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The Performance - The day started with a few hours of music rehearsal with the band (the band meaning piano and drums), which I was unable to attend due to work. It was a little nerve-racking for me to have my first time hearing the song with the band be during our final run-through, but it was also exhilarating to let the changes influence my performance in the show. The last run-through had its stumbles, mostly due to the fact that we were eager to get out of our books on the stands in front of us and really perform. https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/1617908272444-Y7KFV4TZKU0X7WACXQ8G/On-the-Eve-3-photo-2.png News - The Performance - The performance went well! I would be lying if I said it went flawlessly, “but what is the good in flawlessness” (a line from On the Eve). There was a talk-back hosted at the end of the performance where audience members could ask questions and give feedback to the creative team. I continued to be inspired by the answers coming from Michael, Shawn and Seth and was very sad to see this chapter close. https://www.jessicamhumphrey.com/news/finding-character monthly 0.5 2021-04-08 https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/1617907886579-8MSD3U6RV799TGE1VFU7/NMT-On-the-Eve-2-photo-1-169x300.png News - Finding Character - The first thing our director, Stephen Brotebeck, put on the schedule was a read-through/sing-through of the show. Experiencing the show in this way was so helpful for putting the songs into context and getting to be exposed to the full story at least once before staging. I believe first impressions of a character lead to some of the most truthful line readings and responses. I found myself really listening and reacting to the story as it unfolded, something that can be lost after running a show over and over again. Over the following week, we would go through the show scene by scene – run it, talk about any questions/clarify the story, do any staging (besides standing behind music stands), and run it again. One wonderful aspect of On the Eve is that it tells a story with many layers. As actors, we (with the director’s help) had to determine when we were playing an actor in the “real world” and when we were playing a character in the play that the actors were putting on. The show-within-a-show concept is always tricky, and in On The Eve, the lines sometimes blur, forcing the actor to be very specific in their characterizations. It was a blessing to have a director who let us have the time to mull over different ideas of what could be going on and let us have freedom to try different concepts. If he didn’t have an answer to a question, he was quick to email the rest of the creative team for guidance. https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/1617907999930-B7I34KC1AFI19GYQUK0E/NMT-On-the-Eve-2-photo-2.png News - Finding Character - All of the creatives understood the actors – most members of the creative team have acting backgrounds – and they made sure that this process was just that: a process. Sometimes producers, directors, choreographers, etc. feel like they have to rush through everything. While it is true that “time is money” and I believe that everyone should come in prepared, I was reminded that, by giving yourself the time and freedom to really explore a piece to the fullest, some really amazing choices can arise. There really never is enough time, as most artists will complain, but being allowed the liberty to simply TRY and THINK and QUESTION can make all the difference. https://www.jessicamhumphrey.com/news/cut-systems monthly 0.5 2021-04-08 https://www.jessicamhumphrey.com/news/new-show-new-keys monthly 0.5 2021-04-08 https://www.jessicamhumphrey.com/news/reasons-to-turn-it-down monthly 0.5 2021-04-08 https://www.jessicamhumphrey.com/news/bge1q0fcgo4w2jmxqmbrrfhaeush0u-9yy77-ktw2a-7wmbk monthly 0.5 2021-04-06 https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/1617402371275-TBOPKCQROYZGPAAWTT32/Little+Red-+SDSU+-Jessica+Humphrey.jpeg News - Into the Woods at SDSU https://www.jessicamhumphrey.com/news/how-to-listen-to-cast-albums monthly 0.5 2021-04-08 https://www.jessicamhumphrey.com/news/musical-theatre-wine-pairings monthly 0.5 2021-04-08 https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/1617907063114-4TT4L1DPWG7KW01U7RAX/Several_Bordeaux_wines-1024x691.jpg News - Musical