My graduate school friend, Amira, a professor at ASU, doing research in Spain texted me and said, “why don’t you meet me.”
“No can do,” I replied. “Much too busy.” But as the hours passed, I thought more and more and more about it. Maybe. Maybe I can go. Then I checked the Roy Hart Summer Workshop schedule and saw that my teacher, Enrique Pardo, was teaching a workshop at the Roy Hart enclave in the south of France.
I am forever grateful for the three months I spent working with the Roy Hart Theatre back in 1986. That’s 30 years ago. An incredible experience. I spent the summer deepening and expanding my vocal range. Believe me, as a natural soprano, it was a struggle, a big struggle, to get into my lower range. It was so bad that at one of my lessons, my teacher, Rossignol, had me swinging a chair around my head, while pushing down on my chest, saying down Stephanie. Push your voice down. Down!
Well down I went; and I think more than anything, the deepening and support of my vocal range is how I got behind my idea to start The Marsh.
Now, 30 years later, I sit here writing this newsletter at SFO. Waiting for my plane first to NYC and then to Madrid. So excited to see Spain for the first time and then travel back to my first artistic home in Maleragués. I will keep you updated.
Meanwhile, some great shows at The Marsh this week. In Berkeley Lorri Holt’s COLETTE UNCENSORED and Don Reed’s East 14th.
In San Francisco, Dan Hoyle’s THE REAL AMERICANS and Brian Copeland’s THE WAITING PERIOD. Also Ady Lady’s FROM PISS TO BLISS must close on August 13. So get your tickets pronto.
All my best,
Artistic Founder and Director