Recent News! April 2010

I was cast (name change from Barbara to Melinda) and finished filming my scenes in Rock Creek a SAG ultra low budget! Thank you Mark!
I continue my relentless auditioning and commuting cycle. Several more short film auditions in the next several days.

I also auditioned for and have been accepted to the Actor's Project NYC Theatre, looking forward to working with them.

I also saw that Ryan Whinnem is working with the Shakespeare Theatre in DC! Ryan I always enjoyed working with you and
I am so very happy to see that you are doing so very well. :) Not that it matters what I think but really so very happy for you.



VERY VERY old news
No really its very old.

I missed the general non-equity auditions, because of a gig, I hope very much to make the next round whenever they maybe.
Yes the below is old news.....
The below is from the summer:

Girl in the Iron Mask is now closed. The reviews were decent with the exception of the following
here is a snippet from The Washington Post

You'll Find Some Points Are Sharper Than Others
By Celia Wren
Special to The Washington Post
Friday, July 25, 2008; Page C06

 __SNIP__ I did cut a portion of here that was NOT about our play

Swords also lunge and parry -- visibly this time, but much less divertingly -- in the Georgetown Theatre Company's "The Girl in the Iron Mask." This halting two-hour production, directed by Andrew Wassenich, has a nifty premise: Drawing on Alexandre Dumas père's tale of a mysterious metal-visored prisoner, playwright R.L. Nesvet (a Washington area native) has spun a tale of noblewomen and female musketeers scheming their way through a Sun King-like regime. The script was commissioned and premiered by the Chicago troupe Babes With Blades, which promotes stage-combat options for women -- a mission one can only applaud. Georgetown deserves credit for taking up the baton.
 
Unfortunately, fight director Cliff Williams III's choreography feels stagy and laborious, and the non-dueling scenes -- looking sad and threadbare on the mostly scenery-free stage at the Universalist National Memorial Church -- are equally lackluster. Tina Segovia supplies a brief, wry portrait of Louis XIV's finance minister, but, among other performances, Amy Quiggins's take on Artémis, a rapier-wielding nun, is more watchable than electrifying, and Heather Whitpan is stiff in her double role of royal twins. The cast's close friends and immediate relatives will no doubt appreciate this production; other ticket holders might feel they've been sunk in an oubliette.

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