Rose, who I like to describe as a 'momager' to the extreme,
will stop at nothing to bring her children, June and Louise, to fame.

Choreographing a few [terrible, but hilarious] musical acts, she grabs a couple of outsiders as well as Lousie
to make up an ensemble to center around Baby June, who, in her eyes, is the 'star of the family.'

June becomes frazzled with the constant pushing and takes off.

An unfortunate circumstance for Rose to realize she has a second daughter,

but nonetheless, she grabs Louise and seizes the opportunity to make her into a star.

There is always a buzz about big shows coming to the West End,

but I have never heard so much praise for a performance than for Imelda Staunton as Mama Rose.

Obviously I had to see for myself to make sure they were right.

And yes. They were right.

Imelda Staunton is loud, raucous, and determined.

She lit up the stage with energy and carried the show beautifully.

Her performance of  Rose's Turn is one of my favorite performance I've seen.

STUNNING.

Lara Pulver takes on the role of Louise

and makes the beautiful transfer from a shy and untalented daughter

into the fierce, confident, and grown-up Gypsy Rose Lee.

The ensemble was fantastic as well.

It was a different set up than I had seen,

where each of the ensemble only made a major appearance in one act.

The show was extremely centralized, with Imelda and Lara on stage more on their own

than with others.

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This is possibly the hottest ticket in town right now,

and I think it's going to stay that way for a while.

They are pretty pricey, but day seats are available for £25 at the box office.

I was a little weary - I will admit, I am a stalls lover when it comes to the theatre.
I like to sit on the floor, and normally quite close.

These seats are in the upper circle, so I was very hesitant.

BUT the seats were absolutely fantastic!

I enjoy sitting close because I love the connection you can get with the performance;

you can see facial expressions, little movements and things you may not catch from farther away.

In the Savoy Theatre, though, I didn't miss a thing.

I did not feel as far away as I initially thought I was, and felt right in the action.

Which is very telling of both the theatre as well as the performers.

Simply wonderful.

To sum it up,

SEE THIS SHOW!

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The running time for this show is approximately 2 hours 50 minutes with one interval.

Matilda the Musical is based on the novel of the same name by Roald Dahl.

I'm going to hope that you had a childhood and already know this classic story;
five year old Matilda, blessed with a magical brilliance beyond belief,
shows that you can be small and still have the power to stand up to the bullies that are knocking you down.

The musical opened when I lived here in 2012, and for some reason I put it off
until I was headed back to the states and missed it completely.

Very similar to my Sweeney Todd horror story - which really just sums it up to that being my year of stupidity when it came to good theatre.

 This show had a lot of hype when it came out - both in the West End,
and when it made it's debut on Broadway.

It's still got a great reputation, which only told me that I needed to FINALLY get to it.

All that I expected was children. A lot of children.
And that's exactly what the show was.
A ton of insanely adorable, and freakishly talented children running around
and making this show absolutely incredible.

It was the season of Sweeney!

London had two productions of Sweeney Todd playing within the past few weeks.

A huge production from the ENO starring Emma Thompson and Bryn Terfel,

and a smaller fringe transfer with Jeremy Secomb and Siobhan McCarthy.

The last time I was in London, Imelda Staunton and Michael Ball starred in a production
at the Adelphi Theatre, that for some reason I just 'decided I didn't feel like going.'

......???????????

I'm still working on forgiving myself for that.

SO, with that traumatic experience of stupidity looming over my head, I knew I had to see at least one of these.

With ENO's production prices in the hundreds and Tooting Arts Club's all sold out, though,

I was pretty sure Sweeney himself was blatantly holding this show just out of my reach.

Luckily though, I stumbled on the website one day to find a single seat returned for Tooting Art's Clubs production - and yes. I JUMPED.

----------------------------------------------------------------------------

Sweeney Todd ran at Harrington's Pie and Mash Shop down in Tooting,

and to much praise, it made a short transfer to the West End

in an exactly replicated shop right on Shaftesbury Avenue.

Look closely though, because you might miss this little door smacked between the massive Les Miserables and Thriller marquees.
Once inside,  you'll be taken downstairs into a lobby filled with photos and descriptions of the old shop

that will lead you to where the show will be played.

There are a few, narrow rows of tables to sit at, as well as a back line of chairs.

Very small and intimate - and in my opinion, the best kind of theatre.

You'll get cast members literally in your face, on your table,

shoving you down the rows.

