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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 .

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

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

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

When I was 16, I’d pop my West Side Story  CD into my Walkman, flip open a notebook, and map out choreography to Cool.  Circles, Xs, arrows — my own secret rehearsal scribbles. No stage, no audience, no teacher. Just me and the joy of movement. Not long after, I’d slip into the College of Southern Idaho at 5 a.m. to use the auditorium stage. Choreographing dances to Wicked  under the dim lights, with the janitor letting it slide because he knew I wasn’t causing trouble. Later, in college, I’d set my alarm for 4 a.m. to get into the dance studio before classes started. Just me, the mirrors, and the music. Pure creation. By 24, between my first couple of kids, the habit hadn’t left me. I’d head to Gold’s Gym at 10 p.m., not for the treadmill but for the empty studio. I built a full 17-minute Lion King  production number — stampede ripples, a Scar vs. Simba fight, the whole thing. No one ever performed it. It was just for me. Why? Because I couldn’t not  do it. Creating movement has always been my outlet, my obsession, my joy. As my kids grew, life shifted. In Idaho, I became a certified group fitness instructor — teaching dance fitness, kickboxing, yoga, weightlifting. With my exercise science degree, I learned how to structure classes with repetition, layered breakdowns, and progressions that actually helped people improve. I built a thriving fitness community for nearly a decade. When we left Idaho, I lost that community. But I found myself circling back to my roots: choreography, Broadway, and the artistry I’d always carried. That’s when Theatre Fitness was born — a fusion of artistry and fitness, designed to make complex choreography accessible  while still demanding consistency and effort. Who This Class is For Mature teens  who are ready to build confidence, focus, and resilience. Young adults  who love musical theatre, dance, and a challenge. Beginners who are willing to try  — you don’t have to be polished, but you do have to be ready to put in effort. Dancers  who want to solidify technique, train consistently, and grow. And if you’re a little older?  Great. “Young” is a mindset — if you’re willing to train like a performer, you’re in. Who This Class is Not  For People just looking for a “fun one-time” class to dabble. Teens who only want to mess around instead of focus. Those needing one-on-one instruction the whole time. Anyone not physically ready to move at an intermediate pace safely. What It Looks Like Fast-paced, sweaty, Broadway-style combos. Repetition, breakdowns, and layers that make even challenging choreography learnable. Accessible to non-dancers with focus and willingness to try. A place where beginners and seasoned performers can both walk away better than when they came in. What It’s Not A slow, beginner-only class. A low-impact or medically modified workout. That said, I always show options. No one gets turned away for starting where they are. My goal is progress, not perfection. If you’re someone who trains consistently — or wants  to start — who loves the work for its own sake, and who values growth over just “getting through,” this is for you. Because theatre fitness isn’t about applause. It’s about respect for your craft, discipline for your body, and joy in the work. So the only question is: are you ready to show up, put in the reps, and surprise yourself with what you can do? If you’ve been searching for something that feels like rehearsal, that wakes up your inner choreographer, and that leaves you sweaty and grinning because you nailed that combo after ten tries — then you belong here. This isn’t just fitness. It’s theatre. It’s community. It’s creation. And if you read this and thought, “Oh my gosh, that’s me”? I can’t wait to see you in class.

