Hey Broadway World, it's me again! As you may recall, back in June, I wrote a piece about why you should date a Musical Theatre major (conveniently titled, Why You Should Date a Musical Theatre Major). Well folks, here's what I know you've all been anxiously waiting for...a sequel! May I present to you; The Non-Thespian's Guide to Dating a Theatre Person.

A new school year has begun, or will soon for many. A new year full of new possibilities, and new relationships. Whether it's reuniting with your BFA bae, or landing a Zoom date with a Techie cutie, you may be wondering; if I'm not a "theatre person", how do I date one? Well, let me give you some Do's and don'ts.

1) Do know that show tunes are an occupational hazard

Don't fight it, accept your fate. Give in to the call of Marvin Hamlish. Because, what will your relationship be if you don't?

2) Don't Patronize us

This should be a hard and fast rule for any relationship, but especially with theatre people. If your significant other made fun of, belittled, and or trivialized the things that you were passionate about, how would you feel? Not very good, I imagine. This isn't to say that you can't tease them and be cute about your significant other being a theatre dork, just make sure that they're cool with it and that it's coming from a place of affection.

3) Do have theatre-themed dates, like watching a movie musical together

Showing how much you care about their interests? Going the extra mile to plan something that they would enjoy, even if you don't? Holy moly, this is such a sweet and easy date. Plus; all those golden age classic mushy-gushy movie musicals? Super duper romantic (cough cough, nudge nudge, wink wink).

4) Don't assume that we'll judge how you sing

I know that it can be intimidating to sing in front of, or *gasp* with someone trained in singing. We do it every time we have a studio class. However, we like to sing and everyone is their own worst critic. So please, don't be afraid to sing the other half of Lay All Your Love On Me with us when it comes on. We both know you want to.

5) Do hype them up!

Bring flowers to the stage door. Buy them throat coat and candy for tech week. Comment compliments on their singing posts on Instagram. To paraphrase Rachel Berry, they're like Tinkerbell. They need applause to live.

7) Don't be intimidated by our knowledge of theatre

If all you like is Hamilton and Rent, great! If the only show tune you know is Do-Re-Mi from elementary school music class, that's fine! Maybe listen to a Spotify Showtunes playlist or two if you feel like widening your range a bit.

6) Do learn the Lingo

Us theatre people have a distinct vocabulary. It's not that difficult to learn. I found this super basic primer to help you get you started:

In is down, down is front, out is up, up is back, off is out, on is in, and of course - right is left, and left is right. A drop shouldn't and a block and fall does neither. A prop doesn't and a cove has no water. Tripping is O.K. A running crew rarely gets anywhere. A purchase line will buy you nothing. A trap will not catch anything. A gridiron has nothing to do with football. A Strike is a lot of work. And a green room usually isn't.

Simple, no?

8) Don't be afraid of dating us if you don't like theatre...

...Because there's a musical all about that!

Joking aside, it's seriously ok if theatre isn't your thing. As long as you tolerate it enough to be with a theatre person, that's enough.

9) Do tell us about your interests!

Tell us about what you like to do. Us theatre people are passionate folks and want to hear what you're passionate about, too. If it's something we aren't super knowledgable about or into, we'll make an effort to try and learn, the same way you would do for us.

10) Do know that we are more than just a grown-up theatre kid

Yes, we may burst out into song like a cartoon character. Yes, we follow way too many Broadway stars in their 30's on Instagram (Jeremy Jordan is just so dreamy!), but don't think of us as old theatre-kids. We are mature, multi-faceted people with interests outside of theatre. If you're lucky enough to find yourself a theatre-person significant other, you have a passionate, dedicated, hardworking, and talented person in your life. Who may or may not know all of the lyrics to Dear Evan Hansen.

