The Professor

Recently, one of my university theater professors passed away. I've been thinking about him, how amazing he was, how lucky I was to know and work with him.

Let's start with how I knew him. See, that description up above is a bit misleading; yes, he was "mine" as in someone that I studied under, and I enjoyed his company, very much. He was a university professor. But I was not a university student.

Auditions at the university are "open;" anyone can audition (but casting preference is given to students). One of my best friends convinced me to go with him the first time we auditioned; I'm forever grateful.

I got some of my best acting roles there from Dr. Bob Dillard, head of the theater department. He was elegant, slender, funny, acerbic, insanely talented, well read, better educated than I would ever be. He was great at keeping appropriate boundaries while still hanging out with teens and 20-somethings. I was 18 when I met him.

When I was 19, he cast me in "Evita." I was not confident about my singing. My mother had a beautiful voice, and I loved singing, but I was very insecure about letting anyone hear. I told people that I didn't sing, that "you don't want to hear me sing." My family and friends weren't big cheerleaders; the first time my high school did a musical, my father said to me, "What are you gonna do in a musical?" when I told him about the show. Stung, I said, "They need technicians!"

"Oh. I guess that makes sense," he said.

The only reason I tried out for "Evita" is that it had a huge chorus. I could "hide" my voice in the group.

During rehearsals, I learned to sing out, to project. I wasn't ready to play Eva, but I was then comfortable with being an actor who sings.

Later, I also joined my church choir. I can sing the "gloria" part of "Angels We Have Heard On High" in one breath, without sounding gaspy. (Unless my asthma is kicking my butt.)

"Evita" made possible every musical that I was in afterward, musicals where I had solos and a headset microphone. Years later, when I was in a large show, the vocal director pulled a large group over to me during rehearsal and said, "Listen to Sharon. Follow what she does."

I am a singer. That never would have happened without Bob Dillard.

Before I met him, one of his apparently standard admonitions had become legendary - in a musical, the cast was to "Sparkle, dammit, sparkle!" I adopted the phrase for non-theater use; my kids are familiar with it.

There are other phrases that so spoke to me that I still check my work, and my life, against them.

My taste in entertainment (and life) runs to squeaky clean. Still, I know that not everything will be G rated, and that's OK - in fact, it's desirable. I love crime shows, murder mystery books, serial killer trivia. So, I save my ire for things that I find unnecessary. For instance: Mel Gibson makes great historical pieces, but he loves gore too much for my taste; I usually watch his stuff after it's been "cut for TV." David Mamet is brilliant, but probably couldn't order breakfast without dropping four or five f-bombs. I don't mind most of the nudity in "Schindler's List," because I know what Spielberg is trying to say (even though I think that there are less revealing ways to do it). I do mind Amon Goeth's girlfriend being naked and throwing things at him so that we get to see her bounce. Put her in a negligee and the scene still works.

Sometimes, the university theater department would produce things that pushed certain boundaries. I rarely had to sit a show out because it pushed too far for me. And, since I think I'm pretty picky, I usually think that if I'm not bothered, no reasonable person should be.

I don't remember what show we were working on when someone asked Dr. Dillard if he was worried about offending people. While I don't remember the show, I remember the moment, the room we were in, and I remember the smile that spread across his face at the question. "No," he said. "I'm not."

"But what if they, like, complain to the university president? What if they write letters and stuff?"

Here's where he dropped that piece of wisdom that so spoke to me. "If we're not offending somebody, we're not doing our jobs," he said. Each of us has people we're willing to offend, and people we'd rather not offend, and it's not only impossible but dangerous to try to avoid offending anyone, ever. Draw your line in the sand, and stand by it. He encapsulated something I already believed in, in a compact sentence. It was brilliance.

I also remembering being giddily grateful to him on a personal level for the way he handled a conversation that had gotten uncomfortable for me.

There was a group of us sitting in the "green room," the lounge area under the stage where we hung out during rehearsals when we personally weren't working. We were going through the whole "getting to know you" thing of asking each other about our lives and backgrounds - where were we from, where we'd gone to high school, that sort of thing.

One girl said that she'd graduated from a local school. "Hey, me too!" I told her. That led to asking what year, who we both knew that had gone to high school with us, and so on. She'd graduated 5 or 6 years after I did.

