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Listen. It took me years to realize I stopped auditioning for musical theater not bc I was lazy, but bc I was in pain. It wasnât the rejectionâit was walking into a room & being made to feel like your body was unreasonable, that by showing up you were wasting everyoneâs time.
It was standing in a row with 30 girls in leotards and LaDucas and watching the casting directorâs eyes skip over you as he scanned the line, or mindlessly push your headshot to the rejection pile with without even looking at you long enough to see your face.
It was the urge to walk up to the only other big girl in the holding room & sit in silent camaraderie, while secretly hating she was there. There were only so many âold ladyâ (or âfat friendâ or âclueless teenâ or âsassy villainâ) roles to go around and theyâd never cast you both
Memory Monday, from Broadway star Stephanie J. Block on THE GRASS HARP (2001-2):
"MTG is incredible, in the sense that artists come together, trusting each other, lifting each other up, supporting each other, and allowing each other to be complete fools in a safe space."
"MTG is incredible, in the sense that artists come together, trusting each other, lifting each other up, supporting each other, and allowing each other to be complete fools in a safe space."
"We all run fast and furious to make the art happen, and those nights that we do get to perform the material, itâs complete magic, because itâs all so fresh â itâs literally at the tips of our fingers and the tips of our tongues, and itâs exciting and wonderful."
"With THE GRASS HARP, my ridiculous character got to make people laugh, got to surprise people, and I wasnât necessarily given those opportunities before. It was this wonderful glimpse into what I wanted to be and do more often. "