I even left with a bit of shaving cream on my dress,

which makes you feel much more like you aren't just watching the show,

but apart of the show.

that created only a mildly terrifying atmosphere...

Sweeney Todd runs at Harrington's Pie and Mash Shop until May 30.

Performances run Monday - Saturday 7:30PM with matinees Thursday & Saturday 2:30PM.

The running time for this show is approximately 2 hours 40 minutes with one interval.

The show is currently SOLD OUT, but keep checking the site for returns to pop up, as I have seen plenty come.

I'm a little late on this, but it takes about 3 weeks to get over the fact that you actually saw Carole King,

so forgive me.

Beautiful opened on Broadway in 2014 to rave reviews,

so it wasn't a surprise when the announcement came that it'd be making an appearance in the West End.

The musical follows Carole King,
in her life from the beginning of her career at the ripe age of 16,
with her first hits It Might As Well Rain Until September, and Will You Still Love Me Tomorrow,
to the making of her legendary album Tapestry into her first live performance at Carnegie Hall.

The story captures her success in topping the charts with husband and song-writing partner, Gerry Goffin,
along with the growing relationship with best friends, and fellow music legends, Cynthia Weil and Barry Mann,

and moves on through the journey she takes of finding herself as a solo artist.

From some of Carole's most popular solo songs, 
You Make Me Feel Like A Natural Woman, It's Too Late, and You've Got A Friend,
to others that were given away to some of the top artists of the day,
Up On The Roof, Pleasant Valley Sunday, and Chains,
the show features hit after hit, making it quite hard to stay in your seat.

The cast compliment the music beautifully, giving a perfect portrayal of the story that plays alongside;
Katie Brayben is a force to be reckon with, leading the show as a Carole King,
Lorna Wants gives Cynthia Weil the spunk she deserves,
and Ian McIntosh adds the humor to the show as an overanxious Barry Mann
Each give a standout performance and are more than deserving of their most recent Olivier nominations.

Is there any better way to celebrate Paul coming back to Europe other than an event that literally centered around The Beatles?

Let It Be is less of a musical and more of a tribute.

It previously hit the West End in 2013 where it played at The Savoy Theatre,

and has recently found its way back - this time, though, at The Garrick Theatre.

Wednesday was opening night for the show, and in celebration, there were a few events held leading up to the evening performance.
The first, that I was invited to with the lovely Rebecca at Official Theatre,
took place at the Waldorf Hilton Hotel

They've recently become the hotel sponsors for the show, and have redecorated one of their suites in a Beatles-themed paradise.

  
Beatles being Beatles

The suite was filled with Beatles memorabilia and photographs from the production.

Beatles fanclub letters on the desk, playing cards, and even a guitar with a song book to try and teach yourself a few tunes.

The bedroom had more photos I couldn't stop gushing over and Sergeant Peppers pillows on the bed that I was resisting urges from taking home with me.

There was also champagne

and cake pops

and if you haven't already caught my drift, a LOT of Beatles stuff.

I was a very happy girl.

The band had a short acoustic set to play for us during the event

and as much as I wished they were taking requests, they did play If I Fell which was one I was hoping to hear, so I was pretty satisfied.

After, the guys gave some interviews and took a few photos with fans.

They were a bit rushed for time and others had prepared legitimate questions to ask them about the show and their role,

which was much better than my position, which was really just wanting to talk about the actual Beatles with a bunch of people who obviously loved them too.

So while the others got all professional, I gushed over how cute the boys were in A Hard Days Night that was playing on the TV while trying not to jump on the snare that Ringo left open...

The event ran for about an hour before the boys were rushed out for their NEXT pre-show event,
which was a 'rooftop concert' recreation on the balcony of the Garrick Theatre.

I was finishing up my 1st (or 4th) glass of champagne
and coming to grips that I was, in fact, not going to be allowed to call this suite my new home,
so we unfortunately missed the performance, but made it just in time for the actual show.

Now I'm a stickler when it comes to The Beatles.
If you don't know, I am a pretty big fan.
I notice the little movements and mannerisms, and can be pretty critical when they aren't up to par.
Overly picky? It's possible.

Anyways, even with this particular attitude,
I will say Let It Be is incredibly authentic.
For how much you can capture who John, Paul, George and Ringo were on stage,
these guys do a pretty good job.