Theatre Wine Pairings https://www.jessicamhumphrey.com/news/sick-songs monthly 0.5 2021-04-08 https://www.jessicamhumphrey.com/news/trailer-park-treasure monthly 0.5 2021-04-06 https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/1617681226451-V0Q87R34O3OF9JYKIVEP/TrailerPark-18.JPG News - Trailer Park Treasure https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/1617681254138-HN5OV9C5MPVE0PXEGBQP/TrailerPark-40.JPG News - Trailer Park Treasure https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/1617681270667-Q3G12IO4NH35UXKTT273/TrailerPark-191.JPG News - Trailer Park Treasure https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/1617681272230-U0CJ9HAXPHCGI6UZEMN1/TrailerPark-183.JPG News - Trailer Park Treasure https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/1617681282324-DO32LSZ0XGODRRJP32GS/TrailerPark-130.JPG News - Trailer Park Treasure https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/1617681296843-INBLTVLM2M9C492P9XBG/TrailerPark-124.JPG News - Trailer Park Treasure https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/1617681301739-CAQW6F9TA9YLRBASW2X7/TrailerPark-121.JPG News - Trailer Park Treasure https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/1617681311105-6XBGMDHVV406N8CUBYVJ/TrailerPark-98.JPG News - Trailer Park Treasure https://www.jessicamhumphrey.com/news/nmt-interview monthly 0.5 2021-04-08 https://www.jessicamhumphrey.com/news/mr-doctor-reading-at-sdsu monthly 0.5 2021-04-06 https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/1617683551356-YSOWR8GDUHDLSYVFKR7O/BDWong-42.JPG News - Mr. Doctor Reading https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/1617683615955-7W860Q29SLSTX07WFFEC/BDWong-9.JPG News - Mr. Doctor Reading https://www.jessicamhumphrey.com/news/behindthesceneslesmis monthly 0.5 2021-04-02 https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/1617401451064-ZV0F5ORLCKVNLU4VFURO/story_default_large.jpg News - Behind-the-Scenes - As a teenager, Jessica Humphrey played the part of Cosette, the young child orphaned in the story and adopted by Jean Valjean, the main character in Les Misérables. Cosette’s signature song, “Castle On A Cloud” is a favorite among musical theatre enthusiasts and is near and dear to the singer. Humphrey will once again play the iconic role in San Diego State University's production of Les Misérables in Concert when it opens in the Don Powell Theatre on Dec. 4. “I'm very excited to be a part of something so large scale, especially in my first semester in the graduate program,” she said. “I am looking forward to collaborating with undergraduate students, fellow musicians and faculty I wouldn't normally have the opportunity to work with, and am excited to sing under Robert Meffe's baton. I hope to give audiences a fresh look at the role of Cosette.” Why is musical theatre such a passion for you? Musical theatre has always been a part of my life. I don’t remember a time without it. I was brought up not only with classic movie musicals, but also going to shows from a young age. I started out as a ballet dancer, but I also sang in church and school choirs, took piano lessons and performed around the Dallas area. Ultimately, I decided that my future was not in ballet. I found I could combine my passion for dancing and singing by training in musical theatre. It didn’t become a passion until the end of my high school career and further developed in college. Even then I was scared to fully commit to leaving my loves of singing and dancing, so I was a music major in musical theatre rather than a theatre major like everyone else in the program. I have a great support system. My parents, grandparents and friends have never once questioned why or how I would make a living doing this — there was always an expectation of success. What kind of impact are you hoping to make by getting your degree at SDSU? SDSU is a unique program because it combines training in the performance aspects of musical theatre with an emphasis on scholarship and research. I approach any role I am performing or any song I study from an academic place — it just seems logical that I continue training that way. I also have a passion for teaching — especially high school seniors and college freshmen. I was a part of a small, but quickly growing college musical theatre program and was able to learn how to run a program firsthand — what worked, what didn’t and how some