An early lesson was that painful events lose some acidity when shaped into a story told out loud. Growing up in Philadelphia PA, I read plays, went to summer-stock musicals, and once took the train to NYC to see mid-1960s heart-throb Albert Finney in Joe Egg. (Unfamiliar with Mr. F? The movie Tom Jones. ’Nuff said.) My first stage performance was in 1966. Since then, there’ve been more than 150 shows in Philly, Cambridge MA, and finally Michigan, where I’ve been working in the industry professionally for over 20 years. My husband Mark is a technical theatre artist with special skills in sound engineering, and an actor / singer / dancer / trombonist whose uncanny impressions keep me in stitches and should be harnessed somehow for the public good. My late first husband Cap was a motorcycle and airplane mechanic who rode with outlaw bike clubs, knew his way around a quiche, and read Joan Didion and Norman Mailer. Yep, my journey so far helps prove the directorial adage to keep an open mind about what a character may do in a given moment. The acting process combines my love of words and of detective stories – with the playwright’s text as evidence, we stumble toward our character’s truths by the lit shards of our own experiences. It’s been a gift to be able to devote all of my time to theatre and ballet since retiring after 38 years from a day job protecting workers’ rights to organize and bargain collectively. (National Labor Relations Act, 29 U.S.C. Section 151 et seq. Check it out.) From Slipstream’s inception, I’ve admired its approach to play-making and collectivity. This left-wing vegetarian potty-mouthed baby-boomer is thrilled to join its stable of actors.