The most impressive aspect of the show, though, is when they sing together.
Their harmonies are so close to what you'd hear on an actual record it blew my mind.
And that's coming from ME - so you know that means they did it really well.

Exciting times in the world of the West End!

As you all have seen, a typical week for me involves a lot of musical theatre.
And while I love this type of art more than my little heart can hold,
it's great to branch out and experience the other types of performance that is offer.
And experience that in London? Absolutely the best of the best.

That's why when the English National Opera offered the chance to see one of their shows,
there was no hesitation in my "YES! I WOULD LOVE TO SEE YOUR PRODUCTION!"
Sometimes my enthusiasm gets the best of me...

I'll be seeing their current running production La traviata.

The show tells the story of a young woman forced to sacrifice her own happiness for the reputation of her lover.
I have heard of this show before, as it is one of the most reproduced operas out there,
but definitely underestimated the intensity of it before watching the ENO's trailer.

The world's longest running musical.

The West End, Broadway, and dozens of other countries.

A Hollywood feature film packed full of stars.

Yes - of course we're talking about Les Miserables here.

I was invited to see the show by that lovely little cat you may have seen running around London,
who is also known as Rebecca at Official Theatre.

And you all should know by now, I don't turn down a night at the theatre.
It's just not in my blood.

This was also Les Mis - a show you really can't not go to.
Is that even possible? To say no when someone asks you to see Les Mis?
Really asking - let me know.

For those few of you who haven't gotten into see some version of this show
- and let me ask you real quick, WHY HAVEN'T YOU? -
The story follows Jean Valjean, an ex-convict who's broke his parole.
We follow him through his quest for good,
and along the way we meet plenty of different characters
and about 24,601 sub-plots.
(ha ... ha ha ha...)

But I promise, they are all great.

 
This was actually the first time I had seen Les Miserables outside of sitting in the stalls,
and sitting quite close at that.
I am absolutely mesmerized by the entire production of the show, though,
and have always had an urge to see it from higher up to get a view of the staging in it's entirety.

We sat in Row H of the Dress Circle, and my view was incredible!
(Check out my review & pics from the seat at the greatest website for theatre-going, SeatPlan.com)
No heads I had to peek over, no obstructions to look around - it was clear views all around.

Having this new view, I was able to see things I hadn't noticed before,
from the top of the barricades to the lighting from above,
I loved the new angles.
I was even able to see the stage crew a little more since I got a top-down view,
and I know most people wouldn't want to see that, but as a veteran when it comes to Les Mis,
I'm usually looking around at the entirety of the show rather than the actual scene on the stage.

All in all, it was a fantastic evening of new friends and old music,
all of which I love!

I couldn't recommend this show enough to anyone who hasn't seen it.
I do love the film version of this show, and have heard great things about the new production on Broadway,
but nothing beats seeing it in London at the Queen's.

This is probably the most excited I've been to write a review,
so get ready for over-uses of 'great,' 'amazing,' 'so good'
...
HEY! You go see the show and try to describe it any other way...

City of Angels was one of, if not the most anticipated show of the year in London.

Filled with a cast of some of the biggest names in West End Theatre, it completely sold out
over five months before it's opening night.

BIG. DEAL.

Thanks to Barclays Front Row, a few tickets become available every Monday at 10AM,

and just like the rest of them, these tickets sell within minutes.

Luckily I was able to snag one, and I made my way down to the Donmar Warehouse this past Saturday.

----------------------------------------------------------------

Set in 1940s Hollywood, the story intertwines two plots within one story.
We see the struggling writer, Stine, working on perfecting his latest screenplay against the wishes of self-absorbed producer Buddy Fidler to 'fluff' up the script.
Mirroring this is Stine's screenplay coming to life - centered around Detective Stone, we watch his investigation on missing teen Mallory Kingsley and the twists and turns you'd expect from an old, sultry, suspense film.

With two differing dynamics, the staging of this show is just incredible.
The story of Stine's screenplay is strictly set in black and white, as if the film is in front of our eyes
and the real world of Stine and life are full in color.
While it provides a clear distinction for which storyline we are watching, it also creates a fun and visually fantastic sight when the two plots are incorporated together on the same stage.

----------------------------------------------------------------

 I have never seen such a cast create a story so well.
Really. I couldn't even find a standout actor they were all so great for this show.

I had seen both Hadley Fraser and Tam Mutu in Les Miserables.
Hadley more times than I probably should have.
He is quite possibly my favorite actor to watch, but I think Tam might have jumped onto that list too.