classes could be more efficient. I think I can make a difference for universities with rethinking the college audition process, making sure that graduating students are well educated as to what to expect in major markets like New York and Los Angeles, giving students opportunities to explore how their musical theatre degree can help them outside of the actual theatre. I am very excited because my time here at SDSU has already helped me with working toward these goals. What would you like people to know about musical theatre that they might not know already? I liken training in musical theatre to being an athlete (mostly because everything was compared to athletics in my house growing up) in that we both work long hours, train for years and years, and the right combination of talent, hard work and contacts might get you a job with a reputable company or team. I think some people mistakenly think that what I do is a hobby, and it is far from it. Of course I love my job, and that is wonderful, but it still is work. I also think people don’t understand how strenuous the audition process in New York actually is. I have people say all the time “So are you going to go be on Broadway?” and I have to explain that it doesn’t work like that. Some days I would be up at 5 a.m. to go wait on the street, outside an office building, to get into the building at 8 a.m., wait in the same line from the street in a tiny hallway until the audition started at 10 a.m. and hope I get a decent number. Then wait for hours until my number was called in a tiny, hot room with at least 100 other women who are talking and singing only to finally go in to audition where I sing for about 30 seconds and then leave. Most of these auditions have 300-plus girls going for just one or two roles. It is brutal. You never get used to the rejection. But I love it! So I get up the next morning and try again, and someday(s) you book the job! How do you prepare yourself for such a heavy piece and story line? With any piece I do, I approach it from the music first. That is how my brain works. I learn the music and let the accompaniment and orchestrations inform my acting choices. I then take a deep look at the lyrics — do they really reflect my thoughts and who am I speaking to? With this piece, I play a lighter character. She needs to be aware of some heaviness, but ultimately her music is much more cheery and romantic than most of the show. My acting choices and everything that I bring to the production has to reflect that mood. As a teenager, you also played Cosette in the production of "Les Misérables." What makes this role so special to you? I first played Cosette when I was 16 years old, as a junior in high school, at Garland High School in Garland, Texas. It was a great production, especially for a high school, and I have friends that still talk about it to this day. It was interesting because I was the same age as the character, but I hadn’t experienced having a boyfriend, much less falling in love at that point in my life. I feel like, even though I look the same age, I can bring much more honesty and knowledge to the role now that I have experienced more of life and some of the situations Cosette went through. It is difficult vocally to revisit a role, because it is easy to slip into old habits and rely on autopilot. It has been a nice challenge to use some new vocal techniques and styles I’ve learned since I last played the role. There are many people who blow Cosette off as a silly, traditional ingénue, but she has real depth and struggle to her story and I hope to portray that in this performance. Your upcoming performance is the concert version of "Les Misérables." What are you hoping the audience will gain from experiencing just the music? I think that the audience might actually gain a clearer understanding of the story by being “forced” to sit and watch the acting of the piece while clearly listening to what the music is telling the audience. The music is so moving and paints the story clearly, so pairing that with amazing voices suited to the material and informed acting choices — I think this is really brilliant. I also am very excited to get to work with theSchool of Music and Dance along with the School of Theatre, Television, and Film. This is really a combined effort and I hope the audience will appreciate how much everyone is giving to make this piece a success. About Humphrey: Humphrey is a native of Dallas and received her bachelor's degree in music in musical theatre at Western Carolina University. After graduating in 2011, she moved to New York City and performed in many regional shows including the debut of "The Boy from Oz." She decided it was time to further her education in musical theatre at SDSU where she received support from the Roscoe-Tiffany MFA Musical Theatre Scholarship and the Marion Ross Scholarship. “I like this program because it has a split focus on both scholarship and preparing students to teach,” Humphrey said. After graduation, her goal is to lead a theatre program at the university-level, while still remaining active and up-to-date in the professional musical theatre world. “My goal in teaching is that I am an educated professor, meaning I know what’s going on in the industry,” Humphrey said. “I want to be constantly updated as to what’s going on in New York and what trends are happening in auditions — that way I can adequately prepare my students.” https://www.jessicamhumphrey.com/news/catsinterview monthly 0.5 2021-04-02 https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/1617312940896-PJMWM0TTM3ZNUHMWKMBR/Cats-+Jessica+Humphrey+3.jpg News - BroadwayWorld Interview Just finishing as "Bonnie Jean" MacLaren in Brigadoon at the Dutch Apple Dinner Theatre and about to open as Rumpleteaser in Cats, Jessica Humphrey may be familiar to some previous-season patrons as the younger-than-usually-seen Annie Oakley in Dutch Apple's Annie Get Your Gun. Last year she also appeared at Connecticut Repertory Theatre in Gilbert and Sullivan's The Pirates of Penzance. She's been coached by legendary voice coach Joan Lader (the voice coach who trained Madonna for the film version of Evita, and who's worked with Patti LuPone and Tonya Pinkins), yet though she's sung opera, she's a former member of the company of the Dallas Metropolitan Ballet. That's quite a track record for someone who's only recently graduated from college. We caught up with Jessica between a matinee of Brigadoon and a rehearsal for Cats at Dutch Apple to discuss her progression from child ballet student to Annie Oakley and Rumpleteaser. BWW: So how does a ballerina from Dallas wind up out East in musical theatre? J: It IS kind of a long story! My grandparents live in North Carolina and they asked me if I wanted to do the summer intensive at Western Carolina University [author note: the Triple Arts Broadway intensives run by Tony nominee Terrence Mann and his wife, Tony nominee Charlotte d'Amboise]. I didn't know who the people behind it were. I didn't know who Terrence Mann was - I came out of the ballet world; I knew who Christopher d'Amboise, the choreographer, was, and he was working with it. I changed my mind at the last minute - I'd been planning to go to Oklahoma City University - and came out here. And then there was PIRATES - I was working with Terrence Mann on a gala for Western Carolina, and while we were talking, he asked me if I wanted to come up to Connecticut, where he was going to be directing PIRATES. I've been lucky that a lot of people have helped me - and that two people broke their feet and I knew their roles. I got a call from my dance teacher at 3 p.m. on a Friday and got asked to come in on DAMES AT SEA (at Highlands Playhouse). She was choreographing it - she knew how I move, and I knew how she arranges. So thirty hours later on a Saturday night I was on stage. BWW: You've sung in everything from opera to theme park shows. Let's start with the opera. JH: My voice teacher in college was operatically based and from there we went into musical theatre, so I did THE MAGIC FLUTE [as one of the three spirits] with the Asheville Opera. Opera's not like doing musical theatre at all. They come in knowing their parts; they're always practicing. And I didn't know German. Opera singers take language lessons. It was fun to do, but it's not what I wanted to pursue. BWW: On to the theme parks. West End and BBC star John Barrowman started out at Opryland, USA. What was your experience with them? JH: You learn EVERYTHING working theme parks. I was at Wild Adventure. The show goes on, three times a day. Doesn't matter if you're hot, or tired, or have food poisoning. Theme parks are a great training ground. You get paid more than summer stock, and you work, constantly. And you learn how to handle a bad audience. Sometimes when the weather's