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Pillow

STAYING HEALTHY AND FIT, NO MATTER WHERE YOU ARE

Performers of any kind rely on their bodies. Whether they are dancing, singing, or acting the most dramatic roles, a performer needs access to their abilities and their emotional life. And if I’m being wholly honest, there is an aesthetic need as well. Actors come in all shapes and sizes, but if you want to play Superman, you must look the part. But no matter your physical type, there is one need that should be addressed before all others: your health.

As performing artists, we’ve chosen a difficult path, one often laden with long hours, little rest, constant practice and training, for what at times can be little reward. To survive in this environment, and hopefully thrive, you must have your health, and today we’re going to talk about maintaining your health when you’re away from home. Like the song says, if you can make it there, you’ll make it anywhere.

Casino gigs = buffets!
Casino gigs = buffets!

BEFORE YOU GO

Let’s start with the notion that you’ve booked a job—congratulations! You are about to be paid for that thing your parents always said would never pay. Some things to think about, regarding your health:

WHERE ARE YOU GOING? Perhaps obvious, but what’s the climate like: cold, hot, humid, rife with allergens, rainy? You’ll need to be prepared not only with the right clothing but perhaps the right medications. When it comes to health, I think breathing is pretty important.

WHAT’S YOUR HOUSING LIKE? A lot of the same stuff, is it air conditioned/heated well, newer/older (old houses hold allergens and mold like it was their job), do you have your own room? That could matter when it comes to rest and sleep.

WHAT HEALTH AND FITNESS OPTIONS ARE IN THE AREA? Is there a gym nearby (and is membership complimentary to company members)? Or maybe there’s a school with access to a track, or a park. If you have space, you can exercise, even if there’s not a gym for miles.

ONCE YOU’RE THERE

You’ve arrived at the job and been shown to your housing. Could be a hotel, a shared apartment, a private room in a house, or a cabin on board a cruise ship. Leaving the last option for later, we’ll start with shared spaces.

1. IF YOU ARE SHARING A KITCHEN:

This is the most likely scenario. You’ll have limited space for your own groceries, perhaps even marked out clearly in your cabinets and refrigerators. Shop wisely, perhaps share certain staples (oils, condiments, kitchen supplies, etc.). And while we’re in the kitchen, let’s spend a moment on food shopping in general: The healthiest food options are located on the outside aisles of supermarkets, produce, dairy, meats (including fish and chicken), and usually whole grain breads. I won’t veer off into “this diet vs. that diet,” but most likely, no matter what dietary philosophy you choose, the food you want is located here. You might want to adopt an “80/20” rule, meaning you do 80% of your shopping on the outer aisles and 20% from the aisles within. It’s a good way to eat healthy yet not feel wholly deprived when you can’t enjoy the occasional bag of Oreos.

I don’t…I’m not sure…what this means…
I don’t…I’m not sure…what this means…

2. IF YOUR MEALS ARE PROVIDED FOR YOU:

This likely means you are working on a cruise ship, or perhaps a dinner theatre (where certain meals could be provided). On a ship, the food may be repetitive but at least there will be nutritious options (remember it’s in your employer’s best interest to have you healthy), as well as the standard high-caloric fare. Crew members on ships often work incredibly long hours, so the provided meals can be high in calories, and a calorie is just a unit of energy, so the workers can make it through their shifts. See my recent posts on Cruise Ship Life for more information. Dinner theatres can often provide one meal per performance day, and that meal is usually…uh, dinner.