Taking on the roles of Stine and Stone, it was almost like they were made for the men.
And their chemistry together was so great to watch.
It was also prettttty cool to watch two Javert's in a 'Confrontation' style scene with 'You're Nothing Without Me.'
Definitely the highlight of the show.

 

Rosalie Craig and Rebecca Trehearn gave the guys a run for their money, though.
I had seen Rebecca in Ghost when she went on as an understudy,
and specifically remember liking her better than the original lead.
So I was already excited to see what she'd bring to this show.
And it was, of course, amazing.
Her connection with the audience during 'You Can Always Count On Me' was one of the best I've seen.

I had never seen Rosalie, but have heard so many things about her,
one being 'the greatest stage actor of her generation.'
Needless to say, she had a lot to live up to for me.
 And they were right, they were ALL right.
With a stunning voice and an amazing stage presence, she left me lost for words.

 The rest of the cast added nothing but strength to the show.
Peter Polycarpou was excellent as self-obsessed producer Buddy Fidler,
Katherine Kelly was an absolutely hilarious trophy wife, and as a big fan of Les Miserables, it was pretty great to see Samantha Barks on the stage.

----------------------------------------------------------------

I knew the show was going to be a good one, but I didn't realize how good it was.
It was a star cast, the staging was mesmerizing - an overall incredible production.

Which I'm using as justification for already grabbing a few more tickets to see it again....
But really, do we actually need an excuse to see more theatre?


City of Angels runs at Donmar Warehouse until February 7th 2015.
Performances are Monday - Saturday 19:30, with matinees Wednesday & Saturday 14:00.
The show is SOLD OUT, but Barclays Front Row tickets are available every Monday 10AM.
The running time is 2 hours 35 minutes with one intermission.

I saw this show on Monday, and I'm still thinking about how hilarious it was.

That should be enough convincing, if you ask me.

Urinetown is a satirical musical, that makes a bit of a mockery out of ... well, everything.
The government, legal systems, corporate business,
even musical theatre.
 And it's all absolutely hilarious.

The show takes place in the town of Urinetown,
You think the title is the strangest thing about this show?
The plot focuses around a city law that forces everyone to take care of their 'private business' in public bathrooms.
Told you.

An uprising from the people, though, creates a war between the corporate toilet controllers, Urine Good Company, and the public.

It's ultimately an anti-musical with an un-happy ending.

You're interested, I know.



The show is directed by Jamie Lloyd, who after this and the recently seen production of Assassins,
I am officially convinced this man does no wrong.
Matthew Seadon-Young who takes on the handsome young attendant to Public Amenity #9, Bobby Strong, proved his range with plenty of great (and hilarious) riffs and high notes throughout the show.  He even leads the cast in a gospel-style number with the longest applause you'll ever be apart of.
Rosanna Hyland (who I'm overly surprised has never played Glinda in Wicked. She would kick that role's ass) nailed the part of the bubbly pretty-girl Hope Cladwell as well.
And Jonathan Slinger was the highlight of the show, breaking the fourth wall as the narrator to talk to us throughout the show, reminding us that we should not expect anything that we thought we'd see on a night out at the theatre.

I'll be honest, I wasn't overly excited to see this show at first, but knew it was one of those 'have to see's' before it closes this January.
But what I can tell you after seeing it - is that I will definitely be going back.
Like next week.
I may just be a huge fan of sarcasm, but it really was THAT good.

Ever thought you could have something in common with an assassin?

This show has been getting buzz since it was announced months ago.

With it's star-studded cast of Broadway and West End vets, it was guaranteed to be a good one.

And let me tell you - IT IS.

Assassins is a musical that tells the story of nine folks who attempted (some succeeded) to take the lives of the Presidents of the United States.

It takes you past the guns and to the people - what they thought, what they felt;

their side to the story.

Narrated by the Balladeer and the Proprietor,

they play a sort of 'good angel,' and 'bad angel' throughout the show.

The Proprietor puts on a sickening of sorts carnival style game of the assassinations,

while the Balladeer sings their stories as he proclaims his disagreement with their reasoning for murder.

There are moments in this show, though.

Moments of sincere shock - where you almost feel for these characters;

understand them.

"You want what everybody wants. To be appreciated. To be valued.

To be in other people's thoughts.