beautiful you're playing to three people. When it rains you get a full house, but it's full of people who want to be outside on the rides. BWW: You're a singer, but you also had twelve years of ballet lessons and time in the Dallas Metropolitan Ballet. Is your heart in one discipline more than the other? JH: I consider myself more of a singer than a dancer. I was an apprentice at the ballet, and that was great. I'm happy I'm getting to do CATS. It's turning out to be challenging - all the dancing - but it's a lot of fun. The choreographer, Amy, I've worked with her before. She knows how I dance, and I've worked with my dance partner before, too. BWW: You've sung everything from THE MAGIC FLUTE to DAMES AT SEA, with a stop for Gilbert and Sullivan along the way. Do you have any favorite roles to date? JH: I loved Annie Oakley. I loved playing that role. I surprised a lot of people. Portraying Annie Oakley as her actual age rather than at Ethel Merman's or Bernadette Peters' age when they played her is so rewarding. Then there was A CHORUS LINE [at Western Carolina University]. Our Cassie broke her foot on opening night. I was playing Maggie in the show - I really liked Maggie - and I was her understudy. She broke her foot before the finale. That was an unbelievable experience. Playing Cassie, and being directed by Charlotte d'Amboise, who got a Tony nomination for playing Cassie in the Broadway revival, was amazing. I so rarely get serious parts because I'm the cute girl - but I like the meaty, women-empowering parts. BWW: Does A CHORUS LINE speak to you any differently than the other shows you've done? JH: Yes. And I worked longer on that show than I have on any other show in my life. But I didn't realize, at first, what the whole "what would you do if you couldn't dance?" question meant. Then I hurt my foot several months back. While I was getting cortisone shots and re-learning techniques, I got it. And I'm a ballet girl. Maggie's a ballet girl, and her song is wonderful. When I went in to audition, I told Charlotte d'Amboise I wanted to audition for Maggie, and she said, "Fine, you've got it." I identify with Maggie in a lot of ways, and I guess that shows. BWW: You've had a string of major shows under your belt already and you have CATS coming up. What shows that you haven't done would you most like to do? What roles? JH: CHICAGO. I want to be Roxie! I love that role. She's so fun and crazy, and I don't get to do sexy very often. BWW: So what's next for you? JH: I have July, August, and most of September off, and then I do CATS at Broadway Palm [Dutch Apple's sister Prather Entertainment theatre in Florida] and then A SWINGING CHRISTMAS there. Next year I'm thinking of going to grad school for my MFA. I've been looking at San Diego State or possibly NYU. I really want to go and head up a musical theatre department someday, and San Diego State turns out great teachers. BWW: What are your thoughts on theatre education? JH: I just have a really different idea of teaching the arts than most do. So many teachers don't go up to New York, don't see what's going on, don't know the changes in techniques and technology. It's important to have young teachers, and ones who keep up to date, teaching arts. Textbooks are always behind. Arts education is so important. I was raised knowing that the arts were important. It's a shame to me to see schools that don't have arts programs. I've taught dance to three-year olds, though I prefer older students. I love teaching people who enjoy themselves and who want to be there... but they've got to get a foundation. I understand that money is tight, but it's important to find ways not to sacrifice children's experience with the arts. https://www.jessicamhumphrey.com/news/damesatsea monthly 0.5 2021-04-01 https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/1617312190577-OJKCQ115IVB5Y94X9B3B/Joan+-+Dames+at+Sea+-+Jessica+Humphrey.jpg News - The Show Goes On - The Highlands Playhouse Production of Dames at Sea experienced a scary instance of real life imitating art on opening night. The play, after three weeks of rehearsal, opened to a standing ovation and energetic crowd. The traditional party celebrating the performance had a positive buzz and a community of patrons excited to tell their friends about the great experience they had that evening at the Playhouse. Then disaster struck! Playhouse veteran Rachel Schimenti, the big