"Who was your theater teacher?" she asked. It's a really ordinary question, especially under the circumstances, but I was unprepared for it, and I just froze. I'm a pretty open book, I lean toward TMI, but I just stared at her for an uncomfortable few seconds, then said, "I'm sorry. You've just hit on one of the very few areas of my life that I don't talk about."

"WHAT? What? Who was it?"

"Nope. Sorry."

"What happened? What did you do?" She kept asking, and I kept saying no. See, when you don't want to discuss things, people assume that there's a scandal. They want the dirt - they want to hear something salacious. This is just something that I discuss rarely, and I only discuss in detail with people who were there. I'm not hiding, I'm not embarrassed. It's just so uncomfortable that I'd rather not do it. My kids know this teacher as She Who Shall Not Be Named. They wouldn't recognize her name if they heard it.

But this poor girl was just convinced that there was a great story, a big scandal - and that I undoubtedly did something wrong - and she kept pushing. Finally, she looked at Dr. Dillard. "Do you know?" she demanded. I had no idea if he did or didn't. I'd certainly never discussed it with him.

He looked at me, right in my eyes. If he wanted to say, I couldn't stop him (and I wouldn't have). Then he looked at her and said, "Yes, I do. And I know why she doesn't talk about it."

Oh, the relief! The validation, that I didn't have to say if I didn't want to! I was just so overwhelmingly grateful.

I sincerely have no idea what he knew or didn't know. I never asked. It's entirely possible that he had heard some wildly inaccurate stories that cast me as a criminal mastermind or some such thing. I don't know if he actually even knew her name or not. All I knew in that moment was that he had my back. Even if there had been nothing else about him that I liked, this single incident would have assured that I thought of him fondly forever.

I wish that I could remember more about the last time that I worked with him. Unfortunately, something that still ranks as the worst thing that ever happened to me happened during that show. Trauma tends to stain everything, even unrelated things, so even though I actively tried not to associate the show, the people, the theater, plays in general, or anything else of the sort, with the trauma, it didn't work very well. It took 10 years for me to attend a show in that theater again; I have still never worked there since that show.

It's really a shame, because it was a great show, and a great part, the best part I'd ever had at the university. I always got the sense that Dr. D believed in me, and enjoyed my work. My husband assures me that I did a great job, and none of my friends ever told me that the performance stunk, so that's good. I assume that the show didn't suffer. Still, I'd like to have the memories back. Maybe they'll show up some day.

I saw Dr. Dillard occasionally after that. I sent him Christmas cards for years. Still, we never worked together again, and he eventually retired.

Last year, I was at a theater gathering, and had the chance to write something in a notebook for Dr. Dillard (who couldn't attend). Enough of my loved ones have passed away that I'm getting pretty effusive in expressing my feelings to people. You never know when they'll need to hear it, or when they'll be gone.

I don't remember what I wrote. It was probably inadequate and silly. It was only half a page or so. Still, I knew - I may never be in the same room with this friend again, and I need to let him know how amazing he is. He needs to know that I remember; the shows he cast me in, the things he taught me, how he backed me up when I wanted my personal life to remain personal.

He sparkled.

Now it's our turn. "Sparkle, dammit!"

Loving Tony

I recently lost a man I have loved since we were both children. He was 48 when he passed away - much too young for us to be prepared to lose him. Still, as they say, "It's not the years; it's the mileage," and he'd lived more than most people.

He wrote a published book in his 20s. In his 40s, he started working on an autobiography. It would tell details of his life, like how, at 25, he owned the second largest company of its kind in the world, printing backstage passes for the likes of the Rolling Stones, Madonna, and Billy Joel. He was making, we often said, more money than God.

Nothing in his life was of ordinary size and scope. Years later, he lost the company, and eventually, his family. He developed a drug problem that should have killed him. He consumed alcohol like it was water.

And, he lived to get clean and sober, religiously attending his meetings for AA, NA, and CA.

He asked me to write the foreward to his book. This is it.

*******************

Tony Perry is my brother. Most people gain siblings through some action taken by their parents, and are linked by biology, marriage, adoption, or in some other legal and definable way. This is not true for us; our parents might not immediately recognize each other if they passed on the street. There is no legal document defining our relationship. He is my brother because of decisions he and I have made, and because something in his soul speaks to something in mine. If you have people like this in your life – and I am fortunate to have many – you know exactly what I'm talking about. If you don't, there are no words that will adequately explain it to you.