The Music Man Character Breakdown

MALES:

HAROLD HILL: (Baritone, A Flat to High F) A smooth talking con man and traveling

salesman with plenty of charm, who tries Iowa after saturating Illinois; convinces

townspeople they need a boys’ band to keep them out of trouble. He falls for Marian, &

kisses her on stage; does need some movement ability, & sings “Trouble”, “Seventy-six

Trombones,” “The Sadder-But-Wiser Girl,” “Marian the Librarian,” “Shipoopi,”(Dance

only) “Till There Was You,” & “Goodnight My Someone” reprise.

MARCELLUS WASHBURN: (Tenor, G to High A) Former con man and friend to

Harold Hill who now lives in River City; becomes fast friends with Harold again and

helps him learn about the town, tries to help Harold get out of town after the con; his is a

comic role; kisses Ethel Tofflemeier whom he is dating. Should have some dance

movement ability, and sings “The Sadder-But-Wiser Girl,” and “Shipoopi,” also the

chorus numbers.

MAYOR GEORGE SHINN: (Non-Singing or Chorus Only) The Mayor of River City,

self-important, blustery, pompous, not terribly intelligent. Gets lots of things wrong!

Listens to his wife. Protective of daughter, Zaneeta, whom he thinks is dating the wrong

boy in town. Takes himself seriously, but comes across funny. Sings: Chorus Numbers.

WINTHROP PAROO: ( Alto, C – E Flat) Marian’s little brother, cute as a button. Does

not talk much because of a lisp and missing his dead father. Learns to trust again and is a chatterbox by the end of the show. Sings: “The Wells Fargo Wagon,” and “Gary,

Indiana,” plus some Chorus Numbers.

BARBERSHOP QUARTET (Members of the School Board)

OLIN BRITT: (Bass) Editor of the Gazette, Member of the School Board turned into

Barbershop Quartet, a bickering business man until he is united with the others by Harold

Hill, and learns not only to sing in harmony, but to behave in harmony. Sings: “Sincere,”

“It’s You,” “Goodnight Ladies,” “Lida Rose” and all the Chorus numbers.

OLIVER HIX: (Baritone) Banker, Member of the School Board turned Barbershop

Quartet, another bickering business man until he is united by the others by Harold Hill

and begins to sing and act in harmony with them. Married to Alma. Sings “Sincere,”

“Goodnight Ladies,” “It’s You,” “Lida Rose,” and all Chorus numbers.

JACEY SQUIRES: (High Tenor) Owner of the livery stable, Member of the School

Board turned Barbershop Quartet, another bickering business man until he is united with

the others by Harold Hill, and sings and acts in harmony. Married to Mrs. Squires. Sings:

“Sincere,” “Goodnight Ladies,”, “It’s You,” “Lida Rose,” and all Chorus Numbers

EWART DUNLOP: (Second Tenor) Owner of the General Store, Member of the School

Board turned into Barbershop Quartet, another bickering business man until he is united

with the others by Harold Hill and sings and acts in harmony. Married to Maud Dunlop.

Sings: “Sincere,” “Goodnight Ladies,” It’s You,” “Lida Rose” and all Chorus Numbers.

CHARLIE COWELL: A rival traveling salesman, first seen on the train at the start of

the show, he returns to town to warn them about Harold and hopefully make himself a

hero and earn sales himself. Kisses Marian onstage. Sings “Rock Island” and Finale. (We

may also use him as a River City Townsperson in disguise.)

TOMMY DJILAS: A teenager from the “wrong side of town” who starts out as a

trouble maker, but falls for Zaneeta, the Mayor’s daughter, and encouraged by Harold,

begins dating her secretly. He also becomes the assistant leader of the Boys’ Band, thanks to Harold giving him confidence and trust.

CONSTABLE LOCKE: The town Sheriff. Sings the Chorus Numbers

TRAIN CONDUCTOR: He is on in the first scene with lines, and then will become a

River City Townsperson for the rest of the show.

TRAVELING SALESMEN: Salesmen on the train that warn each other about what

they’ve heard about Harold Hill. None of them have ever met him, but all know about his

reputation. They do not realize that he is there among them on the train and can hear

everything they are saying. They have a syncopated song in the beginning of the show –

no singing, but patterned to sound like a moving train. Very clever. Sing: “Rock Island”

(NOTE: The Traveling Salesmen will become Townspeople once Act 1, Scene 1 is over.)

