schedules. They are the people who learned how to take action when conditions weren’t ideal. If you’re waiting until everything falls perfectly into place, you may end up waiting forever. Sometimes the healthiest decision you can make is to start before you feel ready. You Don’t Need the Perfect Plan Many people spend more time researching fitness than actually doing fitness. They worry about finding the right shoes, the right gym, the right coach, the right program, the right equipment, or the right schedule. While those things can certainly help, they are not requirements for getting started. You can walk around your neighborhood. You can stretch in your living room. You can do bodyweight exercises in your bedroom. You can take a class and modify every movement if necessary. Action creates clarity. The longer we spend analyzing, the easier it becomes to stay stuck. Most people don’t need a better plan. They need a first step. Borrow Someone Else’s Momentum One of the smartest things you can do when starting a fitness journey is to surround yourself with people who already have the habit you are trying to build. That can feel intimidating at first. It’s easy to look at someone who is stronger, faster, more flexible, or more experienced and assume you don’t belong in the same room. In reality, those people can become one of your greatest assets. Being around people who prioritize their health helps normalize healthy behaviors. Their consistency becomes visible. Their routines become examples. Their encouragement can help carry you through the days when your own motivation is running low. Until your motivation grows, borrow someone else’s. A good coach, workout buddy, class, or community can provide accountability, support, and encouragement while you’re still building confidence in yourself. Your Workout, Your Rules One of the biggest misconceptions in fitness is that every workout must be completed exactly as written. That simply isn’t true. If you’re doing a workout video, you can pause it. If you’re taking a class, you can take breaks. If you can’t do push-ups on the floor, you can use a wall, a chair, or your knees. If you planned for an hour and only have fifteen minutes, fifteen minutes still counts. Your workout should serve you—not the other way around. Treat fitness like a game. Show up for ten or fifteen minutes and see how you feel. Maybe you stop there. Maybe you decide to do one more song, one more lap, or one more exercise. Progress is built through small wins repeated consistently over time. You do not need perfection. You need participation. Expect Your Brain to Push Back The first few weeks of a new workout routine can feel surprisingly emotional. You may think: Everyone is watching me. I’m terrible at this. I don’t belong here. This is harder than I expected. Maybe I’m not cut out for this. These thoughts are incredibly common, but that doesn’t make them true. Most people are far more focused on themselves than they are on you. In fact, many of the people you think are judging you are likely wondering if you’re judging them. More importantly, those uncomfortable thoughts are often evidence that you’re growing. You’re learning a new skill. You’re challenging old habits. You’re placing yourself in unfamiliar situations. Growth almost always feels awkward before it feels natural. Instead of viewing those thoughts as warning signs, try viewing them as signs that you’re stepping outside your comfort zone. Soreness Is Normal One of the most common reasons people quit a new workout program is because they become sore and assume something has gone wrong. In many cases, soreness is simply your body’s response to a new challenge. When you introduce new movements, increase activity levels, or use muscles in unfamiliar ways, your body adapts. That adaptation process often comes with stiffness and so, especially during the first few weeks. To help manage soreness and support recovery: Stay hydrated. Prioritize protein intake. Use a foam roller to address tight muscles. Stretch and maintain mobility. Get adequate sleep. Consider massage or other recovery methods if needed. Keep moving, even if it’s gently. I often use the acronym MICE: Movement, Ice, Compression, Elevation While rest has its place, movement is often one of the most effective tools for recovery. Motion truly is lotion. Gentle movement helps restore range of motion, improve circulation, and reduce stiffness. The goal is not to avoid every ache and pain. The goal is to recover intelligently so you can continue moving forward. Start Slower Than You Think You Need To One of the quickest ways to derail a new fitness routine is to do too much too soon. Motivation is highest at the beginning, which often leads people to attack their workouts with maximum intensity. Unfortunately, the body doesn’t always share that enthusiasm. Instead of exercising seven days a week right away, consider starting with two or three days and building from there. Allow your body time to adapt and recover. Cross-training can also be incredibly helpful. Not every workout needs to leave you exhausted. Some excellent recovery-focused options include: Walking Yoga Swimming Mobility work Light cycling These activities help maintain movement, improve flexibility, and reduce the likelihood of overuse injuries while still contributing to your overall fitness. Measure Progress, But Don’t Worship It There is nothing wrong with tracking progress. In fact, measurements can be motivating and provide valuable feedback. The problem occurs when measurements become the only definition of success. Some forms of progress are easy to measure: Weight Strength Body measurements Pace Endurance Other forms of progress are harder to quantify: Better sleep Improved mood Increased energy Greater confidence Reduced stress Improved self-discipline Trusting yourself to follow through Many of the most meaningful changes happen long before the scale notices. Use measurements as information, not as a verdict on your worth or your effort. Success Is Showing Up Again When people start exercising, they often focus on performance. They want to know how much weight they can lift, how fast they can run, how many calories they burned, or how quickly they can transform their body. Those things have their place, but they are not the most important metric in the beginning. Attendance is. Your first goal is not to become fit. Your first goal is to become someone who returns. Because the truth is that fitness is not built through perfect workouts. It is built through repeated workouts. The people who experience lasting results are rarely the people who had the best first week. They are the people who kept showing up long after the excitement wore off. If you’re thinking about starting a workout program, remember this: you do not need to be confident. You do not need to be skilled. You do not need to have the perfect body, the perfect schedule, or the perfect plan. You simply need the courage to start. And then, when tomorrow comes, the courage to start again.

You’ve seen it happen: the student who sounds incredible in vocal rehearsal suddenly looks panicked the second choreography gets added. The kid who can absolutely sell a song standing still starts losing breath, forgetting counts, and shrinking on stage the moment movement enters the picture. It’s frustrating—for them and for you—and the truth is, it usually has nothing to do with talent. Most students are not bad dancers. They’re undertrained. Most musical theatre students spend years focused on voice, acting, and learning show material, but very little time actually training movement fundamentals. They learn choreography by survival—memorizing steps, copying the person next to them, and hoping they hit the right count. What they’re usually missing is foundation: balance timing weight transfer foot articulation body connection movement texture Without those tools, choreography will always feel harder than it should. Rehearsal Is Not Dance Class This is where so many programs get stuck. Choreographers are trying to get through the choreography as fast as possible and are constantly yelling the same notes out to the same people. But rehearsal should be for storytelling, character work, and shaping the show—not teaching the basics. Trying to teach someone how to move while staging Act One is like trying to teach someone how to swim during the race. It’s exhausting for everyone. Summer Is Where This Gets Fixed The best time to solve this problem is not during tech week. It’s summer—before auditions, callbacks, UIL stress, and panic mode. Summer gives students the chance to slow down, repeat, build muscle memory, and actually train instead of just surviving choreography. That confidence carries into everything. Why I Built Dance Foundations We don’t expect athletes to get stronger only during games. They train before performance. Musical theatre should work the same way. That’s why I created Dance Foundations for Musical Theatre Performers—a course built to help students move better, learn faster, retain choreography, and stay confident when pressure rises. This isn’t just “learn the combo.” It’s training that actually sticks. For Directors: A Better Summer Option This summer, I’ve opened full ensemble access so directors can use the program however their department needs: individual student enrollment discounted director code pricing full department licenses live Zoom training online coaching from anywhere No travel. No impossible scheduling. No waiting until fall to realize students needed more preparation. Whether your students are local or out of state, they can train—and they can do it together. Stop Reteaching the Same Basics Every season starts the same: “Finish your movement.” “Stop marking.” “Use your feet.” “Project.” But confidence doesn’t come from saying “perform bigger.” Confidence comes from preparation. Students move bigger when they trust their body. They audition stronger when choreography stops feeling like a threat. That’s the goal. Not survival. Readiness. Before next season starts, ask yourself: Are your students learning choreography… or are they actually training for it? Because those are not the same thing. More about our online course

I want to share a little bit more about me and my story. It's a journey of healing and self discovery, and I hope those of you who read this might find encouragement and inspiration. I am not subtle. I am tall. I am loud. I am over the top. I move in big ways! In fact, I am the proud recipient of the "Extatic, Raidiant, Beaming, Ritalin Needing, Friendly Greeting" Award! Although this is a silly joke from my peers in the High School Show Choir, at the time, it was very hurtful to me. As an adolescent, you become very keen and aware to how you can effect others and the consequences that come from your words and actions. For me, the consequences presented themselves in forms of name calling, ostracizing, odd looks, judgement, and all the self loathing that comes after. It is hard for a young person to understand and fully embrace their unique energy, because standing out often sets them up to be teased and criticized. It's hard to understand the difference between self mastery and completely changing who you are. One day, I put up a sign by my bathroom mirror that read "Emily = Restraint". In my mind, the only way to avoid the negative consequences to my energy was to change myself. You can only inmagine how well that went. Oh how frustrating and discouraging it was! I would over-annalyze everything that came out of my mouth (how it came out, how it sounded, and what came out), every look and reaction that came as a result of my actions. It woud linger with me and it was paralyzing. No matter how well rehersed I was and in control of my behavior and energy, I felt so uncomfortable with myself. I really struggled developing friendships because I got in my own way. I felt like I was never able to let my gaurd down for fear of messing up. I even kicked myself out of groups and activities; convincing myself that people would rather not have me there and I'd be happier staying home, avoiding the situation altogether. The "Emily = Restraint" mantra was something that made me feel powerless. How can someone restrain their divine personality traits? This negative focus of restraint has been hard wired into my brain and is still something I am redefining in my adult life. Since then, I have risen above many of my personal insecurities and proven to myself and others, that despite my sometimes large and inappropriate personality, I am capable of learning and developing skills with hard work. However, no diploma certificate or accolade can provide a lasting feeling of confidence and self worth. I put myself on the fitness stage as a professional with all the required certificates training and knowledge and still felt like I was not enough. It was mentally exhausting to teach classes at the gym. I had everything I needed to be successful, but felt like I wasn't privy to the rewards and results of consistent diligent work because I was just one of those people that nobody would ever take seriously or even like. There was no place in the industry for a person like myself unless I was able to master the art of mimicking other successful individuals. This blog is so hard to write because it's so depressing! Here's where everything starts to change. I'm not quite sure when exactly my mind started to change, but I think throughout the years of teaching, one's HyperView of themselves tends to fade with maturity. We start to realize that the world doesn't revolve around us and we just try to do good. We learn to look outside of ourselves and serve others. I stopped asking myself "Am I good enough yet?" and started coming up with ways to just do good with what I've got; my knowledge, talents, experience, and unique loud personality. I realized that my energy was actually my greatest asset. My strength! It's about time I started tapping into it! Poor little teenage Emily only needed to learn how to focus and direct her energy. Yes, there are consequences to bringing energy at inappropriate times and ways, but those mistakes are not linked to my self worth and value. Oh no no no. I was learning just like any adolescent, that our words and actions effect others. If I could go back in time to coach mini Emily, here's what I would have to say: You have the courage to stand out, work hard, and liven up a room. That is a strength! The efforts you make to do and be good may not always have the outcome you are looking for. You can't control that. Sometimes people are unkind. Stop wondering what you did wrong. You have nothing to do with it. Be patient, loving, and understanding. Give them grace for their failings as they give grace to you. Everyone is dealing with their own insecurities. Stop comparing! There is no possible way to do that. People are so different, and thank goodness for that! Just be the best you! That means being aware and kind to others. You can restrain your natural impulses to be big when someone needs the time to be seen and heard. That doesn't change who you are. You can show respect for the spaces that require silence. You can choose how and when to share your strengths, so you can show up as the best version of yourself. This is what makes impact; impact that you couldn't have made had you tried to fit into a mold you were not meant to fit into.

Before You Blame Your Body… Check Your Shoes If your feet hurt; If your knees start aching halfway through a workout; If something just feels off… It might not be your body. It might be your shoes. As a fitness instructor, one of the first questions I ask when someone tells me they’re in pain is: “How old are your shoes?” And more often than not… that’s the problem. Worn-out shoes or the wrong type of shoe for your workout can create unnecessary stress on your feet, knees, and joints. The good news? This is one of the easiest fixes. Here are my suggestions for finding workout shoes for dance fitness. Quick Shoe Checklist (Save This) Before you buy (or blame your body), check this: ✔ Arch support: Does the shoe resist bending through the middle? ✔ Fit: Does your foot feel secure, or is it sliding around? ✔ Lateral movement: Can you move side-to-side without feeling unstable? ✔ Cushion vs. control: Is it supportive—not overly squishy? ✔ Grip: Does it grip the floor without trapping your pivots? ✔ Rebound: Does it absorb impact but still let you feel the floor? ✔ Condition: Are your current shoes worn down or over 6–9 months old? If you pass all of these—you’re in a much better place. Now let’s break down why these matter. What to Look for (And Why It Matters) 1. Arch Support = Joint Protection If you can fold your shoe in half through the arch… it’s not supportive enough. Your arch helps absorb force. Without support, that force travels straight into your: ankles knees hips 👉 This is where a lot of “mystery knee pain” starts. What I use: Currex insoles (firm support, not memory foam) 2. Not All Shoes Are Built for Your Workout This is where most people go wrong. Running shoes → built to move forward Dance fitness / cross-training → requires side-to-side movement, pivots, agility If you’re dancing in running shoes, you might be fighting your footwear. 👉 Look for: slightly wider base flexibility for lateral movement stability for quick direction changes 3. Cushion vs. Control (This Is Huge) Super soft, “marshmallow” shoes feel great at first, but they make it harder to: balance pivot control movement Too much cushion = less connection to the floor. 👉 You want: impact absorption + ground control. Not a pillow. 4. Grip Matters (But Too Much Is a Problem) You need grip to: push off the floor control movement But if your shoe is too grippy? 👉 Your foot sticks… and your knee takes the twist. This is where knee pain can show up fast. Goal: grip on edges (for stability) smoother pivot point under the ball of the foot 5. Your Foot Should Feel Locked In If your foot is sliding inside your shoe while you move laterally… 🚨 You’re setting yourself up for injury. You want the shoe to: hug your foot feel secure during fast transitions 6. Replace Your Shoes (More Often Than You Think) Even if they look fine, the support breaks down over time. 👉 General guideline: Regular workouts: every 6–9 months High frequency (like I used to teach): sooner My Go-To Setup (For Dance Fitness + Cross Training) I’ve tested a lot of shoes over the years. What’s worked best for me: On Cloud shoes → balance of grip, rebound, and lateral movement Currex arch supports → firm, structured support (not squishy) Why I like them: stable but not stiff responsive without being overly cushioned allows pivoting without wrecking your knees Bonus: If You’re Already in Pain Before you panic, sometimes it’s not an injury—it’s tightness. When you start a new workout, your calves take a beating. 👉 Tight calves (especially outer calf/peroneals) can lead to: foot pain plantar fasciitis knee discomfort What to do: foam roll your calves regularly focus on the outer calf line stay consistent with it One More Thing (Most People Miss This) If pivoting hurts your knees, it’s not just your shoes—it’s your movement. If your foot is planted and twisting hard into the floor, you’re creating friction. 👉 Instead: stay light on your feet use small lifts (pop turns) reduce friction during pivots This protects your joints a lot. The Bottom Line If working out hurts, don’t assume your body is the problem. Start with your shoes. The right pair can: eliminate unnecessary pain improve performance make workouts feel way better Want a Workout That Actually Works With Your Body? If you love movement, music, and choreography—but want something that feels good on your joints, try a class with me. 🎭 High-energy dance fitness 💻 Live on Zoom + on-demand options 🎟 First class free with code: ZOOMSTAR Further Reading & Recommended Gear Foot Health & Injury Prevention Mayo Clinic (Shoe Basics): https://newsnetwork.mayoclinic.org/discussion/mayo-clinic-minute-best-shoes-for-healthy-feet/ Mayo Clinic (Plantar Fasciitis): https://www.mayoclinic.org/diseases-conditions/plantar-fasciitis/diagnosis-treatment/drc-20354851 AAOS (Foot Pain + Support): https://orthoinfo.aaos.org/globalassets/pdfs/planter-fasciitis.pdf Cleveland Clinic (Supportive Shoes): https://health.clevelandclinic.org/womens-shoes-best-and-worst-picks-for-problem-feet My Recommended Setup (What I Use) On Running (Cloud Series): https://www.on-running.com Currex Insoles: https://currex.com Foam Roller Instructional Video

Last weekend, I posted a video with a simple question: “Broadway workout with real choreography—would you work out to this?” What followed was a level of attention I hadn’t experienced before. The video took off—hundreds of thousands of views, thousands of shares, hundreds of comments. And with that kind of reach comes a wide range of reactions. Some people were excited. Some people were curious. And a lot of people were critical. There were jokes about my hair, my dancing, my singing. Comparisons, critiques, and opinions from every angle. Some of it was genuinely funny, and I laughed along with it. But when that level of feedback comes in at that volume, it becomes overwhelming. Any normal person would feel that. I felt that. And yet, at the same time, I found myself feeling more confident in what I’m doing than I ever have before. Because that response clarified something for me: it showed me exactly what my work is—and what it is not. I am not trying to be the best dancer on the internet. I am not trying to present myself as a Broadway professional. What I am doing is building a program that challenges people physically while asking them to take risks vocally, artistically, and emotionally. I am training people to move, to sing, and to perform under pressure. That video people were reacting to? I was thirty minutes into a workout. My heart rate was at 80% max. I was fatigued. I was singing at the end of that effort. It wasn’t polished—and it wasn’t supposed to be. It was training. And what I realized is this: the discomfort people felt watching it is the exact same discomfort people feel when they are in the process of growing. That’s the space I work in. What I Would Say If the Whole World Were Listening If I had the attention of the world for just a few minutes, there are three things I would want people to understand—because I have seen firsthand how much they can change a life. 1. Move Your Body Every Day Over the last decade, I have worked with all kinds of people—different ages, different abilities, different starting points. I have seen people with significant physical limitations find ways to move, adapt, and get stronger. I have seen people rebuild confidence, not because of how they look, but because of how they feel. There will always be reasons not to move. You will always be busy. You will always be tired. Life will always feel full. But the cost of not moving your body consistently is too high—physically, mentally, and emotionally. For me, movement has been a constant. It has carried me through stressful seasons, overwhelming seasons, and moments where I could have easily put it on the back burner. I didn’t—and it made all the difference. It’s not about perfection. It’s about consistency. When you commit to moving your body every day, you show up differently in your life. You think more clearly. You handle stress better. You feel stronger—not just physically, but as a person. 2. Stop Letting Other People Decide Who You Get to Be This is something I had to learn over time. I have always had big energy. And for a long time, I tried to tone it down so that I could be more acceptable, more agreeable, more “palatable” to the people around me. I thought that was the way to fit in and be successful. But all it did was make me feel disconnected from myself, and kept me from having truthful relationships with others. When you live your life constantly thinking about how other people are perceiving you, you become stuck. You hesitate. You hold back. You filter yourself to the point where you can’t fully show up. At some point, I stopped asking, “Am I good enough yet?” and started asking, “What can I do with what I already have?” That shift changed everything. Because when your focus moves away from proving yourself and toward serving others, you stop shrinking. You start showing up honestly. And that’s where real connection happens. If you want to perform—whether that’s on stage, in a classroom, or just in your everyday life—you have to let go of the fear of how you’re perceived. You cannot connect if you are constantly protecting yourself. 3. You Can Do Hard Things This is a belief that has shaped my entire life. My mom used to say it to me all the time: “You can do hard things.” And she lived that out in a way that made it undeniable. Raising twelve children requires a level of resilience and sacrifice that most people will never fully understand. That example stayed with me. Because doing hard things isn’t about being fearless or naturally strong. It’s about choosing to stay in something when it would be easier to quit. Every time you push through something uncomfortable—whether it’s physical, emotional, or mental—you are reinforcing a belief: that you are capable. It doesn’t happen all at once. It happens one step at a time. One rep. One breath. One moment where you decide to keep going. And over time, that builds into something powerful. Why This Work Matters Everything I create—my classes, my workshops, my online programs—is built around one purpose: helping people become more resilient. I use musical theater because it brings people to life. It gives them a way to express something real. It creates energy and connection in a way that very few things can. And I use fitness because it builds and reinforces the kind of endurance that carries over into everything else. I’m not here because I’m the most talented person in the room. I’m here because I understand how to guide people through challenge. I understand how to take someone from discomfort to confidence, one step at a time. And I care deeply about helping people discover what they’re capable of. If You’re Ready to Step Into That If you’re someone who wants more from your workouts—more challenge, more expression, more growth—this is exactly what I offer. You can train with me live on Zoom, where you’ll get real-time coaching, accountability, and a community that shows up with you. Or, if you need flexibility, you can access my full library of on-demand workouts and train on your own schedule. Either way, the goal is the same: to help you build strength, confidence, and resilience that carries into every part of your life. But I also know many of you reading this are theater directors. And if that’s you, then you already understand what I’m trying to build—because you care about your students in the same way I care about the people in my classes. You’re not just teaching choreography or blocking or vocal technique. You’re trying to help young people take risks. You’re trying to help them trust themselves enough to actually use the tools you’re giving them. And that’s the hard part. Because students don’t struggle from lack of information—they struggle with fear. Fear of how they’re perceived. Fear of getting it wrong. Fear of standing out. And the only way through that is experience. They need opportunities to feel that discomfort, to move through it, and to come out stronger on the other side. They need environments where they are challenged physically and artistically, but supported enough to keep going. That’s what I create. If you’re a director who wants to give your students an experience that builds confidence, resilience, and performance readiness—something that helps them actually apply what you’re teaching in rehearsal—then I would love to link arms with you. I offer workshops, residencies, and training experiences designed to support what you’re already doing in your program and help your students rise to the level you know they’re capable of. 👉 [Join a Live Class] 👉 [Explore the On-Demand Library] 👉 [Bring a workshop to your school]

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 .

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.