Meanwhile, in Baltimore...

Stay classy Baltimore.


Pictures and/or humorous posts related to newborns & infants will raise your Klout score.

Use in moderation.


The 10 Stages of the Creative Process


The internet is fucked

Read & share. It’s important. 


Arts Education Won't Save Us From Boring Inaccessible Theater

"It actually verges on arrogance, this tendency to blame arts education for our own shortcomings. It’s an elitist argument that absolves us of agency. ‘We can’t do anything about it! We’ve done all we can! They’re just too uneducated to appreciate theater!’ "

Amen Mike Lew. Amen.


The most awesome workouts ever.

With options like Storm Trooper, Thor, Batman: Bane Edition, and “You Had Me At Bacon” workouts - this is definitely shareable.


It’s time to blog again. And instead of doing it for my career, or say something about my theatre community… I’m making this about me this time.

I haven’t written anything in a really long time, other than PowerPoint decks, and I need to get back to my voice. It’s been a little lost.

I’ve been working my ass off, I had a kid, my world has flipped upside down so many times in the last few years that I need to find a way to get back to what I think and feel.

This blog is an attempt to do that. 

So what am I going to do this time around? I’m going to say fuck the rules, fuck the topic, it’ll just represent me. Maybe it won’t be interesting enough for anyone to read, but that’s okay. It’s for me this time.


25 Instantly Immortal GIFs From Season 4 Of ‘Arrested Development’

"I’ve been less than honest about what I’ve really been up to lately. For the last year I’ve been secretly working non-stop with Atticus Ross and Alan Moulder on a new, full-length Nine Inch Nails record, which I am happy to say is finished and frankly fucking great. This is the real impetus and motivation behind the decision to assemble a new band and tour again. My forays into film, HTDA and other projects really stimulated me creatively and I decided to focus that energy on taking Nine Inch Nails to a new place. Here we go!"

Source: nineinchnails
Photo Set


B-More Dog is gathering photos of Maryland families with their “pit bull” dogs to show Maryland’s leaders that our dogs are cherished members of the family and shouldn’t be unfairly discriminated against. 

Please take a photo of you and your dog, holding a sign using one of the following messages:

1. Nobody in my family is “inherently dangerous”.
2. Please don’t force my landlord to discriminate.
3. Please save my family member from eviction.

Please post your photo here on B-More Dog’s Facebook group page [] or email it to us at By doing so you are giving us permission to use your photo in a heart-wrenching montage that will be presented to our Governor and State Legislators at the appropriate time. Please submit photos through Saturday, May 12th.


Hey Friends!

It’s been awhile since I’ve posted. In fact too long. But… so much has happened in my theatre life.

I’ve become a company member and then took over the Managing Director role at Glass Mind Theatre.

I’m also mid-run for a show I directed called And Underneath the Moon.

Okay - well that doesn’t seem like that much when I word it that way, but let’s say all the little things that cascade out of those two things are abundant.

Honestly though, I’ve been blessed to start working with an amazing group of people, not only the theatre company, but also my cast for Moon. Not only are the people I surround myself with colleagues, but they are also my Baltimore family. 

I love my day job. I’m good at it, it gives me purpose and it provides for the life that I have. My work in theatre feeds my artistic soul though, and keeps my head in the right place.

Well it’s the holiday times, and Glass Mind has taken on the ambitious goal of raising $5,000 before the end of the year. To do my part, I’m making it my personal goal to raise $600 in the next 3 weeks.

Here’s where my friends and family come in. I need your help.

At Glass Mind, we’re really committed to making theatre accessible - for us that manifests in many ways:

  1. Keeping ticket prices low. By far, this is one of our most important goals during our seasons. Most theatres in town charge around $15 for their discount tickets. GMT’s full price admissions is only $12. We want people from all walks of life to see the work that we do, so we are committed to keeping tickets prices as low as possible.

  2. Opportunities for new artists. We pride ourselves on working with a wide range of skilled artists and providing opportunities for them to experiment and play with their craft. Whether it’s a new playwright, a n00b actor or someone just looking to learn more about theatre, we provide opportunities for these individuals to have access to experienced artists. As a company we want to help our community grow and prosper while challenging ourselves to push our artistic limits.

  3. Exploring the theatrical experience in non-theatre events. Not everyone loves theatre, or at least they don’t think they do. That’s why through our auxiliary season and events we investigate what it means to have a theatrical experience in a traditionally non-theatre event. For example, our recent Open Mic night or our Drag Show over the summer. Theatre is everywhere, and we want to invite the community to explore what it means through various offerings.

So here is where you come in. I’m asking you to donate $10 to GMT before December 31st. If I can get 60 of my friends and family to donate $10 each, I’ll make my personal fundraising goal. 

I’m only asking for $10, but feel free to donate more if you can.

The incentive. If I hit my personal fundraising goal, I will send (or hand deliver depending on where you live) the top 5 donors, by amount, a dozen of my awesome Red Velvet Crinkle Cookies w/ White Chocolate Morsels or my Dark Chocolate Espresso Cookies - your choice - in an awesome holiday tin. And trust me, I’m an awesome baker.

To ensure that I can keep track of your donations (and see who gets the baked goodness), please email me at lmorton [at] glassmindtheatre [dot] com after submitting your donation.


Online. Through our fiscal sponsor Fractured Atlas. They help DIY artists like Glass Mind be able to function as a non-profit.

By Mail. Send a check made out to “Fractured Atlas”, with “Project: Glass Mind Theatre” written in the memo line to:

Glass Mind Theatre
P.O. Box 19013
Baltimore, MD 21284.