I remember the first time I saw Tony. I was a 14 year old high school freshman. He was a 14 year old sophomore, wearing a jacket that said, "Italian Stallion" on the back. He wore that jacket everywhere. He was loud, abrasive, charismatic and funny. I was quiet and unsure. At the first audition of the year, he made a hash out of the cold reading, and obviously delighted in doing so. The teacher sighed and said, "Never ask a techie to read lines." My attention sharpened – I was one of the few kids from my junior high theater department to actually have tech experience. It soon became apparent that not only was Tony a techie, he was THE techie in our school.

I also remember the first time Tony met my mother. So does Tony – she impressed him immediately. The school boundaries for our school were odd and elongated, so that a large number of my schoolmates came from the neighboring city, and rode the bus for half an hour to get to and from school. Tony was one of those kids. One day he missed the bus, and asked if my mom could drive him home. My mom always had a car full of kids, no matter where we went. "It's pretty far, clear out in Hidden Valley," I told her, but she was willing to take him. Tony climbed into the back of the car with an armload of books, far too many to be just his homework. "Hi," he said, "I'm Tony. I steal textbooks." Mom didn't bat an eye.

"Hello, Tony," she said.

Down the street from our school, there was a convenience store. Tony seemed to live on apple juice sold in little round, apple shaped, single serving bottles. He leaned over the back of the seat and said, "I feel like an apple juice. Can we stop and get one?" Mom slowed down and pulled into the parking lot.

Tony was beside himself. "She's stopping! You're stopping! You're actually gonna stop?"

"Sure," she said. "You have money, right?"

Tony talked about that for years. "I couldn't believe she actually stopped so I could get an apple juice!"

We had little in common, really, but it didn't matter.

Tony was the sun around which the theater revolved. He designed our drama guild T-shirts and our black satin jackets. He was our official technical director and our unofficial social director. Tony created our own holidays, The Thirteen Radical Days of Christmas, and as a group we designed a different activity every day for the thirteen days leading up to Christmas break. One day, we went to a Monty Python film festival; one day we bought our lunch from the generics aisle of Albertson's. (Remember generics? Remember when they took up an entire aisle?) He planned our group vacations to Disneyland.

On our first Disneyland trip, we had 9 or 10 of us, of both sexes, crammed into a single hotel room. My mother slept in the armchair; Tony slept in the bed next to me.

He'd started out across the room, on the floor, but two of the girls kept flicking Skittles candy at him after lights out. "Hey!" he yelled loudly, into the dark, "she hit my wiener with a Skittle!"

"Tony. Don't use that word," my mother chastised.

"Fine. She hit me in the penis with a Skittle." A few minutes later, he declared loudly, "She did it again!"

"Find somewhere else to sleep, then," Mom told him.

"There is nowhere else!"

"You can find someplace."

He walked around the room, stopping at the side of the double bed I was in. "I," he declared dramatically, pointing down at the bed, "am sleeping here." Then he looked down at me. "That OK with you?"

"Fine with me."

He checked with my mom. "OK?"

"OK. Now settle down."

I was notoriously chaste. For years, Tony took great delight in announcing to people, sometimes upon first meeting them, "I was the first man ever to sleep with Sharon Smith."

When Tony was arrested during my junior year, it absolutely undid me. I had not lived a life of unrelenting sunshine and rainbows, but this was, absolutely and undeniably, the worst thing that had ever happened to me.

One of the things we had in common back then was sobriety, a relatively uncommon trait in our group. When Tony arrived back at the school after being processed and released at the juvenile facility, I saw him climb out of the car and I went to meet him. I had never seen that look on his face, never seen him walk with that heaviness. He looked at me and said quietly, "They strip searched me for drugs, Sharon." My heart broke.

We were in the middle of rehearsing for our spring play, the largest show of the year. When Tony was suspended and then expelled and forced to complete the year at another school, I was a mess. Barred from even attending the show, Tony arranged for a bouquet of blue balloons to be delivered to the cast onstage during curtain call closing night. I wrote a sappy poem about it that was published in our school literary magazine, and saved one of the blue ribbons and wove it into my hair the next year when I went to the prom.

Tony was the only person I danced with at my prom. He was there with his fiancee, Jeanette. I was there hoping to see my best friend be crowned Prom Queen. Someone else won, and Tony barked to our table, "Nobody clap!" I clapped anyway – it was only courteous. I stepped on his feet twice during the dance; I am dance impaired.