3. IF YOU HAVE NO KITCHEN, BUT ARE GIVEN A PER DIEM:

Well, this gets tricky. If you don’t know, per diem (“per day”) is money given to you to cover costs of meals and/or housing (if you are on a National Tour). This can seem like a large sum of money, but you’ll find quickly that single housing in A-list markets (think Chicago, San Diego, Los Angeles) can often be more than your per diem for the week, leaving nothing for meals. That’s a conversation for another post, however. Some tours pick up the housing and give you a smaller per diem for food, let’s say that number is $350.00 per week, $50.00 a day. You can certainly do it, but you’ve got to be smart about it. Yes, fast food is more affordable. Yes, you can choose healthy (healthier) options from the menu. But trust my experience on this, it gets old FAST. Per Diem is often built around a formula of (using a $50 per day format) of a “10-dollar breakfast, 15-dollar lunch, and 25-dollar dinner.” My suggestion to you, for lifestyle and weight management, reverse these numbers, or at least the caloric values. There’s an old gym adage that goes, “eat breakfast like a king, lunch like a prince, and dinner like a pauper.” This way you are consuming more calories earlier in the day and gradually tapering off as the day ends. This is good for keeping you energized but not over full before a show, and gives you more opportunities to burn calories as the day goes on. Plus, dinner menus are always more expensive than breakfast or lunch options, so your money will go farther. Oh yeah, and don’t eat garbage after a show. It’s so tempting! But if you must eat, make it reasonable—a protein shake or bar, a small sandwich—stay away from burgers and fries at 11pm, they are not your friends. Consuming 1,000 empty calories within an hour of going to sleep is a surefire way to gain unwanted weight.

“Rob, isn’t this post about staying healthy while working a theatre job? Why all that space on food?” Ah, you’ve seen right through me. While there are two more elements to cover, let me say this very simply: IT’S ALL ABOUT THE FOOD. Get that right, everything becomes easier. Keep doing it wrong, and you might be wasting all your hard work in the gym.

SLEEP!!

Of equal importance to nutrition is sleep, or rest. The body’s natural processes operate at maximum efficiency during periods of rest, not exertion. You don’t build muscle while you exercise, exercise creates the condition that asks the body to build the muscle, which happens while you are asleep. Ever notice that the prescription for any illness or injury almost always involves rest? The body wants to “right” itself, sometimes the best thing we can do to help, is simply get out of the way.

PillowSleep recommendations are very simple: aim for 8 hours a day, and try to have those hours be the same hours every day. I know many of us are night owls, we finish a performance sometimes exhausted, but sometimes energized and needing time to wind down, or even go out and celebrate. That’s all fine, just allow for recovery. I’m not as young as I once was (I was 23, uh…23 years ago), so I can’t stay out all hours eating and drinking and expect to be a normal functioning adult the next day. Maybe you can, but I promise you, that bill will eventually come due. SLEEP. Protect yourself. Your body and your voice will thank you.

There are 168 hours in a week. You might spend five of them exercising.  But the other 163 hours are actually much more important. Eat right, and sleep right.

Next time I’ll finish up this article with suggestions for exercise in whatever environment you’re in, because I’m helpful like that. And MODEST!

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Top 10 Roles for Teenagers in Musicals

Photo Credit: RichardBH via Creative Commons License 2.0
Photo Credit: RichardBH via Creative Commons License 2.0

When we think of the best roles in a musical for a teenager, our thoughts often immediately turn to shows such as High School Musical, Hairspray, Bugsy Malone, Fame, or Grease. These musicals are brilliant for a range of multi-age teenage roles, with large casts and plenty of scope for principal, supporting, and ensemble parts. They are also immensely fun and frequently performed.

However, what about key roles for teenagers in musicals that are not specifically targeted at 11-19 year olds? Here, we have put together a list of just some of the exciting parts for teenagers out there and how they cater to particular strengths, be it ballet dancing, challenging vocals, or comic timing.

  1. Wednesday Addams in The Addams Family

Starting off with a modern show that opened on Broadway in 2010, Wednesday Addams is a great character role in this comically dark musical. Wednesday, an 18-year-old girl, is smart, temperamental, and impulsive. It is a great quirky, character role, also requiring strong vocals. Her song “Pulled” is an offbeat, comic solo that is exciting for any young actress to get her teeth in to.