One of our greatest joys is bringing tools to students that can unlock their creative potential. Movement and choreography is a vital component to telling stories on stage. It's quite daunting to directors or students with little dance and movement experience, but creating captivating movement is not limited to those who move naturally on stage. It's a matter of understanding how to use tools of contrast . In our choreography composition workshop, we give students hands-on training to design their own choreography, rooted in principles that elevate ensemble work. For those of you who are looking to level up your movement and don't know how to start, here are 4 tips to elevating your current work. 1. Spatial Contrast: Levels and Dimensions Do everything you can to avoid seeing a line of heads on the same plane of space. Use all levels of space to shape your stage picture. Stage Positioning:  Play with depth (upstage vs. downstage), lateral movement (stage left vs. right), or using corners of the stage for variety. Vertical Levels: Standing, kneeling, lying on the floor, or even climbing onto set pieces to add height variation. Give your ensemble permission to stand on a chair, sit, or lay on the floor. Look at where the faces are. If you can see a line of faces, try to change that. Props and Furniture:  Chairs, ladders, and platforms can instantly create new levels and focus points. 2. Formational Contrast: Group Shapes and Structures The arrangement of your ensemble can make even simple choreography visually stunning. Lines and Grids:  Be intentional on your lines and grids. It's easy to fall into the habit of having this be the go to in order to fit multiple bodies on stage. Note that complicated choreography in a grid highlights precision or lack thereof. Clumps and Clusters:  Create intimacy or draw focus to a soloist. Abstract Shapes:  Think circles, triangles, or irregular patterns for artistic flair. Breaking the Mold:  Change up formations between verses or choruses to keep the audience visually engaged. Blocks: Not everyone needs to be doing the same thing at the same time. Try taking out a block and isolating them out of the group. It's a great and unique way to highlight performers or special skills. 3. Directional Contrast: Movement Pathways Motion tells a story. Contrasting directions make the stage feel alive. Opposing Pathways:  Half the ensemble moves left while the other half moves right for natural tension and release. Circular vs. Linear:  Some dancers weave around while others march in straight lines. Crossing Patterns:  Layering movement adds complexity without complicated steps. 4. Motif Variation: Playing with Timing and Texture You don't have to create as much choreography as you think. Take a movement pattern and add variation. Once you have a strong motif (a repeated movement phrase), don’t keep it identical every time. Ripples:  A wave effect as each performer takes the movement one after another. Inversions:  Flip the movement backward, upside down, or mirrored. Timing Changes:  Slow it down, speed it up, or have contrasting tempos happening simultaneously. Layered Dynamics:  Some dancers move big and bold while others keep it small and subtle. 5. Locomotion: Bringing Energy and Flow Stillness can be powerful, but when everyone stands still too long, energy dips. Travel Patterns:  Send dancers on paths around each other to create interaction. Levels in Motion:  Combine walking, skipping, crawling, or leaping across stage levels. Contrasting Speeds:  One group moves fast while another group glides slowly for dramatic tension. Final Thought You don’t need a Broadway budget to create visually stunning choreography. With tools like contrast, students can become their own choreographers, bringing texture, unity, and excitement to every number. And this is just one principle we explore in our Choreography Composition Workshop , where students leave with the confidence and practical skills to design movement that tells a story and captivates an audience. 👉 Directors:  If you want your next show’s choreography to feel intentional, unified, and unforgettable—even without a full-time choreographer—reach out today to learn more about booking workshops for your program.

Today my son and I changed a tire. In the blistering Texas heat. On pavement hot enough to fry your last nerve. And with every part of me wanting to wait until my husband got home. I almost did. I almost said, “Let’s just wait — he can do it.” After all, he’s good at this kind of thing, and he works hard all day. But something stopped me. It felt wrong to add this to the long list of things waiting for him after work. More than that, it felt like a moment that was asking something from me. So we ventured forth. My son and I. Into the heat. Into the unknown. And we got that tire changed. But Here’s the Real Story… I’ve been quietly drowning this week in backend business tech: 💻 Integrating a new scheduling and payment system. 🧩 Embedding forms. 📬 Transferring email lists. 🤯 Trying to make it all work on my website without throwing my laptop across the room. I’m a creative. A communicator. A movement person. Not a “systems” girl. I hit a mental wall fast when things start getting technical. I start thinking, “I can’t do this.” I tell myself I’ll find someone else. That I should delegate. That it’s too hard. Delegation is good. Wise, even. But so is grit. And today, in the heat with a lug wrench and my teenager at my side, I remembered something I’d forgotten: I can do hard things. I can try. I can figure it out. I can make a choice to do it — not perfectly, but with love, and purpose, and stubborn joy. I Didn’t Change the Tire Because I Knew How. I Changed It Because I Knew Why. I didn’t want my husband to have to do it after working all day. I wanted to show my son what resilience looks like. I wanted to contribute. I wanted to care. And I think that’s the same reason I’ll keep learning how to run this business — tech struggles and all. Because I believe in it. I believe that what we offer through dance, fitness, and performance has the power to change lives. So I’ll keep pushing through the systems and software and emails. I’ll get help when I need it — and I do need it — but I won’t give up just because it’s uncomfortable. Because I’ve got something to build. And today reminded me: I still know how to build it. So To You — Fellow Creative, Leader, or Dreamer: If you’re feeling overwhelmed, or small, or tech-weary… If you’re tempted to hand it all off before you give yourself a chance… If you’ve been quietly waiting for someone else to change your “tire”… 💥 You’ve got this. You can do hard things, too. Even when it’s hot. Even when it’s not your strong suit. Even when it’s messy and takes longer than it should. Whether it’s learning software, returning to the studio, auditioning again, launching a class, or starting that business — you can do it. One step. One crank of the wrench. One moment of belief. Keep your eyes on the goal. Remember your why. And change the dang tire.