For them to think of you and smile. "

To be able to create a show of the most horrifying of people,

and allow us to find a commonality with them to be able to sympathize is a tremendous thing.

Something I personally never thought was possible.

And that is one reason why it is such a wonderful show.

-------------------------------------

Performed inside the Menier Chocolate Factory, a space that seats only 180,

there is an incredible intimacy within the show.

You truly feel apart of the story - 

all the way through to the end, when those 'lucky' few get the chilling experience

of staring death in the face.

Aaron Tveit is an obvious standout in this show - taking a complete turnaround from the 'all-American charmer' we all know and love him as, he takes on the role of John Wilkes Booth exceptionally well,

executing the great angst, hate, and passion that's brewing inside him.

Catherine Tate is another stunner as Sara Jane Moore.

From her inability to handle a gun to not having a clue about what is going on in her life,

she brings a needed comedy to this eery production.

Simon Lipkin, however, is the one to watch.

He keeps the show moving while changing characters to an extreme degree.

From the haunting Proprietor, to a gentle President Ford,

even to an assassin's young child,

he is incredibly impressive to watch - and truly showcases his abilities as an actor.

-------------------------------------

Overall, this was one of the best shows I have seen this year.

I will defintely be going back again ... and again.

I mean, the show doesn't officially open until tomorrow and I've already seen it twice.

Do I need to give you any more proof?

Assassins runs at the Menier Chocolate Factory until March 7.

Performances run Tuesday-Sunday 20:00, with matinee performances on Saturday & Sunday at 15:30.

The running time for this show is approximately 1 hour and 45 minutes with no intermission.

If you've read anything about me, you know I'm quite the old folk when it comes to my music.

So what better way to spend my Sunday night than rocking out to some soul tunes?

The Commitments was a 1980s novel, that was eventually turned into a film,
and has now been turned into a musical.

It follows a group of young Irish kids as they make their way into the music scene.

Led by the ambitious and unfortunately untalented Jimmy Rabbitte -
he brings a group of lads and lasses together and lets us watch their roller coaster of a journey
as they attempt to become the world's greatest soul band.

Denis Grindel leads the group as Jimmy - and between his witty banter and defying logic wearing what I think may be the skinniest pair of jeans in the entire world, he does his West End debut with great justice.
Daniel Lloyd - playing Deco, the lead of the group - woos the audience with his gorgeous voice,
all while driving his band mates hilariously crazy.
And the girls of the group, Imelda, Bernie, and Natalie
- played by Sarah O'Connor, Jessica Cervi, and Natalie Hope -
add the sexy to the soulfulness of the group.
It was a great cast who were impressively able to hate each other, then love each other, then hate each other, then ... I think you get where I'm going with this.

'Papa Was A Rolling Stone,' 'Knock On Wood,' 'I Heard It Through The Grapevine.'
And those are just a few of the incredible throwbacks you'll be hearing through the night.
The show is a great story, packed full of laughs, and you'll be tapping your foot from start to finish.
I mean, what more could you ask for?

And if what more you are asking is 'Come on Caity - WHEN CAN I DANCE!!??'
Don't worry - you'll finally get the chance to rock around the theatre - and believe me,
you'll be itching to do so throughout the entire show.
The post-show encore is packed full of energy from both the stage and the crowd,
as well as plenty of amazing tunes to sing along to.

Daniel Lloyd took great advantage of these sing alongs, and even jumped down into the aisle during 'Mustang Sally' for some audience vocals.

Yep - you know where this is going...

Mic shoved in my face - terror throughout the theatre.

Juuuuust kidding.
Lucky for them I backed away a bit, grabbed the woman next to me and sacrificed her to musical embarrassment instead - I'm clearly an 'every man for himself' type of girl.

No one thanked me, but if they only knew what I sounded like outside of the shower, they definitely would have.

All in all - it was a great feckin' show!

The Commitments plays from Tuesday - Saturday 7:30PM, with Saturday matinees at 3:00PM and Sunday performances at 2:30PM & 7:00PM.
The running time for this show is approximately 2 hours, 20 minutes with an intermission. 

Told you it wouldn't be too long before a review.

OK WOW.

Rarely do I ever leave the theatre speechless, but Monday night did me in.
If I were to grab my first quote walking out, I'm pretty sure it was
"that was the most serious show I have ever seen."

I wasn't sure what to expect with Miss Saigon with how little I knew about it.