  1. Pugsley Addams in The Addams Family

Similarly, Wednesday’s younger brother, Pugsley Addams, is a mischievous adolescent with a dark, macabre sense of humor. He takes delight in being tortured and forms a strong double act with his sister. A real treat for a keen young character actor! This role requires strong, comic timing and his solo “What If” reflects this.

  1. Chava in Fiddler on the Roof

Depending on the playing ages in this show, Chava’s sisters Tzeitel and Hodel are often played by actresses older than teenagers. However, Chava is the youngest daughter, and she must have a sweet innocence about her that is truly captured by a late teenager. Leaving her family and religion to follow her heart, the actress playing Chava must be a strong actress and dancer, as she features heavily in the dream ballet, “Chavaleh (Little Bird)”.

Photo Credit: Linda Hartley via Creative Commons License 2.0
Photo Credit: Linda Hartley via Creative Commons License 2.0

 

  1. Billy in Billy Elliot

The role of Billy is a dream part for any teenage boy who is an all-rounder, but excelling particularly in dance. Although, at the beginning of the show, Billy cannot dance at all, by the end he must be able to perform complicated ballet and tap routines with assurance and a definite wow-factor. There are several dance solos, as well as singing solos, and the musical is carried by this talented teenager. Natural comic timing is also a must, as is a convincing northeast English accent (check out our YouTube clips of the show, or look up clips of the recent Sting musical, The Last Ship).

  1. Michael in Billy Elliot

If you’re going to look at the role of Billy in this heart-warming, funny musical, you should also think about the role of Michael. Like Billy, Michael must also be a talented dancer, performing dance duets with Billy (check out “Expressing Yourself”, it’s a hoot!). Michael is the supporting, comedy foil and his comic timing and performance must be spot on. Like Billy, a convincing northeast English accent is needed – a good challenge for any strong performer.

  1. Tobias Ragg in Sweeney Todd

Although the age of Tobias (Toby) varies between teenager and young adult in differing productions of this classic Sondheim musical, since the 2007 Tim Burton film, it is more commonly played by a mid-teen in modern productions. Toby is a victim of circumstance and deeply affected by the death and gore he sees around him. He must have a strong tenor singing voice and effective stage presence to wreak his revenge on Sweeney Todd at the end of the show.

  1. Liesl Von Trapp in The Sound of Music

Liesl is the eldest daughter of Captain Von Trapp and has a playing age of 16. She encounters the common problem of many teenagers—believing herself to be in madly in love, but is she really? Liesl must show responsibility and authority with her brothers and sisters, yet portray a naivete and innocence in her relationship with Rolf and her understanding of the grown-up world. Liesl is a strong singer and dancer

  1. Fredrika Armfeldt in A Little Night Music

Fredrika is a great part for a young to mid teen with strong, confident vocals that reflect her innocence and youth. She is inquisitive and intuitive, enjoying touching scenes with her grandmother, Madame Armfeldt. She misses her actress mother, who is touring the country, and her naïve take on the world of an actress is reflected in the song “The Glamorous Life”. This song is often sung as a solo for auditions/performances (great choice for a young female teen), but within the musical it features more characters.

Photo Credit: Siena College via Creative Commons License 2.0
Photo Credit: Siena College via Creative Commons License 2.0

9 & 10. Jack and Little Red Riding Hood in Into the Woods

This fabulous musical offer great opportunities for two interlinking teenage lead roles. Jack, reluctantly instructed to sell his beloved cow, Milky White, must deal with the wrath of the giant when he plants the magic beans given to him by the Baker. Meanwhile, Little Red Riding Hood learns about the dangers of her innocent, friendly nature when she meets the cunning wolf. Both roles are incredibly fun and fast-paced. Like most Sondheim musicals, they require strong vocal ability and the two characters have solos, but also complicated multi-vocal arrangements.

Bonus Extras!

Baby June & Baby Louise in Gypsy

If you are slightly younger than the ages required for the roles above, why not look at these parts?