RIVER CITY BOYS/TEENS: These are the dancing and singing ensemble in all the

numbers that the townspeople are in with the addition of “Seventy-six Trombones” and

“Marian the Librarian.” Featured Dancers will come from this group. Also sing: “Iowa

stubborn,” “Trouble,” “The Wells Fargo Wagon,” “Shipoopi,” & Finale.

RIVER CITY TOWNSPERSONS: These are small town folks who are proud of their

town. They are of all ages, sizes and shapes. They will be part of a “family” and assigned children. They sing all the chorus numbers “Iowa Stubborn,” “Trouble,” “Seventy-six Trombones,” “The Wells Fargo Wagon,” “Shipoopi” & “Finale”. Note: Some of the Men will also be Traveling Salesmen and sing “Rock Island”

FEMALES:

MARIAN PAROO:(Soprano, Low G to High A) Daughter to Mrs. Paroo and sister to

Winthrop, she is the stuffy, conceited librarian and piano teacher in town. She is very

learned and defends the “questionable” books that are in the library. She was close to her

deceased father’s friend, Mr. Madison, and the town believes that she had an affair with

him. After all, he left the library to the town, but all the books to her! There was no

affair, and he was like an uncle to her. At first, after meeting Harold Hill, she dislikes him

but then gets to know him better, and we see a transformation in her while she falls in

love. She comes to realize that he really does want to make a difference, and changes

things in the town. They end up together. She has stage kisses with Charlie Cowell and

with Harold Hill. Does need some dance movement ability, & Sings: “Piano Lesson,”

“Goodnight My Someone,” “My White Knight,” “Shipoopi,”(Dance only) “Will I Ever

Tell You,” “Till There Was You,” & “Seventy-six Trombones” reprise.

MRS. PAROO: (Mezzo Soprano A Flat to E Flat) Widowed Irish mother to Marian and

Winthrop, she speaks with an Irish accent. She is a sweet, cheerful homemaker who

wants the best for everyone. She gives Marian a lot of advice about how to find a man.,

and dotes on Winthrop. She falls for Harold’s con. Always keeps her hands busy. Sings:

“Piano Lesson,” and most of the chorus numbers.

EULALIE MACKECKNIE SHINN (Alto, D to D) Mayor Shinn’s wife, she is

definitely a society lady, knows everyone in town, struts about like a peacock and is

somewhat snooty. A Member of every auxiliary organization in town, she has some

strange ideas and doesn’t think she looks as ridiculous as she really is. Keeps her husband in line. Leads the “Ladies Dance” group in the Grecian Urn. Sings: “Pickalittle,” “It’s You,” and all Chorus Numbers.

AMARYLLIS (Alto, C to E) She is the young piano student of Marian’s, and likes

Winthrop, but doesn’t understand why he won’t talk to her. The actress does not

necessarily have know how to play the piano. Sings: “Piano Lesson,” and Chorus

Numbers.

ZANEETA SHINN: Mayor Shinn & Eulalie’s daffy teenage daughter, she has a crush

on the town “bad boy” Tommy. She is not rebellious, but is learning to stand up for

herself. Very cute and feminine, she is a dancer, especially in “Marian the Librarian” and

“Seventy-six Trombones”. Also can sing in Chorus Numbers.

GRACIE SHINN: She is the Mayor’s younger daughter, and somewhat of a tomboy and

a bit devilish. Sings Chorus Numbers.

ETHEL TOFFELMIER: She is jolly and friendly, and plays the player piano. She is

dating Marcellus and has a stage kiss with him. She does gossip with the other ladies, and

is one of the Pickalittle ladies and Grecian Urn performers. Dances in “Shipoopi” and

sings “Pickalittle,” “It’s You,” and Chorus Numbers.