The only thing I did know was that it was written/produced by the same team behind Les Miserables,

so of course I was expecting to love it.

Which I did. Obviously.

***********

The story takes place at the height of the Vietnam War,
and focuses on a love found between a young Saigon girl, Kim, and an American GI, Chris.
They vow their love forever, just before they are ripped apart when the city falls.

Three years later, Chris has created a new life for himself back in America with new wife Ellen,
while Kim waits for her soldier to come back for her.

....
What? You expect more than that?
Go see the show!

***********

The cast for this show was absolutely phenomenal.
I've seen plenty of shows throughout my lifetime, but this was some of the realest acting I've experienced.

I have never seen a complete transformation into roles like I did in this show.
Alistair Brammer and Eva Noblezada, who played leads Chris and Kim, gave a heart-breaking performance.
I honestly had to take a moment to remember this wasn't actually their real lives.

And Jon Jon Briones, playing The Engineer,
put on undoubtedly one of the best performances I have ever witnessed.
Witty, charming, hateful, and hilarious - you truly hate to love this guy.

***********

This show reminded me a LOT of Les Miserables.
Between the sudden melody changes, to singing just about everything,
to the extremely parallel scenes, for example The Confrontation in Les Mis and Thuy's Death/You Will Not Touch Him in Miss Saigon.

I mean, who's complaining?
Les Miserables is my favorite show.

It was also very cool to see, being that they were written by the same group,
the similarities between the two shows, but also noticing how incredibly different they are.

The effects were another thing that really got me.
This show is absolutely MASSIVE.
With a cast of over 40 people, and an ever-going stage,
there was a lot to do with the show.
And let me tell you - they took full advantage of that.

Every scene was technically tailored by the lighting, smoke, and sounds to suit it's purpose.
I was in awe for the entire duration of the production.
Particularly, The American Dream scene was one that left a smile on my face.
The lighting was detailed, theatrical, and suited every movement Briones made.

***********

Overall, I left with the feeling that I would definitely be back,
and I think that's apart of every productions intentions for their audiences.
So congrats, Miss Saigon - you'll be seeing me again!

And if none of this sold you - there's a actual helicopter that flies on the stage.
Yes. A helicopter.
You're welcome.

Enjoy!

Miss Saigon plays from Monday - Saturday 19:30, with matinee performances Thursday & Saturday 14:30.
The running time for this show is approximately 2 hours, 50 minutes with an intermission.

So I know this page has revolved around London, The Beatles, and my life abroad,

but I forgot to mention something that came before all of this,
which I guess ties into life in London pretty well too.

I fell in love when I started high school after seeing a Broadway national tour of Rent.
It was the first show I had seen,
as well as the first and only show I had ever been late to.
They wouldn't seat us until after the first scene,
and I watched Roger and Mark jump around and scream about their bills from the jail-bar windows in the lobby.

Once I left the theatre that night, I knew my life had changed.
I had found something that I felt so connected and so passionate about.
I knew it wasn't something that was going to fade away.

When I got into university, I had to start looking into degrees, careers, and future - ugh.
Being that annoyingly ambitious dreamer I so clearly am,
I thought "hey - I love theatre! WHY NOT make a career out of that?
I'm tone deaf and have never acted in my life, but I'm suuuuuuuuure there's a place for me."

Yep. My thoughts always make sense like that.
Just like when I decided to drop everything and make an attempt to move to London.
Logical.

Anyways.
When that idea popped into my head, that was it - I was sold. Theatre was where I was going.
Even if I wasn't exactly sure how to get there.

I started researching internships, regional theatres; anything and everything.
I sent my resume out to just about every name and email I found - basically explaining that
I had never had any involvement within the theatre industry besides as an audience member,
but that they should still give me a chance to work with them.

After a few interviews, I walked into Ensemble Theatre Cincinnati,
and met the incredible Producing Artistic Director, Lynn Meyers.

She asked me about life, how I got to where I was, and where I wanted to go.

Then we got a little in depth about the magic that is theatre, and then she offered me an internship.

Just a simple conversation, and she welcomed me with open arms.

For that, I could never thank her enough.

I did a four month internship with them, realized that it truly was everything I wanted in life,

and then had to leave to go study abroad.

Great timing, huh?

When I got back into the states, I re-emailed Lynn for any recommendations around the city,

and she asked me back for a volunteer House Manager position for their encore production of Next to Normal.

Which was incredible - see for yourself: