'cash for gold' gets terrific screening slot at Hollywood Film Festival

I can FINALLY announce that not only have we been invited to make our festival premiere at the very sparkly Hollywood Film Festival, but they've also given us a terrific screening time! We'll screen among the Shorts Program #3 at the Hollywood ArcLight on Friday, October 13th at 9:15 pm. Sweet.

I'll be there with the rest of the cast and director, and I'd love to see and/or meet you! Tickets are available on sale now, here. It's a great block of shorts and could sell out fast, so get your tickets asap. I can't wait to watch  these shorts with you.

See you at the theater!!

opening david lindsay-abaire's pulitzer prize winner, 'rabbit hole'

I have a list of roles I'm dying to play on stage. I think most theater actresses probably do. Mine's yearssssss old, written in various shades of pen and pencil on a dog-eared piece of notebook paper, tucked away in a drawer.  Once in a while I'll get it out to look it over, and occasionally I'll edit the list. Cross something off that no longer appeals to me or I'm too old for (see ya, Juliet!), add something in that's just come along or that I feel I've grown into. I'll think about the doozies that I'll wait a while for ('Mary' in Long Days' Journey into Night, anyone?) and wonder how many of the titles will eventually cross my path. Only a couple of times have I been lucky enough to cross a part off the list because I got cast in it. A few years ago, I played 'Alma' in The Eccentricities of a Nightingale. When I got that part, pffffft! Off the list. And she was as much fun as I'd imagined.

Don't get me wrong: I have been given the chance to play many terrific roles, but lots of them have been in world premieres, and you can't put those on the "to-play" list unless you figure out how to time travel. (A couple of those roles would be on the list now if I hadn't already played them. 'Lisa' in The Glory of Living. 'Darlene' in Caught.) I don't know how I got lucky enough to snag those parts, but I'm glad I did.

Then just the other day, pffffft! Another one crossed off the list, and I'm so excited for it. I'll be playing 'Becca' in Rabbit Hole at the beautiful La Mirada Theatre starting October 25.  I've been dreaming about this role for a very long time.The production is being directed by Michael Matthews, and I can't wait to get to work with him and the rest of the cast next week. You can click here for more info and tickets.

hilarious 'sex & marriage' from executive producer Justin Lin

This very funny web series created by the uber-talented team of Robin Larsen and John Pollono and directed by Robin will premiered on Justin Lin's YOMYOMF channel on YouTube September 10. In the series, I play the scantily-clad layabout wife of one of my favorite actresses, Caroline Aaron. You can see me in episode 4. There was a longer scene written for Caroline and me that was cut, but I'm glad to end up in the finished show, even (pun intended) very briefly. The talent pool of actors gathered for this is pretty extraordinary. Congratulations to the entire team, including producer Andrew Carlberg.


And if you don't see the trailer video above on your mobile device, you can click HERE to watch it!

headed for a 'revolution' this fall on NBC

I've been in Austin since the end of July shooting a recurring role in the second season of NBC's Revolution. Guess who's never been to Texas before?? Some people say Austin isn't really Texas, and I'll leave that debate to other people. What I can say is that everyone here, from the locals to the cast and crew on the show, to the people in the surrounding small towns I've visited, have been nothing but lovely and welcoming. On my days off, I've been cruising around Austin's downtown, 100+ degree days be damned. Here are a few of the sights I've seen:

 The world's largest Whole Foods? Yes, PLEASE. I'm not exaggerating when I say that I've already spent 8+ hours in this place wandering around, eating things. It's so big, it's like its own planet. Aside from a wine bar, numerous counter-restaurants and a dizzying array of delicious food and drink, you'll also find one of the most inspired re-uses for a vintage cigarette machine ever--one that dispenses art by local artists at 5 bucks a pop.

 On the banks of the Colorado River, under a big ol' tree with a book that's taking me FOREVER to get through. This portion of the river that runs through Austin has been renamed Lady Bird Lake, and you'll find tons of people enjoying its cooling effects morning to night.

The view from my hotel room of the Frost Bank Building, more commonly referred to as the "owl building." If you look at the structure from any of the corners, you'll see an owl lying in wait! Just doing its part to "keep Austin weird."

I really like this city.

So here you go. A video sneak peek into Season Two of Revolution, above. (That's the lovely/very kind/ridonculously talented Elizabeth Mitchell as the show's complex heroine Rachel. If you're on a smart phone and can't see the video, click here for it.) I can't wait for the season premiere on September 25 at 8:00 pm, and you can look for my storyline to begin on October 2. I can't tell you when it ends ;-).

'cash for gold' trailer now live and featuring the music of priscilla ahn

Finally! You can watch the trailer for my short, Cash for Gold, right here. (If it doesn't show on your screen below, it's also available on the website for the film.)

The music  on the trailer is by Priscilla Ahn, a wonderfully talented singer/songwriter who lives here in L.A. I met Priscilla when I was working with her husband, the equally talented and lovely actor Michael Weston, and I became an instant fan of her music. I'm so excited to say she very generously gave us her enthusiastic permission to use parts of her single "Lost Cause" from the album When You Grow Up in our trailer, and she did so in the midst of touring Southeast Asia where she was playing shows and promoting her upcoming album This Is Where We Are. (Side note: Priscilla's blog has wonderful tales and photos of that trip including her first night market in Taipei which made me green with envy. The sights! The people! The food!) Definitely check out her music either at her site or here on iTunes. She's aces.

I hope you enjoy the trailer. Any and all festival news for the film will be updated regularly on the website, so be sure to check in regularly. You can also join us by clicking "like" on our Facebook page. I'd love to see you there.

"cash for gold" claims internet real estate

 Director Robert Enriquez talks actor Navid Negahban and me through a shot.

The short film I wrote last year and star in is about midway through post-production, and this morning we launched the website! You can see more about "Cash for Gold" including production pictures like the one above and current news by visiting the site SO CLICK HERE NOW. We anticipate a finished film in May 2013. "Cash for Gold" co-stars the terrific Navid Negahban and is directed by Robert Enriquez. There's also more info about the film in prior posts on this blog.

Looking forward to bringing it to a festival near you!

darrion, on the first day of spring

He was teeny, just sitting there on the corner curb, dark head in small hands at the ends of little bird arms. When I reached him I stopped, asked him if he was okay. He looked up at me, big chocolate eyes too tired for their years. He said simply, “No.”

I’d been on my way home from a head-clearing walk in my neighborhood. It was going on seven o’clock, and the sun would be setting soon. Wyatt was staying at his father's house this night, and a quiet evening lay in front of me: a little scotch, maybe some ‘Bleak House’ on Netflix and an early bedtime. This was an unexpected turn of events. I looked around for an adult who might belong to him but saw no one, and I asked if I could sit down next to him for a chat. I told him my name, and he told me he was Darrion.

“Are you in trouble?”


“You want to tell me?”

“My mom kicked me out the house.”

“Hmh. Where do you live?”

“She was drinking, so she was mad. Compton.”

“How’d you get so far away from home?”

“Trains. Then I just started walking. I’ve never been to Hollywood before. Lots of big houses here.”

He seemed to enjoy the idea that he'd made it to Hollywood; I didn't tell him he'dmissed the mark by a few miles. I wondered if my San Fernando Valley neighborhood seemed to him like another part of the world entirely.

“It’s going to be night soon. Do you have anywhere to go?”

“Just my mom’s. But I can’t go back there.”

“How old are you, Darrion?”

“Eleven,” he said.


Eleven. Hmh. We sat there for a bit while I squinted off across the street, trying to wrap my head around our situation. Did he have anyone to call? No. I asked him whether he’d eaten and if he was hungry. No, and yes. I copped to the fact that I wasn’t sure what I should do, but I thought that calling the police was probably the right thing. That I thought I’d call the police while we walked to my apartment, and then I’d make him some dinner. Did that sound okay? It did, he said.

We stood up and he came with me without hesitation; we walked together while I dialed 911. The dispatcher asked the usual stuff, where we were, the emotional state of the boy. Studio City, I answered. Quiet and calm, I said. She also asked questions I had to pass along to Darrion. His full name. His mother’s name. His school. He told me and I repeated the answers into the phone. His full address and his mom’s phone number? Darrion came up empty on these. He did know the street he lived on though, so I passed that along. The dispatcher took my info and told me a squad car would be with us shortly.

By this time, we’d reached my building. Darrion commented on how big it is (it’s just four units, but I suppose it’s all relative), and we said hello to my nice neighbors who were gathered with their extended family outside, all of them enjoying the warm night and cooing and fussing over the neighbors’ beloved four-month old boy. It was a happy sight, all laughter and familial love, and I wondered what Darrion made of it as I unlocked my door and invited him inside.