When I was in school, I didn’t have access to belting, contemporary styles, or even the concept of mixed voice. My vocal world was built around bel canto, solfège, and everything classical. My choir teachers did what they knew best — traditional methods — and for a long time, that was the only path I saw. I had a voice teacher who worked with me on narrow vowels, head tones, singing in the mask, and creating classical resonance. That training gave me a beautiful foundation — a clean, resonant, classical tone that served me well. But I had a secret desire: I wanted to sing like the Broadway stars I heard belting their faces off. The problem? Every time I tried, it felt… wrong. It went against everything I’d been taught. I was scared I’d hurt my voice. So, all through high school, I built habits that worked — for classical singing. I flipped into head voice, swallowed sound through my bridges, and had no idea how to access my chest voice. Singing low notes felt weak, because I was always using head voice. And when I did try to belt, I was basically yelling. When I listened back, I cringed. Breaking Out of the Box It wasn’t until I stepped outside of the classical world that my mix journey really began. Because the truth is, to learn how to mix, you first have to understand the extremes — what true chest and true head voice feel like in your body. And I had spent years being too scared to explore my chest voice. Without that awareness, I couldn’t build the muscular coordination needed for a balanced mix. In college, I continued with opera training, and in many ways, that was a gift. I learned how to create resonance without relying on narrow vowels and how to relax the larynx. Opera singing taught me about freedom — no tension, no strain, just open, hollow space, dexterity, and breath control. It helped me learn how to release tension and build awareness of what my voice was actually doing. The Turning Point The real breakthrough didn’t come until my 20s, when I was studying at Brigham Young University. There, I finally got access to vocal coaches who specialized in belt and mix. The first coach I worked with… well, let’s just say we didn’t vibe. Learning mix was foreign and awkward. I had to be vulnerable, willing to make ugly sounds, and open to failing — a lot. We were trying to build coordination between my TA muscle (thyroarytenoid) and CT muscle (cricothyroid), and that kind of muscular balance doesn’t come overnight, especially with years of habits, that worked pretty well for me. I was frustrated. Nothing felt right. It wasn’t until my next coach — one who focused on helping me find my chest voice — that things really clicked. Yes, it involved a lot of yelling, chest-pulling, tension, and even some sore throats. But it was the step I needed. Once I understood how to engage my chest voice, I could finally begin to explore what mix really was. And all the frustrating lessons from my earlier coach started to make sense. Building the Skill One of the biggest breakthroughs for me was understanding the power of vowel manipulation. Learning how to modify wide and narrow vowels unlocked vocal freedom for me. That, paired with mix-focused training, allowed me to sing strong, connected, and healthy — in the styles I had always dreamed of. Since then, I’ve worked with other voice teachers, and I’ve learned something valuable from each one. Sometimes lessons don’t click right away — but they always leave a breadcrumb trail that I return to later. My number one tip for any voice student? Record your lessons. Yes, it can be painful to listen to yourself. But listening back is how I’ve found my biggest breakthroughs. I hear what’s working and what’s not. I fine-tune. I recreate the feeling. It’s how I’ve learned to build the right coordination — over and over again — between CT and TA muscles. Final Thoughts If you’re on this journey too, here’s what I want you to know: Don’t give up. Don’t be afraid of sounding ridiculous. Every crack, every chest-pull, every flat note — it’s all part of building the skill. I wasn’t naturally gifted in singing. Some people just have their voices resonate in a naturally mixed space. I had a strong choir voice, sure — but everything else? I earned through trial, error, and persistence. You don’t have to be naturally talented to learn this. You just have to want it, and be willing to put in the reps and humor your voice teacher. There’s something to learn from everyone weather you vibe with them or not. Stay humble and learn to laugh at yourself and enjoy the process. You’ll get there.

