The Fairy Boobmother is back -- with a whole new look!
I was delighted to be asked by Nuudii Bra creator Annette Azan to reprise my role as the magical, body positive doyenne of bazongas. Lotsa fun working with directors Angelica Migliazza and Pseudo Lunsford and the producers at Mutesix (my second time in the saddle with this talented production team).
Hey, if I can perform in a bra and fairy wings with a camera 5 inches away, I can do anything baby!
From March 20th - April 10th, 2022 I'm appearing in the American premiere of Clean/Espejos, a new, fully-bilingual (English/Spanish) play by Christine Quintana, directed by Lisa Portes. The formidable, funny, fabulously talented Lorena Martinez plays Adriana; I am Sarah.
This is the most challenging and fulfilling work I have ever done, and I am so grateful to South Coast Repertory for the opportunity. It's unlike any other play I've encountered. During rehearsals, we started comparing it favorably to a two-person female Hamlet. The text is that rigorous, multi-layered, complex -- and I've been lucky to mine it since its first reading at the Pacific Playwrights Festival (PPF) almost exactly a year ago. Approaching it this time, I was once again humbled to be in a room with so many brilliant, hard-working women. Yes, an ALL-FEMALE rehearsal room! My first in 20 years on the boards, and a new bar has been set.
If you're going to be in Southern California late March-early April, come on down to Costa Mesa and catch us while we're at it. The last few days of our run coincide with PPF 2022, so there's lots to see and do if you make out in then.
I promise this one will challenge and surprise you. Don't miss it.
Great experience hosting this commercial for Sinch and ThinkMojo, directed by Ron Small and produced by Ashley Moore of Sway Productions!
Junebug is back with more letters from friends, holiday celebrations and lots of cuddly time near the campfire! I tried to stretch myself with the tunes I contributed, looking to more varied sources for inspiration (the theme from To Kill a Mockingbird, Vince Guaraldi Trio, Bela Fleck and Archie Bleyer were all rolling around in my head at different times). I learned a lot. I'll be meeting with the show's creator, my dear friend Manda Bryn Severin in January to begin work on an exciting new project. Check out www.comfortseeds.com for a preview. More anon.
It's taken me 37 years to realize that one of the things I want to do (like, as a job, dig?) is compose and produce music for children's content. My best friend in the world Manda Bryn Severin has created a gentle and kind series centered around her long-haired dachshund Juniper (AKA "Junebug"). From the get-go, the project seemed charmed. The universe offered little resistance and lots of joy in the creation of it. Manda comes to me (and her talented husband Ezra) for some of the music -- as well as story advice and the occasional camera trap shot of a squirrel or lizard. But working on these short compositions has been a real pleasure in a curious (and frequently scary) year. The opening theme, Romi the Cat's song, Alexander Hamilton's letter, and a few other ditties are my doing. We're grateful for the support of the Britt Festival, who sponsored this video and the second installment, which will be available in a few weeks. I hope you and all the young-at-heart in your life enjoy Junebug's adventures as much as I enjoy contributing to them.
From late June to early July I was privileged to serve as dramaturg on a workshop of Threshold by Amy Brenneman at The Yard in Martha's Vineyard. Under the inspired leadership of artistic director David R. White, executive director Alison Manning and co-producer Jesse Keller Jason, The Yard provides creative residencies for dance makers and diverse artists whose works (usually) incorporate dance in some way. I had no idea what a special place I was walking into when I arrived. The support we received as a team was simply astonishing. Amy and director Sabrina Peck generated and staged a new draft in just two weeks, with plenty of time to enjoy the island between rehearsals. Not sure how this was possible, although I suspect it's due to a magical time dilation phenomenon on the Vineyard.
In regard to the work, I got to do what I love most: a little bit of everything. When I accepted the gig I thought I'd be on the other side of the table for the whole process. Within days Amy had me up on my feet for scene work and dancing. It was the most deliciously workshoppy workshop I've EVER been in -- juicy discussions, generous contributions, instincts firing, working hard and playing hard at the same time.
The response to this incarnation of Threshold at its two intimate showings was overwhelmingly positive. I'm excited to watch where it goes next. For more about the show, check out this article that appeared in The Vineyard Gazette in early July. And enjoy the short slideshow below.
She's a boob fairy -- a fairy with boobs. She's also me.