The roles of Baby June and Baby Louise are great, fun roles for two talented youngsters. The playing ages are 8-10 and 10-12 respectively and perfectly suit young, cherubic looking teenagers. The eldest sister Louise loves her sister deeply but is painfully shy as a performer. This needs to come through in her performance and the role requires strong acting skills, as well as confident vocals and (deliberately wooden) dancing.

In contrast, Baby June is a confident, extrovert performer, having been groomed extensively by her mother. She loves her sister but knows that her role is to get out there and perform. Vocally, she needs to have a strident, babyish voice, and the stage presence to lead a staged, dance routine. Baby June also needs to be able to perform gymnastic tricks.

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ENT - featured image

Say No to Nodes! Vocal Health on a Hectic Schedule

If you have any experience as a singer, actor, or a performer of nearly any type, you know how difficult it can be to get through rehearsals and shows while maintaining your vocal health.

So what do you do when you’re even busier than normal, or balancing multiple performance opportunities? Whether it’s an eight-show-a-week schedule in a Broadway-caliber play, a tour of a major musical, or overlapping short-term gigs, your vocal health needs to be an even-higher priority when you’re using your voice more often.

Here are 10 tips and tricks to ensure you stay in tip-top vocal shape on the go!

1. Your Voice Is a Body Part—Treat It Like One!
Your voice is more than sounds that comes out of you—it’s a product of careful collaboration between a plethora of body parts. So treat your voice like a body part, and treat your body like it is the physical mechanism of your voice (surprise, it is!). Develop and maintain healthy habits that you can take on-the-go: plan ahead for healthy snack and meal choices. Dress in clothes that are conducive to your practice and travel regimen to avoid overheating/chills (layers and a scarf are a safe bet). Don’t shout! And avoid loud environments that will instinctually make you talk louder.

Photo Credit: Tulane Public Relations via Creative Commons License.
Photo Credit: Tulane Public Relations via Creative Commons License.

2. Learn Proper Technique (for everything).
Ever hear the phrase “fall back on your training?” When you’re tired or sick (which will inevitably happen at some point in your career), a solid foundation of training will prove invaluable for both your vocal quality and confidence. By training healthfully in a variety of styles, you can confidently navigate any type of sound needed in any show without worrying about how being tired or under the weather might impact your sound.

3. Don’t stress!
Some stress can be good for us–but when stress starts to impact your body, mind, and voice, it can be a real problem. Stress on the vocal mechanisms themselves can lead to injury. Listen to your body, and rest or “mark” if you need to (a great skill worth working on). The stress of our minds (“I’ve never hit this note perfectly” or “How am I going to integrate all the director’s notes?”) can manifest in physical tension, including vocal tension. Even in a hectic schedule, make time to acknowledge these worries and allot time for practice and positive thinking.

4. Don’t Sing Sick!
No one expects an athlete to perform while sick or injured! If you are very sick or have a vocal injury (or an injury that impacts your singing, particularly anything in the chest or abdomen), don’t push to “sing through it.” If you can’t avoid it, work with a doctor or otolaryngologist (ear-nose-throat doctor) to make sure you can do so while maintaining vocal and physical health. Remember–your voice will last you your entire career if you take care of it. Don’t risk a lifetime of singing (and speaking healthfully!) for one opportunity.

Photo Credit: COM SALUD
Photo Credit: COM SALUD via Creative Commons License.

5. Avoid Making Long-Term -Bad-Habits Out of Short-Term Bad Circumstances.
As singers, we often work with teachers or directors who will make strong-handed or impossible demands of us and our voices. Recognize the difference between opportunities to grow and learn (which can make us uncomfortable, but can still be healthy) and being asked to create sound or perform in an unhealthy manner. As singers, we will often bend to produce what is asked of us; don’t make a habit of pushing too hard or straining beyond what is healthy just because someone applauded you for it.