Tony quite literally handed me back my life once. I'd been acting since I was 12, loved tech almost as much, and intended to continue doing both forever. But, I spent three of my four high school years with a teacher assigned to the theater classes simply because she had low seniority and no one else wanted the job; she'd never even seen a play before being assigned to us. I left high school having learned anything new, for three quarters of my time there, from the other students or on my own. I felt woefully inadequate to pursue anything theater related, even for fun. Oh, well, I thought, those are the breaks. Things happen. I'll get over it. Then Tony phoned one day shortly after my graduation.

The local university was having open auditions for "Chicago." Their auditions were always open to the public, so it didn't matter that neither of us were students - Tony wanted me to go try for a tech job with him. I dragged my feet.

"You don't sound excited about this!" he barked at me.

"I don't think I'm qualified to do anything."

"I'm not qualified either! Let's just go." Tony'd owned his own stage lighting company since he was 13; if he wasn't qualified, who was? I went with him. I spent the next ten years exclusively with the university theater department, then found I was also at home in other theater companies. As I write this, I'm preparing for the final dress rehearsal of a show, one I'm in with my husband and two of my kids. There are no words adequate to thank someone for handing you your identity back.

Most of the time, girls Tony was dating, and girls who wanted to date him, didn't worry about me at all, since I was obviously not a romantic rival. Sometimes, though, someone resented me. After Tony and Jeanette broke up, a girl working on a show with Tony and me took the opportunity to ask him out. He was taking the breakup pretty hard, and told her, "I just can hardly stand to even look at anyone female right now. I don't even want to be in the same room with any females." She was disappointed; in a few minutes, she became angry – at me.

Tony asked me, in the course of conversation, if I wanted to go to a movie the next night. Incensed, the girl said, "I thought you couldn't even look at anything female right now!" Tony looked at me, back at the girl, and expressed his puzzlement.

"That's not a female! That's Sharon."

The poor girl was fairly lukewarm to me after that, even years later.

When I got married, Tony stood beside my husband. When my first child was born, he brought a tiny T-shirt to the hospital that was a replica of our high school drama guild shirts. My children have called him "Uncle Tony" all of their lives. When he got married on New Year's Eve, I bought a black and gold formal to wear. When he broke his back, I drove him on errands and prayed for his recovery.

For years, he had the Midas touch. Nothing he tried failed, or turned out badly, or lost money. Since he never does anything in a small way, when it all went to hell it was really, truly hell.

Tony probably doesn't remember this, but when things got really ugly, with the cocaine, the booze and the craziness, I told him that he could only screw up badly in front of my kids once, and then he wouldn't see them again until they were 25. I meant it, too. He may not remember it, but somewhere he internalized it. He may have been absent from our lives for months at a time, but he never made me question whether he could be around my kids. He came close only once. The few horror stories they've heard, they've heard now that he's sober. They never had to watch him spiral out of control. That's a gift, too, to me and to them.

"Can you imagine me on cocaine?" he asked at one of our theater reunions. (Yes, we organize our own high school reunions, just for those of us from the theater department.) We all said the same things. "I don't have to – I saw it!" "It was ugly." "You're so lucky you never really saw it, Tony." "God help me, it was awful."

When Tony decided to get sober, he was a mess. His hands shook. His memory was dreadful. More than once, we'd be somewhere in public and someone would approach, saying, "Hey, man, it's been a long time. How are you?" Tony would have an entire conversation, then ask me after they'd gone, "Who was that, and how do I know them?"

His life sounds more like melodramatic fiction than a real life. It's not, I promise you. You will find yourself disbelieving what he has to say, but it all happened.

Tony is exasperating, clueless, infuriating, loving, amazing, talented beyond belief and his own worst enemy. I love him with all my heart.

Love him or hate him, you'll never forget him.

******************

I'm not sure what it will be like to be here on Earth without him.

I wish him peace in the next life.

I am so glad that those of us who knew him have each other to lean on right now.

I miss you, my brother. I always will.

Turn the Page

"On a long and lonesome highway..."

The American West is filled with "lonely" highways, stretches of asphalt ribbon stretching to the horizon across sparsely populated, sagebrush studded land. I spent my childhood in the family car or pickup truck, driving for hours between small towns, mountains, lakes and other isolated places.

Some of my favorite memories from those roads, though, come not from my childhood, but my adult years before I was a wife and mother. They includes lots of time on the highway, spending hours en route between small towns, on tour with the local university theater company.