We headed for the kitchen where I got him seated at the table and started figuring out what he might like to eat. Something hot, I thought. Did he like soup? Soup it was. While that heated on the stove, I sliced up an apple and some cheese and we talked a bit more. He told me the woman he calls his mother isn’t, really. He’s never actually known his biological mom. He was handed off to his Granny when he was born, and then at age four a grown cousin was made his official guardian. She was the one who had turned him out. She works as a manager at a cafeteria, he said. She had stopped drinking for a while but this time was a bad one, he said. He thanked me each time I put something on the table for him, and he ate slowly and carefully. 

The dishes from my lunch were still in the sink, and I turned my attention to them to give Darrion a little peace while he had his supper. He'd mentioned that he liked music, all kinds of music, so Pandora played on the computer. We listened to the Lumineers station, either or both of us occasionally humming along. Sometimes we were just quiet together, him eating, me cleaning. I turned at one point to put something in a cupboard and felt almost surprised to see him there, this little boy in basketball shorts and a baseball cap sitting at my table.

It had been a few moments since either of us had spoken when Darrion told me his mom had given him a bad haircut. He said it very matter-of-factly, and as I went to him to ask what he’d meant, he took off his ball cap for the first time. All over his head, wide swaths of his hair had been shaved off revealing his scalp underneath; the effect was not unlike a field that had been mowed by an out-of-control tractor with no one at the wheel to stop it. My breath caught in my chest—it was as if he had rolled up a sleeve and revealed cigarette burns. I asked him if he knew why she had done that to him. He said it had been an attempt to embarrass him at school. She’d been mad about something he’d said, and this was the punishment she'd chosen. He said it all without emotion, but I could tell it cost him something, that he’d had to muster up the courage to tell me. He put his cap back on and went back to his soup.

By the time the police arrived, Darrion had finished eating and was trying out peppermint tea with honey. He liked how it smelled, he said, cupping his hands around the mug. There was a strong knock on the door, and I left him there at the table promising to return. When I opened the door there were two officers, both on the young side, both men. I motioned for them to come in, but they asked me to step outside for a few questions first. It occurred to me then that, of course, these officers knew nothing about me—I could potentially be a bad guy in this scenario. I answered their questions, and then they asked to be let inside to talk to Darrion.

The Hispanic one, Officer Hernandez, pulled a chair up next to Darrion and began asking many of the same questions he’d already been asked by me and then by the 911 dispatcher. Darrion answered them patiently. While Hernandez was not unkind, there was a sort of skepticism in his manner, as if he suspected he might find a crack in this unlikely story. I realized I'd felt the same way when I’d first sat down with Darrion on the curb; the idea that a kid as little as he was could make his way so far from home on his own had at first seemed somewhat suspect to me, but I think I had just not wanted to believe it could be true. Hernandez said he needed to look inside the backpack, and Darrion took it off his back for the first time that night. A search inside revealed nothing more than a pair of pants and some slippers, exactly what Darrion had told me he’d managed to grab before he left the house.

Officer #2 was Caucasian with a quiet, gentle manner. He pulled me aside and took more information, asked for my ID, took notes on a small pad. He also looked around the place a bit. It’s been a long time since I’ve had cops in my home, but the feeling wasn’t unfamiliar. Like Darrion, I grew up with someone who drank too much and sometimes became violent, and whenever the police came I’d always felt like I was under suspicion as much as anyone was. I felt relieved to have smiling pictures of Wyatt around the place, on the fridge. “See?” I hoped the photos said, “this is the home of a law-abiding citizen with a happy, healthy son of her own. No reason to be suspicious here, officer.”

While #2 talked to me, my attention kept getting pulled back toward Darrion. I was worried he might feel intimidated by the officers. I had no idea what experience he’d had with police, but I was relatively sure it wasn’t the first time he’d run into them either. When my interview was done, I sat near Darrion and listened in on his. Hernandez’s tone still sounded condescending, not in a way that Darrion seemed to notice, but I could sense it. I silently willed Darrion to show them his head, to tell them what he had told me, and as if on cue he took off his cap and told the story. The room became very still, very quiet. The four of us sat there in silence for a moment. Finally, Hernandez exhaled slowly as if he'd been holding his breath. When he spoke this time, his tone was utterly changed. Nobody should treat you like that, buddy, he said softly. You didn’t deserve that.