voiced, curly haired audience favorite, tripped on the unforgiving Highlands terrain and broke her foot. After a long trip to the emergency room, and the advice of doctors and trainers across the United States, it was decided that Schimenti could not continue with the run of the performance. She was devastated and the Playhouse went scrambling. The traditionally short runs have stopped the Playhouse from the added cost of understudies so there was no one able to step in for her. “We were devastated,” Dames at Sea director Bill Patti said, “Rachel Schimenti is not someone who is easily replaced, she is one of the most talented young performers in the country.” There were many talented members of the company who could have stepped in, but in the end it was decided to call in veteran stage actress Jessica Humphrey. Humphrey had just ended a contract at Connecticut Repertory Theater where she closed Pirates of Penzance with a number of Broadway veterans. She was on her way to New York City when she got the call. Humphrey was at the Playhouse for a rehearsal by 4:30 p.m. on Friday, and by Saturday evening – the show was ready to reopen. In a mere 27 hours, with little sleep, Humphrey was able to pick up a major role in such a difficult show. Several audience members mentioned they did not even realize someone had just learned the show. “Live theater is exciting because anything can happen and you somehow have to make it work. As they say,” Patti said, “the show must go on!” Although the Playhouse is lucky to have had Humphrey, the entire company banded together to make the show a success. “The actors worked tirelessly with Jessica to make sure she was ready for Saturday. 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Charlotte D'Amboise https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/b172021b-b61c-442b-9a3b-b4025e690da5/Little+Red+-+Herb+Strauss+-+Jessica+Humphrey.jpg Performer and Director - Theatre Into the Woods - dir. Kathy Dietch https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/00c89bbf-8429-4980-ad35-e090c62ff7fc/Les+Miserables+SDSU+-+Jessica+Humphrey.jpg Performer and Director - Theatre Les Miserables in Concert - dir. Paula Kalustian https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/4df9de07-42ef-4423-b336-70d7f6ef2684/Bye+Bye+Birdie+-+Jessica+Humphrey.jpg Performer and Director - Theatre Bye Bye Birdie - dir. Mark Mullino https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/8325fc94-8b81-4b9e-aa53-18a0b903dad2/Pirates+of+Penzance+Group+-+Jessica+Humphrey.jpg Performer and Director - Theatre Pirates of Penzance - dir. Terrence Mann https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/8feb2478-3258-4cd6-a917-68f14b59f341/Joan+-+Dames+at+Sea+-+Jessica+Humphrey.jpg Performer and Director - Theatre Dames at Sea - dir. William Patti https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/6099e1d3-5fe0-409c-944c-279430eb8fba/Boy+From+OZ+Show+Stills+-2155.jpg Performer and Director - Theatre The Boy From Oz - dir. Cheryl Denson https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/6163ba96-bfcb-43e1-96e9-3cd63af1d986/Annie+Get+Your+Gun+-+Jessica+Humphrey+6.jpg Performer and Director - Theatre Annie Get Your Gun - dir. Paul Bernier https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/417dfcd3-f8cd-4bae-bfb8-244976d85634/9+to+5+-+Ensemble+-+Jessica+Humphrey.jpg Performer and Director - Theatre 9 to 5 - dir. Amy McCleary https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/d0f24e4d-8333-4453-acdd-c8841981f5be/Sweeney+Todd+-+WCU+-+Jessica+Humphrey.jpg Performer and Director - Theatre Sweeney Todd - dir. Terrence Mann https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/e438db4c-437f-4420-8c17-d1e8a29c6b71/Little+Red+-+SDSU+-+Jessica+Humphrey+%281%29.jpg Performer and Director - Theatre Into the Woods - dir. Paula Kalustian https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/dd179b80-cab4-4ec7-8edf-49b15ea81e9a/%2522Country+Rocks+Live%2522+at+Wild+Adventure+Theme+Park.jpg Performer and Director - Theatre Country Rocks Live - dir. John Ancona https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/4a9aa72f-25c7-4bb3-ba04-79296b6bd2bc/Janet+Show+Off.jpg Performer and Director - Theatre The Drowsy Chaperone - dir. Stephen Brotebeck https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/dad0b8dc-3779-4050-baa1-417c0b684664/American+Rhythm+1.jpg Performer and Director - Theatre