6. Find Warm-Ups in Your Projects.
When facing a hectic schedule, you may not have time for your full warm-up or vocal exercise regimen. Look through the music you’re working on at any given time and find parts of the work that might make good warm-ups. Start with something comfortable, in your range, that you enjoy singing. Then find opportunities to stretch the voice like an athlete warms up their muscles. Look for passages that cross different “parts” of the voice (chest, head, mix, falsetto, etc.) and that utilize a variety of different vowels or consonants. Try singing passages only on vowels (or on one vowel) or warming up the articulators by over-enunciating lyrics.

7. SLEEP.
This is one of the most useful tips for vocal health anytime, but especially when you’re on the go. Avoid the temptation to let “down time” interfere with sleep. If you find yourself booked every hour, book “relaxation time” and “sleeping time” as a part of your schedule. You may have heard that it takes four hours of sleep for the voice to “reset.” Everyone’s body is different in how much sleep they need, but aim for a good night’s rest to let your voice (and the rest of you) off the hook for a while.

Photo Credit: Petr Kratochvil, via Creative Commons License.
Photo Credit: Petr Kratochvil, via Creative Commons License.

8. Get Support Staff.
Nothing is worse than trying to build a relationship with a voice doctor or teacher when you already have an injury. Take the time to find a team of experts when you’re healthy. Your team will better be able to work with you having seen and heard you healthy, and often times, being an “existing patient” will help give you more immediate access to medical professionals. These people can be a trusted doctor, voice teacher, musical mentor, or performance coach.

9. Don’t smoke. Anything.
We all know that smoking cigarettes and use of tobacco increases risk of disease. Recent studies have shown that “vaping,” as well as the direct inhalation of any smoke from any source, can have an impact on the body as well. Avoid the temptation to smoke to relax, or hanging out in environments that allow smoking. If you do smoke, talk to your doctor about exploring the many ways you can quit!

10. Find Liquids You Like (and keep drinking them).
While some singers swear by a water-only hydration plan, you may find that switching up liquid tastes or temperatures suits you and your voice. While caffeinated beverages (that act as diuretics) will dehydrate you over time, some singers need that pep (especially on a hectic schedule). Some singers love juices (aim for 100% juice, not sugary cocktail) as the sugars promote salivation and can help with dry-mouth. Some like carbonated beverages, some add lemon (to cut through phlegm) or honey (to lubricate), and some will just drink from the water fountain. Proper hydration is important to keep not only your body performing in tip-top shape, but the swallowing reflex also helps relax throat muscles. Invest in a few favorite water bottles––I like the insulated ones that keep hot things hot and cold things cold for extended periods of time!

As a singer or performer, your voice is not only your business, but your business partner—it gets you jobs, it keeps you in communication with the world, and of course, lets you perform. It’s important to keep your instrument healthy to support not only your performance goals, but also your everyday life.

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road curves

Hard to Say Goodbye: Leaving a Show on Good Terms

Hello, true believers (any of you that get that reference are awesome. And probably my age). As actors, we are taught to be humble and grateful for the work opportunities we are given. Though we will all likely encounter situations where humility and gratitude aren’t the first emotions that come to mind, for the most part, it’s a good idea to stay that way.

There’s no linear path to your career as an actor. You may be a college theatre student, perform in summer stock (Equity or non-Equity), graduate, work in regional theatre, go on tour, book a Broadway show, then lather/rinse/repeat the last three if you’re lucky. Or you may leave college before graduation for a Broadway show. Or you may work on Wall Street with your finance degree and decide at age 40, “Hey, I always liked acting, I think I’ll give that a try.” One person’s experience will not necessarily be someone else’s, a point I try to remember each time I sit down to write.

road curves

When actors are given a contract for most theatre jobs, they usually have finite terms, an “end date.” I would imagine that most contracts are honored by the actor, as work is hard enough to come by. But occasionally, we are lucky enough to have another company offer an opportunity before we have completed the terms of the current employer. Assuming we want to accept the offer, what do we do?