I excused myself to find some books that I’d promised Darrion he could take with him and went upstairs to Wyatt’s room. Sitting on my heels while I searched the bookcase, I allowed myself for a moment to imagine my own son on the streets alone. I pushed the thought away, found the books I was after and rejoined the others downstairs.

Hernandez and #2 were telling Darrion all about the police station they were going to take him to. Had he been inside a real live police station before? He hadn’t, he said. We’ll give you the VIP tour, they promised. He seemed to like that idea. I showed Darrion the books, one about sharks, the other about racecars, and felt grateful for the whistle of approval Hernandez let out when he saw how they opened up to show 3D versions of the inner workings of both. Darrion smiled for what I’m pretty sure was the first time that night, and #2 helped him get the books into the backpack while I poured the rest of Darrion’s peppermint tea into a to-go cup.

Hernandez asked Darrion if he felt ready to leave. Darrion nodded his head and they walked outside into the night to the squad car waiting across the street.  #2 and I held back. Will you let me know what happens to him? They would, he assured me. We’ll find someplace safe for him tonight, he said. DCFS will be brought in, and if we're lucky we can place him with a family soon. It can be tough, he said. There are so many kids like Darrion, all different ages and colors and sizes and all needing safe homes. I was familiar with the process, I told him. I’d spent a year as a social worker in Alaska at a shelter for battered women and their kids, and I knew how the system worked. I also knew how it often failed. I started to cry. “I know," #2 said. "I know.”

By the time we got outside, Darrion was sitting behind the wheel of the squad car playing with the controls while Hernandez showed him how they worked. The red and blue lights lit up the dark night. The siren yelped for a few beats. Darrion beamed. #2 said something about candy waiting for them at the station and Darrion scuttled around into the back seat. He looked out at me, said thank you one more time, and waved as Hernandez shut the door. And then they were gone.

Back in my kitchen I paced in circles and talked to myself, trying to reason the evening out in my head. How strange life can be. A different turn down the street that night, I thought, and I’d have been home without ever having seen Darrion as he moved through the neighborhood like a tiny ghost. I remembered Hernandez saying to me before they left, “He’s lucky he found you.”

Others have said that same thing to me since. I understand what they mean, but I don’t know. A little boy who had no reason in the world to trust me or anybody did just that. He let me into his life for a few moments and allowed me to do something that mattered. I’m pretty sure that makes me the lucky one. I'm pretty sure that's right.

© 2013 Deborah Puette

'other desert cities' at the mark taper forum

Jon Robin Baitz's newest play was a huge hit on Broadway last season and was subsequently nominated for multiple Tony Awards including Best New Play. I'm happy to be part of the company as the understudy in the role of Brooke Wyeth. Robin Weigert plays the part, and she's just lovely in it. The entire production is aces and the cast features the talents of JoBeth Williams (who played my mother earlier this season in The Fall to Earth), Robert Foxworth, Jeannie Berlin and Michael Weston, directed by Robert Egan. For more information about the production, you can link to the program PDF here.

If you're in Los Angeles before January 6, I hope you'll make it to downtown L.A. for a performance and to enjoy the gorgeous Christmas tree alight in the plaza of the Music Center.

'cash for gold' co-star navid negahban charms good day la hosts

Taking a break during our final 33 hours of fundraising to bring you a lovely interview by "Cash for Gold' co-star and star of Showtime's "Homeland," Navid Negahban. He was on the morning program yesterday talking about his experience playing terrorist Abu Nazir and how that sometimes affects his airport experiences ;-).

Click HERE to watch the interview.

Scroll down to the next post or click HERE to see more about this short film I wrote and will star in, entitled "Cash for Gold."

'cash for gold' launches kickstarter campaign

Deb and Navid Negahban co-star in "Cash for Gold"

**UPDATE: After just the first five days of our 17 day campaign, we hit our initial funding goal! I'm overwhelmed by the outpouring of interest and support this story has received. We continue to get new backers every day and will complete the campaign as planned on October 25th. You can see it all right HERE.

The short film I wrote and am currently in pre-production on is entitled Cash for Gold. Here's the story in a nutshell:

When Grace walks into the Queen of Persia Gold Emporium, all she wants is to get in and out with some desperately needed cash and a shred of her dignity intact. Things do not look promising when she comes up against Ehsan, an Iranian-American man with troubles of his own who works the store's counter under his controlling father's gaze. But does she really see what's going on? "Cash for Gold" examines the current economic and ethnic tensions our country grapples with today, and the good that can happen when we look beyond our prejudices and really see each other.