"You can listen to the engine moaning out its one note song..."

There were two dozen or so of us packed into vans and a single large truck, hauling scenery, costumes and the like to places with names like Winnemucca and Tonopah. I was 19, but not a full, or even part, time student. The university theater company was open to the community. Members like me, unenrolled at the U, were exempt from some of the requirements the students had - for instance, always having to stay after a show closed to "strike," or tear down and put away, the set, props, costumes and everything else. I held myself to the higher standard, though, expecting from myself everything required if I was being graded. It was important to me to be a "real" member of the company.

I'd spent almost two seasons with the company by the time I went on tour. I'd already watched the group go on an international USO tour and another state tour, and I was so deeply jealous of those who got to go. But, I was living on my own, working for minimum wage, and I couldn't afford the time off work or the expense of travel. I'd juggled a lot to make sure I could spend two weeks on tour before I applied to go, and I wanted it so badly I could taste it.

The show was "The Passion of Dracula," and I was crew. We'd already had a great run in the university theater. Having worked the show already didn't guarantee me a spot on tour. I had to apply and wait. When my name showed up on the list tacked to the "call board," the theater bulletin board, my best friend and I shrieked so loudly, jumping up and down and hugging, that a professor had to come out of his office and shush us.

"But your thoughts will soon be wandering, the way they always do..."

We all got a small per diem allowance from the university, designed to cover our food and other travel expenses. The professors and other faculty, of course, got paid wages as well. The other students were typical college kids whose parents footed most of their bills. Most of them lived with their parents or in dorms that their parents paid for. For them, the per diem was just a nice perk. For me, it was my only income for half a month. I had to save enough out of it to pay my rent and my half of the living expenses at the place I shared with a roommate. I'd done the math; I watched every cent like a hawk. A couple of the casinos gave us coupon books, $2 in nickels, or both, when we checked into their rooms. I hoarded them like a miser. I skipped some of the things the rest of the company did, like the night everyone else ate at a renowned Basque restaurant. Then and now, it was considered a "must do" in some of the towns we visited. I had the ham and eggs special ($1.99) in the coffee shop at the hotel/casino where we were staying. Everyone thought I was crazy, but I had to have somewhere to live when we were done.

"And you don't feel much like riding; you just wish the trip was through..."

We had no "spare" time. We'd roll into a town before lunch, put on a show of various fairy tales at the local elementary school, then go to wherever the play would be that night - usually the local high school - and set up, then eat dinner, do the show, tear it all down, pack it up, fall into bed and be up early the next morning to do it again in a different town. There was no pool time, and no nap time unless you slept in the van. It was hard work. I loved it all.

"Here I am, on the road again
There I am, up on the stage
Here I go, playing the star again
There I go, turn the page..."

I played characters like Jack's Mother in Jack and the Beanstalk in the children's show. We changed wherever there was room; once all of us packed into a broom closet to dress and undress. We performed in lunch rooms, mostly. The kids and teachers seemed to love it. These shows were freebies, designed to spread both goodwill and word of mouth. We ended every show by passing out flyers for that night's performance. The kids weren't our target "Dracula" audience, but their parents were.

We also did scenes from "Dracula" at the high schools, because they were our target audience. One scene involved our Lucy, under the vampire's spell, biting our Dracula's chest and licking up the blood while she made, well, "yummy noises" - noises indicating pleasure. It was my job to fill the squeeze bulb on the back of Dracula's brooch with stage blood, so that he could bleed on cue. Yeah, pretty racy stuff for us big city folk to be presenting to rural teens. Our Lucy and our Dracula had very different takes on this scene. He saw it as pulling her over to the Dark Side, whereas she saw it as being deeply suggestive of sex. Nobody polled the kids, but they gasped, every time.

"Well, you walk into a restaurant, strung out from the road
And you feel the eyes upon you, as you're shaking off the cold
You pretend it doesn't bother you, but you just want to explode..."

After every show, we'd have people say things like, "Thank you so much for coming to our town! We never get the opportunity to see productions like this!" They didn't just tell the actors, they'd tell all of us. Those, of course, were the folks who sought us out deliberately. Walking into a restaurant, gas station or casino could elicit a different response. We piled out of our vans, many of us in head to toe black, with shirts with the word "Passion" in large letters, and graphics of a vampire, long before they were mainstream. We felt conspicuous.

"Most times you can't hear them talk
Other times, you can
All the same old cliches
'Is that a woman or a man?'"

