I was in New York. I had been doing theater for many years, and then I got hired to a little part - they weren't calling it an extra, but I didn't have lines. It was a 'featured' part.
Sentiment: NEGATIVE
I had worked in this New York theatre company for my first eight or nine years out of college, acting and directing there, and I'd begun to write a little bit.
When I first got to New York, all I did was musicals. After a few years I had to make a conscious choice to close the door on musicals, because I was getting pigeon-holed as a musical theater performer.
I did a lot of community theatre and met a manager that worked out of Philadelphia, and she started sending me up to New York for auditions, and I got the part in a play at Manhattan Theatre Club when I was 15.
I started working in New York City as an actor and did many plays. I did regional theater, smaller theaters, children's theater.
I spent 10 years in New York doing theater.
I came to New York when I was eighteen years old, and the first audition that I ever went to was this huge cattle call at the Equity building where I had gone two days earlier to sign up - I didn't have an agent or anything. It was for 'Chicago.' There were probably three hundred people there.
When I started off as an actress, I did at a play at the Taper Too Theatre here in Los Angeles, called 'In The Abyss Of Coney Island.' That was more of a dramatic play. It was a small theater house. This was the first time I was literally on the road, doing a play, for four months.
When I was a young woman, before I moved to New York, working in small, non-Equity theatres in the Midwest, I did a lot of musicals in my early to mid-20s.
I was in New York for a little while, doing some really bad theater. I did some great stuff, too, but there were Saturday morning theater performances in one-third-filled church basements. So, I paid my dues.
I used to do theater in L.A., but it got to the point where everything was really showcase-y.
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