We've assembled a terrific creative team that includes my co-star Navid Negahban (pictured above) who you might recognize from his starring role as Abu Nazir in Showtime's "Homeland." I'm so excited to bring this story to life with him.

You can watch our director, Robert Enriquez, being a VERY GOOD SPORT in the video above or on our Kickstarter page where you can also read a lot more about this exciting project and contribute! Join us in telling a story about the possibility for good in the world. Thank you!

'creation' week five rehearsal video: pre-show rituals (oooooooh)

I recently spoke with Brian Polack (he of the mad iPhone video skills) on the unfinished set of "Creation" at The Theatre @ Boston Court about the things I feel compelled to do to get ready prior to a performance. I left out the illegal ones, but there are still some goodies here. Maybe you'll relate to them (if you ever go onstage and/or have superstitions that keep you awake at night, like me.) If you have your own rituals or superstitions around performances, I'd love to hear them! Leave your comments below.

"Creation" is a world premiere production by Kate Walat, directed by Michael Michetti, and it opens October 13, 2012. We're in previews now. Tickets and more info here.

world premiere 'creation' comes to Los Angeles

We are three weeks into rehearsals for this new play by Kathryn Walat. I've worked before with director Michael Michetti at the Theatre @ Boston Court, so it feels a little like coming home. If you've never ventured to  Pasadena to see the work they do there, you owe yourself the trip. They are known for doing plays that are, per their mission statement, "creative, bold and daring," and they have an especially sharp eye for exciting new works. Kate's play is all those things. Also, it prominently features a lightning strike, heightened libidos, symphonic music and Tootsie Pops.

I'm collaborating with Boston Court marketing director Brian Polack in creating a video/Twitter diary of the rehearsal process. You can see the first two video installments here, and  you can follow the day to day, which will include things like links to the research we're doing on the nature of brain injuries, the source of creativity and creation itself by following me @DeborahPuette and the theater @BostonCourt.

"Creation" opens October 13 at The Theatre @ Boston Court. Read more about the show and get tickets here. If you make it out to the theater, email me here and we can say hello after.

true blood -- make me daddy, make me

Clip property of HBO

 I'll tell you what, these Truebies don't mess around. Shortly after this episode aired, I heard from True Blood fans via Twitter and Facebook all over the world who wanted to know behind-the-scenes details about the shoot, working with Stephen Moyer and playing his daughter, Sarah Compton-Harris. I can't say enough good about the experience, and I think Stephen did a fangtastic job in his directorial debut. I'm thrilled to be even a tiny part in the lore of this show.

The folks at one of the big fan sites interviewed me the other day, and they had smart, insightful questions at the ready. You can read the interview in its entirety at the first link below. And if you haven't already seen it, you can read my account of meeting Alan Ball and getting this job at the link just below that.

Thanks, Truebies. You are rabid fans like no other!

legendary editor of Variety, Peter Bart, wrote a play and play we did

On July 26, I joined a terrific cast for the staged reading of a new comedy at the Elephant Theater in Hollywood. We had a ball. The Elephant seats about 45 people. That was a lot of talent in a very small space.

I played Zelda Fitzgerald (no, not that one), the "cute but quirky" head writer of a hit TV show. (I imagined her a Liz Meriwether/Emily Spivey type.) Arye Gross played my boss/occasional love interest/beleaguered producer of the Golden Globes. With the help of the rest of the stellar cast including Bradley, Cheryl, Brian and Sam as two movie stars in love, a TV host and movie producer, respectively, we attempted to keep a particularly cursed Golden Globes show from going off the rails. Strong support was offered in multiple roles by Anastasia Basil, Bill Salyers and Avery Clyde. Under the leadership of our terrific director, Robin, and aided by producer Hillary Weaver, hilarity ensued.

'oz the great and powerful' trailer is in theaters

I spent a very happy two weeks playing opposite James Franco and Michelle Williams on the fairy-tale set of this movie back in 2011, and I can't wait to see more of this wild ride as it gets closer to its opening day. When people find out I worked on this movie, they always ask me "what role did you play?" to which I can answer that I play one of the Quadlings, the simple and good folk who live under Glinda's kind rule.