One of my favorite facts to share about my personal life is that I come from a family of 12 children. I’m the 10th one, and I couldn’t be prouder of this. We were raised in a modest home on an acre of land in Twin Falls, Idaho. There are so many fun stories from my upbringing in such a full and happy household, but what I want to share today is the legacy of resiliency imparted by my mother. A mother, in the simplest terms, provides the nourishment and guidance a child needs to survive on their own. My mother devoted her life to raising responsible children, and naturally, that is no easy feat. It is easy to look at her now and place her on a pedestal, but she is human and not perfect. She has faced struggles and difficulties that stretched her beyond her capacity—challenges that no mother would want to experience, such as losing my brother Steven, and the ongoing pain of watching her children struggle and suffer. Today, she grapples with the trials of aging, and I continue to witness her lean into the struggle with grace. There was a period in my mother’s younger life when she was down for a long time. Finding the motivation and energy to carry on with so many children must have been incredibly exhausting and defeating. As I raise my own children, I can relate to that struggle. How on earth can one show up and do their best when they are simply so tired? There are endless dishes to wash, piles of laundry to fold, floors to sweep, and little tears to dry. Dreams, hobbies, and passions often get put on hold or set aside. Someone is always coming first. In multiple conversations with my mother, a phrase has repeatedly come from her lips: “It came to pass.” This recurring phrase, borrowed from the scriptures, is something my mother has often referenced for the will to hold on. Knowing that you won’t be stuck in a situation or emotion is powerful. It reflects a desperate and ever-present hold on the faith that life is always changing and that we, too, can adapt and grow strong enough to weather the storms that come. It is this resilience that has carried my mother through the loss of a child. As I entered a very defining point in my life, I had a mother who taught me powerful lessons in resilience. My challenges were often of a social and educational nature caused by my undiagnosed ADHD. It was the inspired choice of my mother to be the support I needed to implement coping strategies for my energetic, creative, and scattered brain and body. I was never viewed as less capable because of my struggles. Things were harder and took me longer. The bar was set high, and my mother was there by my side, guiding me back to my studies, paragraph by paragraph, one step at a time. From my educational experiences, I was able to learn one simple yet powerful truth: just because something is hard and takes longer than most, doesn’t mean that I can’t do it. I held onto this belief as I entered a university and had to learn on my own. It did take a lot more work, and I am very proud of my Bachelor’s Degree. Being a child with so much energy often strained my friendships. My difficulty in focusing made it hard for me to listen and build lasting relationships. The challenges of being a teenager didn’t help either. I was very insecure, and my social blunders were often more prominent and open to ridicule and teasing. It was a daily occurrence for me to come home from school in tears. My mother taught me to keep a journal, and it is in this journal that I hear her voice. I learned the importance of zooming out from myself and looking at others through a lens of understanding—how to forgive them and forgive myself, and how to serve. Her coaching is evident in my journal as I dissected my feelings and situations in each challenge I faced. Using a journal as a tool to work through my insecurities and mistakes is still a practice I utilize today, as is the reminder to look outside myself. There is no title that embodies looking beyond oneself better than that of a mother. There was a phrase my mother often said in our house (it was even put into cross-stitch): “Hard is good.” It is my mother’s mantra and how she approached piano lessons, yard work, school, and any other challenge we wished we could avoid. This phrase carries a lifetime of experience in leaning into difficult things. She learned from personal experience that miracles happen when you lean into the struggle and that help always comes to make up for the difference if we just try. How else could she raise a family of 12? I hear her voice as I implement this mantra into my adult life and have learned that indeed, hard is good. It is what makes life impactful and builds our character, allowing us to understand ourselves and recognize the power that comes from within and from on high. This is my most recent picture with my mother after we made it up a mountain trail to this beautiful waterfall behind us. It seems fitting to say that she still lives up to her mantra: “Hard is good.”

While choreographing the latest T-Fit release, we found inspiration in the song “Get Your Head in the Game” from High School Musical. In the realm of performing arts, the ability to stay focused amidst the chaos of live shows is essential. Actors, much like athletes, encounter high-stimulation environments that demand quick thinking, emotional depth, and physical agility. With all the moving parts—lines to remember, cues to hit, and an audience to engage—how can performers collectively maintain composure and remain present in the moment to “get their heads in the game?” In this discussion, we will explore strategies for enhancing focus, examine how brain physiology affects performance, and uncover techniques to help us thrive under the pressures of performing. Understanding Focus in Performance Narrow focus and broad focus are two essential types of attention in performance. Narrow focus  allows actors to concentrate deeply on a specific task, such as delivering a line or executing a movement. This internal focus is crucial for connecting emotionally with their character and ensuring their delivery is precise. Conversely, broad focus  encompasses the external stimuli of the performance environment, including audience reactions and interactions with fellow cast members. While this awareness can enhance emotional engagement, it can also become overwhelming if not managed effectively. During a live performance, an actor may first draw energy from the audience and their co-actors. However, distractions can impede their ability to recall lines or execute choreography. In these instances, shifting to a narrow focus—reconnecting with their character or the rhythm of the scene—helps regain composure. They can then transition back to a broad awareness, allowing them to respond authentically to the dynamics on stage. Mastering the ability to switch between these two types of focus is crucial for delivering a powerful and cohesive performance that resonates with both actors and the audience. The Challenge of High-Stimulation Environments When under pressure, the amygdala—the part of the brain responsible for the stress response—can hijack attention, causing heightened anxiety and distraction (Cannon, 1939; Chida & Steptoe, 2009). The performance setting can overwhelm even the most experienced actors. The array of competing stimuli—lights, sound, and audience reactions—demands mental agility. Cognitive load increases as performers process multiple streams of information simultaneously. The Science of “Choking” in Performance “Choking” is something athletes and performers often experience when feeling anxious. Tasks that usually feel easy suddenly become overthought, leading to mistakes where the flow is lost in performance. The brain’s decision-making prefrontal cortex can become too active; which leads to overthinking and too much focus on actions that should come naturally. On the flip side, the basal ganglia (muscle memory), allows us to perform movements automatically. When stress gets the prefrontal cortex buzzing, it disrupts this automatic process, causing errors and hesitation. In high-pressure situations, it's crucial to stay calm and focused. Finding ways to manage that stress can help performers maintain their flow and avoid those breakdowns. Mindset Strategies for Maintaining Focus To combat choking and enhance performance focus, performers can adopt several strategies: 1. Pre-Performance Routines: Rituals before going on stage can help ground performers and shift their mindset from everyday concerns to the task at hand. Visualization techniques, where performers imagine a successful performance, can enhance confidence and reduce anxiety (Cumming & Hall, 2002). *Walk around the theatre and make friends with the chairs, the floor, the piano, the doors, lights, and the curtains. As silly as it sounds, by creating a feeling of familiarity with your surroundings enhances the brain’s ability to relax flow and perform.   2. Grounding Exercises: Techniques such as focused breathing can help lower stress levels before and during performances. Diaphragmatic breathing, in particular, activates the parasympathetic nervous system, promoting relaxation and clear thinking. *Close your eyes and place your hands on your waist. Breath in like you are sipping through a straw. Feel the ribs expand and retract, feel the softening of the belly, and feel gravity and body connection between breaths. 3. Mindfulness and Focus: Practicing mindfulness in daily life can train the brain to remain present during performances. Simple mindfulness techniques, like body scans and grounding exercises, enhance awareness of physical sensations and surroundings, allowing performers to connect deeply with their roles. Techniques for Shifting Focus on Stage 1. Cue Awareness: Staying attuned to cues from fellow actors can help maintain focus and presence on stage. Active listening fosters a deeper engagement with the performance and helps keep distractions at bay. 2. Anchoring Techniques: Finding a specific focal point during a performance can help performers maintain concentration in chaotic environments. Anchoring techniques can include visual cues or physical sensations, such as feeling the ground beneath their feet or focusing on a prop. 3. Posture and Movement: Confidence-enhancing body language can significantly impact focus and presence. Research suggests that adopting expansive postures can lead to greater feelings of power and reduce cortisol levels, helping performers feel more in control (Carney et al., 2010). Cultivating a Performer’s Mindset 1. Building Resilience: Like athletes, performers can benefit from developing mental resilience. Techniques such as positive self-talk and reframing negative thoughts help build confidence and adaptability. 2. Everyday Mindfulness Practices: Incorporating mindfulness into daily life can help reinforce these skills. Simple practices, such as mindful walking or journaling, promote self-awareness and emotional regulation. Conclusion In the high-stimulation world of performance, staying present and focused is crucial for success. By understanding the physiological responses to pressure and implementing effective mindset strategies, performers can navigate the challenges of live performance with grace and confidence. As you prepare for your next role or show, remember that the key to unlocking your potential lies not just in your talent but in your ability to stay calm, focused, and “get your head in the game.” References - Beilock, S. L., & Carr, T. H. (2001). On the fragility of skilled performance: What governs choking under pressure? Journal of Experimental Psychology: General , 130(4), 701. - Cannon, W. B. (1939). The Wisdom of the Body . W.W. Norton & Company. - Carney, D. R., Cuddy, A. J. C., & Yap, A. J. (2010). Power posing high power posing increases testosterone and lowers cortisol. Psychological Science , 21(10), 1367-1372. - Chida, Y., & Steptoe, A. (2009). The consequences of psychological stress on physical health: A meta-analysis of prospective studies. Psychosomatic Medicine , 71(5), 748-756. - Cumming, J., & Hall, C. (2002). Imagery and performance. Sport Psychology , 16(2), 222-240. - Kawabata, M., & Miki, T. (2005). Choking under pressure in competition: the role of self-efficacy and self-focus. Motivation and Emotion , 29(3), 101-103.