ALMA HIX: The wife of Oliver Hix, she is a gossipy friend of Eulalie and the other

“Pickalittle” women who also perform the Grecian Urn. Sings: “Pickalittle,” “It’s You,”

and Chorus Numbers.

MAUD DUNLOP: The wife of Ewart Dunlop, and another of Eulalie’s gossipy friends

who are the “Pickalittle” women and perform in Grecian Urn. Sings: “Pickalittle,” “It’s

You,” and Chorus Numbers.

MRS. SQUIRES: The wife of Jacey Squires, she is also one of Eulalie’s gossipy friends

who are the main “Pickalittle” women and perform in Grecian Urn. Sings: “Pickalittle,”

“It’s You,” and Chorus Numbers.

RIVER CITY GIRLS/TEENS: Of all ages, they are the singing and dancing ensemble,

in all numbers that the townspeople are in, and especially in “Seventy-six Trombones,”

and “Marian the Librarian.” Featured Dancers will come from this group. Also Sing in

Chorus Numbers.

RIVER CITY TOWNSPERSONS: These are the small town folks who are proud of

their town. They are women of all ages, sizes and appearance. Some of these women will

also be in “Pickalittle” along with Eulalie’s friends. All will be part of a “family” and

have children assigned to them. All will sing: “Iowa Stubborn,” “Trouble,” “The Wells

Fargo Wagon,” “Shipoopi,” “It’s You,” reprise, & “Finale”

All ethnicities are encouraged to audition. Age ranges are approximate to characters but may not reflect actual age of the actor.

"It's a big world in here" is the ringing phrase the Young Vic theatre in London has adopted as its motto. It's a nice play on Shakespeare, for, as he said, all the world's a stage (not for nothing did he call his own theatre the Globe). On stage, real people act out human desires and dilemmas in front of a live audience: at its best, theatre is the art form that best represents the world.

Except that it doesn't. Some months ago, the staging of two all-male Shakespeare productions at the Hampstead theatre in London uncorked an explosion of frustration from women actors, writers and directors. There was a sense of basic injustice – actor Janet Suzman talked of a "really frustrating" career where there "aren't bloody well enough parts for women"; deeper concerns were also expressed.

This failure to represent women, argued the actor, writer and director Stella Duffy, was deeply entwined with society's wider failure to put women's voices on an equal footing with men's. A sense of responsibility to the world was, she said, being ducked – particularly by our larger national stages. In an impassioned blogpost, she wrote: "When we do not see ourselves on stage we are reminded, yet again, that the people running our world (count the women in the front benches if you are at all unsure) do not notice when we are not there. That they think men (and yes, white, middle-class, middle-aged, able-bodied men at that) are all we need to see."

After I wrote an article quoting Suzman and others, Elizabeth Freestone, artistic director of Pentabus theatre, wrote to me. While an artist-in-residence at the National Theatre, she had done her own research into women in theatre, which she offered to show me. She had also done fascinating work on Shakespeare, unlocking some of the root causes of this imbalance.

The Guardian teamed up with Freestone, and we extended and updated her research. Her headline figure had been that there was a "2:1 problem" in English theatre, or two men for every woman; this was borne out by our new findings, too. Women are seriously underrepresented on stage, among playwrights and artistic directors, and in creative roles such as designers and composers. On the other hand, women are a substantial majority when it comes to the audience. According to Ipsos Mori figures produced for the Society of London Theatre in 2010, women make up 68% of theatregoers.

We looked at the top 10 subsidised theatres in England – those best placed to provide leadership – and at their record in the financial year 2011-12. (One important detail to bear in mind: the National Theatre and the Royal Shakespeare Company received at least six times more subsidy than the next-best-funded theatre, the Royal Court in London.)

The 2:1 problem begins at board level. Our sample had an average of 33% women on their boards; only one, the Royal Court, has a majority female board. Women accounted for 36% of the artistic directors; executive directors were much better represented at 67%. Of the actors employed by the 10 theatres, 38% were female, with the National coming out worst at 34%.

Of directors, only 24% employed were women; and when we examined creative teams (directors, designers, sound designers, composers), 23% were women. We found, too, that women in creative roles were less celebrated. In 36 years of Olivier awards, women have won only twice for director (Deborah Warner, in 1988 and 1992) and four times for playwright (Caryl Churchill, Timberlake Wertenbaker, Pam Gems and Katori Hall).

We were aware that our statistics did not dig into the subtleties of women's careers. Josie Rourke and Kate Pakenham, the artistic and executive directors of the Donmar Warehouse, tell me their office is almost entirely staffed by women in their 20s and early 30s. But will they rise through the ranks? "For me," says Rourke, "a huge part of the conversation is how you stick at it in your 30s, and what motivates you to move from middle to senior management." For those in freelance roles, the theatre is a hard place to sustain a career and children: no pension, no maternity leave, a nomadic lifestyle, unsociable hours. "It will take huge wisdom and honesty for theatre to investigate its culture," says Rourke.

The weight of history is not on the side of female playwrights: the canon is overwhelmingly male. Even so, we were surprised to learn that one of our top 10, Chichester festival theatre, employed no female directors and produced no plays by women over the period we looked at. Artistic director Jonathan Church suggested this was an anomalous sample; he also pointed to the financial pressures on regional theatres and the need, when programming contemporary or 20th century work for a big auditorium, to put on "names" that have had West End success, such as Coward, Ayckbourn, Stoppard, Hare, Rattigan: all men.

There is currently a blooming of extraordinary female voices in theatre, among them Lucy Kirkwood, Lucy Prebble and EV Crowe. Yet we found that women writers accounted for only 35% of the new plays produced – another expression of the "2:1 problem". There is, however, some cause for hope: 41% of the plays commissioned by our theatres, but yet to reach the stage, are by women. Nicholas Hytner, artistic director of the National, sees this as a hugely positive sign: "I won't put a date on it, but in not too many years the gender balance of directors and writers will be 50-50. I can say that with confidence because I look at directors and writers in their 20s and 30s and it is 50-50."

Still, there are nuances behind such figures. Of the seven plays by women produced at the Royal Court in this period, all but one were staged in its smaller auditorium: meaning a smaller fee, fewer royalties, a lower profile. If these women are being nurtured towards bigger careers, so much the better; but will they be allowed to make the leap? The playwrights I spoke to talked of careers that had sparkled in their 20s and stalled in their 30s. The really big commissions had never come, and they found their male peers outstripping them. Some had turned to screenwriting: still tough, but, according to playwright Zinnie Harris, "In TV, I haven't encountered the feeling that you're not going to get to the top because you are a woman."

Only two original plays by women have ever been staged in the largest auditorium at the National: Rebecca Lenkiewicz's Her Naked Skin in 2008, and Moira Buffini's Welcome to Thebes in 2010. According to writer Tanika Gupta, who has a new play at the Swan in Stratford next year, there is an underlying doubt about the material women are capable of taking on. "The argument is that women can write very good domestic drama, but are not intellectually rigorous enough to do the big plays. We need to be given the chance to write those state-of-the-nation plays."

Harris adds: "It is somehow harder for people to embrace a play written by a woman, whatever its quality. There is something slightly unseemly about filling stages with our voices, whereas men have a sense of filling Chekhov's or Ibsen's shoes. The woman who raises her voice becomes shrill and hectoring; the man becomes authoritative." She believes the media is at fault, too. "When plays by women don't work, they are over-condemned. With men, they are seen as a step on the way to developing an interesting voice." The statistics bore out what we had suspected: women playwrights write more roles for women than their male counterparts. Women wrote 49% of their parts for women; men wrote 37%.

A clear message began to emerge about the importance of women running instititutions. Female artistic directors had staged many more plays by women than their male counterparts. Roxana Silbert at the Birmingham Rep came out top: 32% of the plays she has directed are by women. She was followed by all the remaining women. Then came David Lan at the Young Vic (15%), followed by all the remaining men. Neither Hytner nor Gregory Doran, artistic director of the RSC, has ever directed a play by a woman.