The first step is look at your current contract. What is the “out clause”? An out clause refers to the terms of terminating your employment. Sometimes these are as simple as providing ample notice of your intention to leave, it can be as little as two or four weeks. Be careful though, as there will occasionally be clauses in contracts that prohibit leaving during certain periods of the contract, such as during previews. Many regional theatre contracts are structured in such a way as to severely limit the opportunity for an actor to break their commitment. This may seem a bit unfair, but from a producer’s perspective, you are their choice for the job, and you agreed to the terms of the contract, so replacing you is certainly inconvenient and could possibly diminish the show, i.e., their product.

There are also contracts known as “run of show” agreements, whereupon the actor agrees to perform in the “run of the show” with no specific end date. These may sound restrictive, but can also be quite a benefit to an actor. My recent position as the standby for El Gallo/the Fathers in The Fantasticks was a run of show agreement, I could stay as long as I wanted, provided I was capable of doing the job I was hired to do and a good member of the company (meaning basically, not doing anything stupid to get myself fired).

Let’s say you’ve identified the out clause, and you are within your legal rights to terminate your contract. Now what? This can get sticky, but you have a few options. The first is the direct and professional route. You contact the producer (and you can do this verbally but I would always suggest a written follow-up, so there is a record of what was said) and let them know your intentions. The timing can be flexible, of course it must be per the rules within your contract, but let’s look at this scenario. Let’s say you are doing a show that runs for two more months, but you have an offer that will require you to be gone before the last two weeks. The out clause is four weeks notice. Do you tell the producer as soon as you can, or do you wait for the last legal minute?

nevermind

The answer sadly is, “it depends.” If you have a good relationship with the company and want to give them as much time to prepare as possible, then this is your path. If you have an adversarial relationship with them, and fear potential retaliation (such as, they replace you sooner than you wish, leaving you with a gap in employment), then perhaps you wait until you reach your legal obligation. I’m not advocating or advising this option, but the truth is, the business can be really tough at times, and you may find yourself in this position, so there’s the information.

Now, let’s come back from the dark side of the force…

life is short

Any time you choose to leave a job, be it in theatre or “civilian life,” it’s optimal to leave on the best of terms. Your decision to move on has created more work for your employers and your coworkers, as they will likely have to participate in more rehearsal for your replacement. So try and make this easy on them. If you are being housed, make sure you leave that housing in AT LEAST the condition you found it in, and maybe even a little better. Your replacement may arrive before you leave, welcome them into the company and offer what you can—you may be refused for any number of reasons, but still make the offer.

Finally, remember that although this may be a tough decision and process, these are the kinds of problems you want to have, so don’t be too hard on yourself. At the same time, I wouldn’t make a habit of breaking contracts, whether you are legally capable or not, it’s not the reputation you want. Leaving a show, long-running or otherwise, is one thing, breaking a finite contract is another.

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Life on the Road: A Few Thoughts on Touring

If you’re an actor who’s been reading Rob’s wonderful series on National Tours, you’re probably well-primed for getting out there and booking one. Once you have, congratulations! But whether you have five days or five months before you leave, there is a lot to think about.

Having just gotten off the road with my fourth big tour, I have some advice:

Photo Credit: anaa yoo
Photo Credit: anaa yoo

You will not need all those clothes.

Most actors on tour find themselves “trunk-shopping” or “suitcase-shopping,” when they stumble upon a shirt or a dress that’s spent the last four months wadded up hidden in the back, forgotten. On tour, you spend a lot of time in rehearsal or at the gym or traveling, and those clothes do get used a ton. But you do not need sixteen dresses or twelve pairs of pants. NO ONE WILL NOTICE you’re wearing the same thing you did last week. SERIOUSLY. You’ll be sending home a box of extra stuff before you know it, but then you’ll make room for something more essential, to wit:

A Nutribullet can be your best friend.