Please be sure to include your Name, Address and Email with your check so we can make sure to get you a receipt for your tax-deductible donation.

All donations will receive a receipt from Fractured Atlas.


Alright, so that’s enough from me. I hope that you don’t hate me for turning a blog post into an ask for donations. It’s just Glass Mind means a lot to me. I feel like I finally have an artistic home, a place to take risks and really explore the next phase of my life as an artist. I hope you’ll join in supporting this amazing group of people I have the pleasure of working with.



Rusty ClaussThere’s been a lot going on in my theatre life lately, almost too much to have time to write about it all (I’ll break it down soon, I promise!). But when someone from your past makes their final exit, it’s time to slow down and reflect on their role.

I recently learned that Rusty Clauss has passed. If you grew up during theatre in Fairfax county, more than likely you had some exposure to Rusty or her work. She was a force who came in a very small package.

I remember when I used to hug her, even then I felt as though if I squeezed too hard I’d break her, yet she had the tenacity of a terrier, always pushing us to challenge ourselves further.

I met Rusty when I attended Edison for high school. Though she had taught there prior, she was not my theatre teacher. Every year as a part of the Folger Shakespeare Festival (I think that’s what it was called, it was a bunch of high schools performing at the Folger) we would prepare a Rusty Clauss cutting of Willy Shakes. Her work taught me about the continuity of storylines, what was okay to throw away and what was vital to keep the audience engaged in what was happening.

Her cutting allowed me to play Queen Margaret in Richard III fifty years before I should have. Her cutting of Hamlet allowed me as a young artist to try my hand at stage managing and costume design. That production also introduced me to Tapestry Theatre Company and Peggy Jones as I needed to go outside the Edison costume room to find what I needed. Tapestry gave me my first opportunity to play an ingenue (and I think probably one of the last times I appeared on stage in that type of role), they also showed me that people were writing plays all the time and exposed me to new play development. I also built a mean castle wall with Peggy and Rusty one day, and though Rusty had a good many years on me, she was as hands on as the rest in the building process.Those ladies popped the bubble of what I thought being a theatre artist was all about. They showed me that you can have artistic fulfillment without having it be your day job. A lesson that I live every day of my life.

Though Rusty’s name was mentioned many more times than I had chances to meet the lovely, kind, supportive artist, I’m glad that I did have my moments with her. Without her, I don’t know if I’d be the artist that I am today.

Thank you Rusty for all that you did. You will be truly missed.


Another installment on my artistic process for MIXTAPE. (This post was meant to publish weeks ago, but apparently I forgot to click “queue”)

This time we’re talking Viewpoints.

I’ve been using Viewpoints as a technique to create ensemble with the group of actors and to help them get out of their heads and into their bodies. The piece I’m directing is so heavily influenced by the music that using Viewpoints just seemed like a nature fit. Mind you, we aren’t dancing, but expressing meaning through the use of the human form.

Anyways, if you’ve never done Viewpoints, it’s interesting as hell to explore. Feel free to peruse my notes that I used to help acclimate the actors:

Crash Course in Viewpoints


Viewpoints is a technique of composition that provides a vocabulary for thinking about and acting upon movement and gesture. Originally developed in the 1970s by choreographer Mary Overlie, The Viewpoints theory was adapted for stage acting by directors Anne Bogart and Tina Landau.  

Bogart & Landau think of viewpoints in two categories - Time & Space


   * Tempo - How fast or slow something happens on stage.

   * Duration - How long an event occurs over time; how long a person or a group maintains a particular movement, tempo, gesture, etc. before it changes.

   * Kinesthetic Response - A spontaneous reaction to a motion that occurs outside of oneself. An instinctive response to an external stimulus.

   * Repetition - a) Internal: repeating a movement done with one’s own body, and b) External: repeating a movement occurring outside one’s body.


   * Shape - The contour or outline of bodies in space; the shape of the body by itself, in relation to other bodies, or in relation to architecture; think of lines, curves, angles, arches all stationary or in motion.

   * Gesture - a) Behavioral gesture: realistic gesture belonging to the physical world as we observe it every day. b) Expressive gesture: abstract or symbolic gesture expressing an inner state or emotion; it is not intended as a public or “realistic” gesture.

   * Architecture - The physical environment, the space, and whatever belongs to it or constitutes it, including permanent and non-permanent features.

   * Spatial Relationship - Distance between objects on stage; one body in relation to another, to a group, or to the architecture.

   * Topography - The movement over landscape, floor pattern, design.

Overlie’s Viewpoints:

   * Space - Architecture, Spatial Relationship, Topography

   * Shape - Shape, Gesture (Behavioral & Expressive)

   * Time - Tempo, Duration, Kinesthetic Response, Repetition

   * Emotion

   * Movement - different ways of moving your body/quality of movement (jerky versus smoothly), can occur in different parts of your body

   * Story - How all the different elements influence each other and work together, focus on isolation first on it’s own before integration

Through view points we will…

As a group:

- Learn how to move as an ensemble

- Learn about spatial relationships between the group

- Move away from a place where things are expected, safe, comfortable or middle-of-the-road to a place that is unexpected, in the moment and authentic

As individuals:

- Move from self-consciousness to consciousness

- See obstacle as opportunity

- Move with “soft focus, cool face, open heart”

Additional Reading:

A Director Prepares by Anne Bogart

The Viewpoints Book by Anne Bogart & Tina Landau