It is clear that history comes into play here: both men have had careers that focus on the classics, with Doran a specialist in the 16th- and 17th-century repertoire. When I put this to Hytner, he said he believed his own record was "irrelevant: there are all sorts of things I have never directed because I am not very good at directing that kind of thing". Freestone disagrees: "Profile and visibility matter. Those in charge of national organisations have a responsibility to show leadership." Vicky Featherstone, who in April becomes artistic director of the Royal Court (England's most important theatre for new writing), says: "It is a no-brainer that there should be equal representation of men and women in the theatre. It is absolute common sense and I expect nothing less."

Our research was not intended to browbeat individuals. Rather, it was meant to focus debate on fact rather than anecdote, and to encourage theatres to take gender into account. As Freestone puts it, "This is about asking: are you thinking about gender balance? Do you ask the question? If you have 10 writers under commission do you think about it if they are all men? If you never think to ask, that's when you are in trouble." She argues that much more needs to be done. "The theatre world remains strangely passive in the face of overwhelming evidence of its failure to address the gender imbalance both on and off stage. Programming, commissioning and casting decisions are routinely made without any consideration of gender."

Why is this 2:1 ratio so stubborn? Like so much else in English theatre, it goes back to Shakespeare. He was, of course, writing for all-male companies; and, though he wrote transcendent parts for women, there aren't very many. Of his 981 characters, 826 are male and 155 female: 16%. Women have less to say, too: of roles with more than 500 lines, only 13% are female. The most wordy of Shakespeare's heroines, Rosalind, has 730 lines. Hamlet, his most loquacious hero, has 1,539.

This means less work for women actors, and fewer opportunities for them to develop their skills via the many workaday parts available to men. The Shakespeare problem has persisted because, until relatively recently, much of British theatre relied on the repertory system: a company of actors performing a handful of different plays in a season. Shakespeare would frequently sit at the heart of such a company; many new plays would therefore tend to be written for a similar gender balance. There is something deeply culturally engrained about this: it runs so deep that we have become used to not seeing women equally represented, arguably aided by a culture of complacency. The Shakespeare inheritance has meant, says Freestone, "we've been caught thinking that 30% women is good enough. I'm not saying there's been institutional sexism, but there has been a sort of blindness to female actors because of the burden of the classical canon."

The answer to this is, surely, gender-blind casting, especially in the classics, where colour-blind casting has ceased to be a matter for comment. Phyllida Lloyd, whose current all-female Julius Caesar at the Donmar has provided a focus for recent debate, is clear: "If I were running the RSC, I would make it 50% male and 50% female actors – and then I would work out how to do the plays," she says. "It wouldn't be a stranglehold, it would be liberating."

When I speak to Doran, he tells me he has invited Lloyd to run a company of actors at the RSC on precisely those lines. "Watch this space," he says. Hytner believes he cannot impose strictures, that directors' casting decisions have to be based on their own instincts: "I am very interested in gender-blind casting and often think it is excellent. But I can't tell writers how they should write and directors how they should cast. What I admire is that the Donmar Warehouse responded to Phyllida Lloyd's desire to do Julius Caesar that way." When the National staged Timon of Athens this year (Shakespeare's most male-heavy play), five male parts were given to women – though the share of female lines increased only from 0.67% to 14%.

For many, this is not enough. "I really believe that a more imaginative approach to casting the classics will unlock all kinds of creative interpretations, and naturally feed in to all other areas – male playwrights writing female parts, more confidence in female creative teams," says Freestone. Duffy argues that fringe theatre is better balanced, and that the national companies should be leading by example – "and they are not, and I find it heartbreaking". She adds: "We have a responsibility to make the world a fairer place, and sometimes you have to do a little social engineering to make that happen." In the end, she says, "I don't know why people don't just suck that up – and get on with it."