It was the mid 80s; popular looks included long, curled hair on men, shorn or shaved hair on women, and mullets on everyone. I don't think that any of us looked outlandish; no guyliner, no animal print leggings that I recall. I thought that we looked pretty normal. Our Dracula looked downright Mr. Rogers, wearing a sweater vest and a bow tie every day. Still, we were theater people in a town full of ranchers and cowboys. We stood out.

"And you always seem outnumbered
You don't dare make a stand..."

I remember hearing about a couple of times that minor words were exchanged, maybe when one of us physically bumped into a guy our age in flannel and boots, but we had a very strict conduct code, a tight schedule and a short leash. I only remember one particular time when I felt unwelcome. We swept into a restaurant that had offered us a discount on their buffet; they apparently did this every time the group toured. Cheap food and young people - yes, please! I remember a few horrified looks and pointed comments about how "crowded" and "noisy" we made the place. I tried to smile sweetly, hoping to demonstrate how harmless and fun we were.

"Out there in the spotlight you're a million miles away..."

There's a reason that people "talk shop" with others of their profession or hobby or vocation. No one else really understands. As an actor, you're both acutely aware of the audience, and oblivious to their presence. As a stage technician, you're a cog in a complicated machine, both independent and interconnected. Either way, you live for the work itself, but also for the reaction it elicits. Trying to describe how you feel sounds self absorbed. Others like you, though, "get" it. You don't have to explain.

"Every ounce of energy you try to give away..."

Our set was gorgeous. All the carved wood elements were actually made of styrofoam, so they were light enough to haul around. The Victorian "wallpaper" was painted on. The costumes were equally stunning. We had staircases, fancy furniture, crates and boxes of things to transform the high schools into an English mansion, and our actors into characters.

Besides the stage blood, my favorite jobs involved the wind and fog machines and flash paper.

Our wind machine was low tech, my preferred method of doing things. It was a wooden cylinder with slats attached to the round end units. Over that was stretched heavy canvas. A hand crank came out of one end of the cylinder. Turning it made a remarkably realistic wind noise. It was my job to create everything from low moaning wind to shrieking gusts.

The fog was higher tech, produced by a small machine into which I poured chemical fog juice. At certain points, I'd slide the machine close to the edge of the set and turn it on. Its motor made only a whisper, and the fog would pump out of one end. It was glorious stuff, reflecting the lights, swirling when the actors walked, filling the familiar drawing room with an otherwordly air. By the end of one scene, the air would be thick with fog. Turn off the machine, and it dissipated, like magic.

We had several large and small wooden crosses. At one point, our Van Helsing held up a dramatic, ornate cross about 2 1/2 feet long. Our Dracula would grab the cross, and it would burst into flame - truly, actual flame. Both of them would then drop the cross, and the fire would die. It was visually spectacular.

The crosses were painted to look like metal, but they were all wood - lighter, easier to fabricate, easier to rig. The large cross had a hollowed out portion on the back where we fastened a cigarette lighter, right at the junction of the beams. My job, every night, was to wind flash paper across the back of both beams, wound into a spiral and stapled. When Dracula grabbed it, Van Helsing flicked the lighter on. The flame would race along the paper, providing a fantastic, but brief, flash of real fire. It was another moment that always elicited gasps, and it made me smile, every night.

I learned to make stage blood when we opened our trunk one day and discovered that the entire gallon container had leaked, coating the inside of the packing crate, and leaving us with no blood for a fairly bloody show.

I panicked a bit, but our Lucy said, "No problem. Come with me." She whisked me off to the grocery store, where we bought light corn syrup, red food coloring, and blue dish detergent. I still make "blood" the same way, whether I'm using it onstage, for Halloween, or, as I did once, for a zombie themed promo video.

"Later in the evening, as you lie awake in bed
With the echoes from the amplifiers ringing in your head..."

I didn't know it at the time, but within a year I'd be a pregnant newlywed, living in one of the small towns where we'd performed.

The tour is such a fond memory that the smell of chemical fog, or hearing Bob Seger sing "Turn the Page," makes me instantly nostalgic.

I think that everyone who works in entertainment, whether they're a slam poet, concert violinist or lighting tech, should get the chance to tour with a show; even if it's just for two weeks, through the Nevada desert.

"Here I am, on the road again
There I am, up on the stage
Here I go, playing the star again
There I go
There I go."