If you have room in your suitcase or trunk, (which you will, because you won’t overstuff it with clothes) bring something like this. You may not have a fridge and a microwave in every hotel room, but you can pick up ingredients to make protein smoothies without a lot of fuss, and it will save you time, money, and calories to whip up a shake for breakfast or before rehearsal. I also know people who traveled a George Forman grill, or a hot plate and a few pots and pans, but those are a lot easier to blow off. This one gets USED.

Your relationship will survive. Or it won’t.

Being on tour is a very difficult thing for people in relationships with someone at home. Your schedules may be opposite, you may be three time zones apart, you may only be able to schedule one visit in six months, and so on. You both will have to WORK on the relationship, much harder than usual. But it will survive, if it’s meant to. If not – it wasn’t TOUR that broke you up. It was an underlying issue: the demands of your career, fears of infidelity, wanting different things.

So have a frank discussion with your partner before you leave, and understand that both of you need to be extra communicative and considerate of this bizarre situation. And remember, you won’t be on tour forever.

Be wary of showmances.

For those who arrive on tour single and ready to mingle (or those whose relationships really weren’t meant to survive), there are often many opportunities to get a little lovin’ with someone at work. Full disclosure: I know a NUMBER of couples who have gotten married following their showmances!

But you must be very careful. If it does work out, you’re developing a relationship under scrutiny of a hundred pairs of eyes. And if things don’t work out, you have to see this person EVERY SINGLE DAY. A bad break up is not only your problem, it’s the entire company’s problem. If you do embark on an irresistible hookup, do so thoughtfully and with clear boundaries. Understand that tour life is lived under a microscope and is much more intense than “regular” life.

Explore!

Your schedule on tour can be grueling. I can’t tell you how many times we basically had 10-show weeks, with a full understudy run-through and a put-in rehearsal scheduled on top of our regular 8 shows. If you stay up late winding down after the show, and sleep in to get your rest, that doesn’t leave a lot of time for exploring. BUT DO IT ANYWAY. You’ve been given a gift of a paid trip around the country or the world. Make time to find a cool museum or brewery tour or farmer’s market or whale watch trip or baseball game or Buddhist Temple. Those excursions will be the biggest memories you’ll recollect down the line.

At the Sinso-ji Temple in Tokyo. Photo Credit: Annie Edgerton.
At the Sinso-ji Temple in Tokyo. Photo Credit: Annie Edgerton.

The importance of TEAM.

Make no bones about it, touring is HARD. You’re in a different city every week (or more, frequently)! You have to deal with allergies, and horrific travel days, and theatres with six flights of stairs to the dressing room, and the person IN the dressing room who is bugging you, and being away from family and friends, and the list goes on. The ONE thing that makes this all bearable is that you’re on a team of people all going through the same thing. So honor that.

Learn the names of your crew members. (I can’t believe I have to say that, but, sadly, I do.) Respect other people’s boundaries. Be kind. Be thoughtful. Make “dates” for a meal or excursion with someone you don’t know very well. Don’t give in to “bitch sessions.” (While venting is necessary, do it with someone you trust, outside of work, and to get over an issue, not to drag other people into your muck.) Try and stay positive when things go wrong. Your tour family is a family – you’re not going to love everybody, but treat them with respect.

If you lift up those around you, they’ll respond in kind. So help create an environment of TEAM.

Finally…

Get those points!

On many contracts, you are able to receive airline and hotel points, even if the company has paid for the ticket or the room. (Not all, so you’ll have to ask around.) Sign up for ALL those reward programs! When you check in for your flight, ask them to link your number. When you check in to your hotel, ditto. And it’s worth it getting a rewards credit card. There are numerous websites that compare rewards cards, so it’s easy to find one that fits your touring lifestyle.

Touring can be a magical and wonderful experience, whether you’re a replacement in the road company of Wicked, or launching a new tour like Bright Star. Be excited about it! And do what you can to make the most out of your road journey. Break legs!

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