American Rhythm - dir. Kerry Meads https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/f22cd03f-61c1-4140-a530-d08f0c675abb/West+Side+Story+-+LAMBS+-+Jessica+Humphrey.jpg Performer and Director - Theatre West Side Story - dir. Deborah Smyth https://www.jessicamhumphrey.com/educator daily 0.75 2023-10-30 https://www.jessicamhumphrey.com/educator/classes monthly 0.5 2021-04-13 https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/1617235994872-5UC874KWE7XIU5ZCVUTR/Jessica+Humphrey+Survey+of+MT+Video+Picture.jpg Educator - Classes - Season 1 Episode 1 Crazy Ex-Girlfriend The Function of An Opening Number https://www.jessicamhumphrey.com/educator/writing monthly 0.5 2021-03-25 https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/1617909463403-5IEEQNM2KAV9B3YG1PKF/Acting+in+MT+3.png Educator - Writing - Contributor to new Teaching Resource Guide Acting in Musical Theatre - 3rd Edition https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/1617909866141-A9CDCKYOMZ1G9P5YZ6PQ/Jessica_136.jpg Educator - Writing - In Progress: Currently Jessica is working on two chapters for a new musical theatre history book. This book is written by a collection of diverse musical theatre educator voices in order to facilitate a balanced retelling of our musical theatre history that includes underrepresented voices that is missing from many current MT Textbooks. The book is also aimed at engaging the 21st century student. Jessica’s chapters focus on Jerome Kern and the Ziegfeld Follies/MT Revue. Stay tuned for updates! https://www.jessicamhumphrey.com/educator/presentations monthly 0.5 2021-03-25 https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/1617825825691-JZRKUGEP5CWFINKTE2ZK/Jessica+Humphrey+Presentation.png Educator - Presentations - Your Homework is Netflix MTEA Virtual Conference 2021 Jessica created a presentation for the MTEA conference focusing on a new style of musical theatre history course designed for non-majors. In this course, students explore the shows, personalities, and performance components of musical theatre through the lens of the TV show Crazy Ex-Girlfriend in order to more clearly understand the impact of culture, politics, and society on Broadway and vice versa. This presentation explains the structure of the course and how data has proven it to be an effective (and fun) way to teach MT History for a new generation. https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/1617827098440-W6YQ8OHXD4OSHSG7MNJD/IMG_3707.jpg Educator - Presentations - “But He Doesn’t Know the Territory: An Exploration of the Musical Theatre Patter Song as Hip Hop Music” Jessica’s Masters’ Thesis paper and presentation were completed in 2016 at San Diego State University. If interested in obtaining a copy for perusal, please use the Contact Page. https://www.jessicamhumphrey.com/podcaster daily 0.75 2021-04-13 https://www.jessicamhumphrey.com/podcaster/nectarseries monthly 0.5 2021-03-25 https://www.jessicamhumphrey.com/podcaster/tanninsandtunes monthly 0.5 2021-03-25 https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/11984aeb-6d0a-4235-8b3c-a9f9b1e3a00b/IMG_5164.jpeg Podcaster - Tannins and Tunes https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/5ce6e31d-0ab8-4ed8-abca-0f2a5828f856/IMG_7409.png Podcaster - Tannins and Tunes https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/34893c9c-00d7-42cd-9aeb-ac1e0dfa6d80/IMG_5042.jpeg Podcaster - Tannins and Tunes https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/28a3c5f9-45fe-4cf7-afb2-e9be91a9901a/IMG_5138.jpeg Podcaster - Tannins and Tunes https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/f35be64a-6b0f-4440-b569-d7f8cdfc30db/IMG_5558.jpeg Podcaster - Tannins and Tunes https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/e27cdc0e-0eb4-48ea-926f-0c6eb477fc0f/IMG_4999.jpeg Podcaster - Tannins and Tunes https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/4316879f-eca0-499c-a085-ad872e8969ca/IMG_6431.jpeg Podcaster - Tannins and Tunes https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/6b8a723f-0fbb-44bc-8be1-9e84b78fbec0/IMG_7399.jpeg Podcaster - Tannins and Tunes https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/2cb97d70-1e9b-4448-bb6b-9bd96963a187/IMG_4710.jpeg Podcaster - Tannins and Tunes https://images.squarespace-cdn.com/content/v1/603e6d839d6f893482e54bda/0718b8fa-d057-428b-a600-875d93a57b95/IMG_7411.png Podcaster - Tannins and Tunes