Date a theatre girl because she is strong. She is not afraid of taking risks or being rejected. Chances are, she’s stood in line with 15 other girls wearing almost identical dresses, while a casting director has walked up and down, saying “yes”, “no”, “yes”, etc. She’s been told “no” by directors more times than she can count, because she’s too young, or too old. Too pretty or not pretty enough. But “no” to her means “not today”, and she’ll try again tomorrow.

Date a theatre girl because she is patient. She has showed up at an open call before the rest of the city is awake, only to realize that she’s number 275 and probably won’t be seen for another six hours. But she brought crossword puzzles with her and she knows how to pass the time. She’s an expert at filling minutes while she waits.

Date a theatre girl because she lives for moments. An audition is usually never more than 60 seconds — 16 bars of a song or a one-minute monologue. This is a tiny fraction of your day, a minute quickly forgotten, but to her, it is everything. For this minuscule pause, she is playing a role, perhaps a dream role; she’s investing all of those hours spent waiting in the holding room, all of that energy, channeled towards this very instant in time.

Date a theatre girl because she is passionate. You’ll notice her eyes change when she talks about performing; they’ll get a shade darker and you’ll know it’s the only thing she believes she is meant to do. That passion is in everything, you’ll realize — the way she laughs at cat videos, how she takes her best friend’s phone calls at 2am, the way she’ll tell stories about the most mundane details of the day.

Date a theatre girl because she understands people; it’s part of her job. She’ll likely be the person everyone goes to for advice; she’ll take care of you if you let her. She knows that good people can do bad things. She forgives, even if she can’t forget. She’ll say all the right words to make you feel better about your flaws, if you choose to believe her.

Date a theatre girl because she isn’t afraid of being silly. She’ll sing along to the radio while driving and serenade other cars in 5pm traffic. She’ll text you pictures of herself making the ugliest faces imaginable because she knows it will make you laugh.

Date a theatre girl because she constantly searches for the extraordinary. She chooses to feel everything to extremes in order to remember it better. She may call it sense-memory, a term from her high school acting class, but it’s habitual now, it’s in her soul. She may cry easily, but if she lets you see it, it’s because she trusts you. Some might call her overdramatic, but she opens her heart to every emotion simply because she’s no longer afraid of it breaking. She knows that one can live with holes; not every void needs to be filled.

Date a theatre girl because she will settle for nothing less than thrilling. If you allow yourself to hold her hand, she’ll make sure your world is also splattered with neon colors. Before you know it, you may catch yourself falling in love with her, and if you do, tell her so. Chances are, she’s loved you from the start.

featured image – Glee

Love is in the air with Valentine’s Day just around the corner, so if romance and PDA’s aren’t your cup of tea, it might be best to barricade the doors and windows and stay at home this Saturday. I’m not the hugest fan of the day, but I have nothing against those who do buy into the ‘hearts and flowers’ of it all; after all, a day dedicated to the celebration of love can’t be a bad thing when there are people still subjected to inequality, hate and prejudice because of who they choose to love.

Couples in long-term relationships tend to be more immune to the effects of the Love-Bug’s bite on Valentine’s Day than those in the first throes of romance. There’s nothing more exhilarating than those early days when everything is new and exciting and (hopefully!) passionate, and the heady mix of nerves and anticipation that accompanies a first date is unlike any feeling in the world. It can be a fantastic experience, and even the first step towards lifelong love and happiness – or not.

Everyone has a horror story about the worst first date they ever had, and location, location, location can be a very important factor in whether it’s likely to go well or fall flat on its face. Following that line of thought, I’ve often wondered whether a trip to the theatre for a first date is a good idea or not.

I’ve never been taken to the theatre on a first date, but one of my exes did take me to the O2 Arena to see comedian Russell Brand’s Scandalous show – the relationship continued for another four months after that. The whole night was filled with laughter and gave us plenty to talk about afterwards, so in that instance, it was a good choice on his part I suppose. It could have gone the other way though, if we hadn’t shared a similar sense of humour and gotten along with one another as well as we did.