Director Sam Raimi (*swoon*) and Team Oz rocked 2012 Comic-Con with the first teaser trailer for the March 8, 2013 Disney release starring Franco, Williams, Mila Kunis and Rachel Weiss.

in which i briefly consider punching Alan Ball in the knee, or how i came to be on true blood

I love Alan Ball. Love. Alan. Ball. His work. "Six Feet Under"? Watched every episode and was more affected by the series finale than any other single episode of television I can remember. American Beauty?  I mean...c'mon. I've read, watched, listened to every interview with him I could find. I even wrote him a letter once years ago telling him how much I love his work. And then a few months ago, after years of devouring just about every TV show, movie and play written and/or directed by the man (if you haven't seen Towelhead, you should), I found myself three feet from him during a last-minute audition for a guest star on his fangtastic series, "True Blood."

The call from my manager came at around 11:00 am: I had just under four hours to learn the sides, drive to a coaching session with Robin in Woodland Hills, get back to Studio City to shower and change and get myself to The Lot on Formosa Drive in Hollywood. In the busyness of it all, it hadn't occurred to me that Mr. Ball would be in the session. Duh.

Sitting in the waiting area of the tiny cottage where the casting directors for the show work, I could hear the auditions of the women who went in before me, almost all of whom I recognized from some TV show or another. When my turn came, I was ushered into the little office and introduced by the casting director who motioned me to take my seat in a chair opposite her. There was no camera to record the session. There was, however, the man himself, so close I could have reached out and punched him in the knee.

{A confession: I am a person who regularly flashes on the numerous inappropriate behaviors I might perpetrate at any given moment, and how they would play out. How, if I chose to, I could actually do something as odd as hitting Alan Ball hard on the knee, and would that just blow the whole thing? What would the others in the room do, I wonder. Ask me to stop hitting and please read the scene? Stare at me blankly before calling security? Maybe Alan Ball would hit me back. Would he laugh? Yell? Cheer? The astute reader will note that he has been known to give his characters ruminations just such as these to great dramatic/comedic effect. So I guess my point is that Alan Ball and I are ALMOST THE SAME PERSON. Think about it.}

But instead I replied 'hello' to his same, sat, and proceeded to play the scene with the cd, keenly aware that one of my creative heroes was assessing me and my work but oddly calm in the face of it. The scene ended, it was quiet, and then he said it was good--he made mention of a specific beat in the scene that Robin and I had carved out together. Then he asked me if I could do it again with a slight adjustment. Fight harder for what you want until this line, he said.

{One more digression, if you don't mind: earlier in my career I might have said, "That's a great note!" I don't say that anymore, ever. As true as it might be, there is no way to say that in an audition without sounding like a sycophant, and if I learned anything in kindergarten at all it's that nobody likes a sycophant. And besides, he knows it's a great note. He's ALAN BALL for God's sake.}

I said yes, sure I could, happy to spend another few minutes in this tiny collaboration. Getting the job was the furthest thing from my mind at that point. I'm not being disingenuous here. Getting the job was not in my mind at that moment. This was the work--this was what I'd prepared for. I read the scene again, incorporating the note. And then it was done.

We said our mutual thank yous and goodbyes, and I walked on air across Santa Monica Blvd. to my car. At that point, I had done my job. As ever, the rest was out of my hands. I told my manager on the phone that I had no idea if I'd booked it (You never do! They might want someone shorter. Blonder. More famous. Less famous, although in my case that would be tricky.) But I did know I had shared a little piece of me, of what I do, with this man I'd looked up to for so long, and he'd been lovely. I had, finally, worked with Alan Ball. That was enough for one day.

The episode, entitled "Somebody That I Used to Know" airs July 29 and in it, I play Sarah Compton-Harris, daughter of vampire Bill Compton. The episode happens to be the series directing debut of star Stephen Moyer who plays Bill; simultaneously acting with and being directed by Stephen and playing writer Mark Hudis' terrific writing was very very good fun, but that's for another post.

Thank you, Mr. Ball.

going to nyc with 'caught'

For ten months in '10 and '11 I had the sheer pleasure of originating and playing the role of Darlene in David L. Ray's smash-hit Caught. Now I'm thrilled to be going with the producers and our director, Nick DeGruccio, to New York City for a three-day workshop followed by two presentations of the staged reading at 3 pm and 7 pm, March 12, at the Foxwoods Theatre. Many thanks to my current employers at the Odyssey Theatre in Los Angeles for giving me the preceding weekend off from The Fall to Earth! We'll return with performances of TFTE on Wednesday, March 14.

If you're in New York and would like to join us for one of the Caught readings, message me here and I'll direct you to where you can get free tickets to either performance.