The enjoyment of going to the theatre is a matter of individual taste, and the things one person loves in a show could be the very things another hates in it. Deciding to take someone to a play or musical on a first date should firstly depend on whether they even like the theatre however. It’s not a typical choice for a first date, and is most likely to be a success if the lucky guy or gal is already a theatre-fan as the experience is not everyone’s idea of a good time. Two and a half hours of sitting in the dark in boredom is not going to do anyone any favours in the love department!

Going on the understanding that both people on the date are theatre-goers, the next hurdle is in the choice of show to see. First of all, play or musical? Then, comedy or drama? Family friendly or adults-only content? There is so much variety in theatre that it seems an impossible task to pick which production is the best option for setting the scene of romance on that first date. You may think The Book of Mormon is the best show around and sure to be great first date material, but your idea of hilarity may not match theirs and they may very well not appreciate the ‘subtlety’ of the humour in BoM. If you’re laughing hysterically at the line, ‘I have maggots in my scrotum’, and they’re cringing in disgust, you’re probably not going to be getting that good night kiss at the end of the date, or ever seeing them again as point of fact. Similarly, weeping at a hard-hitting dramatic production while your date sits there dry-eyed is probably not going to endear you to them either. There are a million more ways a theatrical first date could end up being the worst idea you’ve ever had. Sitting together in silence for the duration of the show is probably not the best way to get to know someone anyway, and if you are a regular theatre-goer, having someone try and make conversation during the performance is a sure-fire way to kill any ideas of romance. Talking during a show is a big no-no, as is such other common annoyances as eating and using a mobile. Being on a date with a bad audience member is not likely to lead to romance.

It doesn’t have to mean that you should never go to the theatre on a first date. If you’re both theatre fans, see the right show and discover yourselves to be very like-minded people, then it could just be the best way to begin a long-lasting relationship.

By Julie Robinson: @missjulie25

Thursday 12th February 2015

It is ten years since Wendy and the Lost Boys returned from Neverland, yet Wendy still struggles to find her footing in Lost Girl, by Kimberly Belflower. In a refreshing turn on the beloved story of Peter Pan, Wendy Darling is at the center of this magical play. The show opens at American River College Theatre February 25 for six live performances (ending March 6). Recordings of the show will stream March 11-13.

Set in the here and now, this story of Wendy and the "Lost Boys" feels achingly familiar. Every character must, in some way, find a way to embrace their post-Neverland world. For Wendy (played by remarkable newcomer LiLi Young) that means releasing the memories of Peter Pan, and the joys of childhood and first love he represented so well. Fortunately, the people in Wendy's present are able to show her that growing up can be a truly positive experience... often because of the new connections to be found. That simple truth — that the connections we form with other people bring purpose and pleasure to our lives — is at the heart of the play. It is something that speaks directly to the youth of this 2022 world, especially teens and 20-somethings who have suffered so much from the loss of connection forced by pandemic restrictions.

Although Belflower's poetry-like dialogue eloquently reflects the hearts of young women, the wisdom in this play speaks to all ages and genders. From Wendy's mother who struggles to reach her distant daughter to the now-grown "Lost Boys" who truly wish Wendy could let go of the past, each character on stage offers lessons on the beauty and challenge of fully experiencing life. In the end, the story empathizes with those who have loved and lost, offers strength to those who need the courage to embrace change, and encourages the cynical to look at life through a more magical lens. With its extraordinary cast of diverse young actors, and costumes and a light designs by Elly-award winners Gail Russell and Kathy Burleson, Lost Girl will provide an evening of theatre that lingers with audience members well after the lights have faded to black.

Live performances will be at American River College's Stage 2 Theatre, 4700 College Oak Drive, Sacramento. Masks and proof of vaccination are required. Parking is free next to the theatre at the corner of College Oak and Myrtle. For live or online/digital tickets and more information, go to ARCTheatre.org, or call (916) 484-8234.

PRODUCTION DATES & DETAILS
American River College Theatre Presents
Lost Girl (run time: 80 minutes)
By Kimberly Belflower
Directed by Tracy Martin Shearer
Live Performances
Fridays/Saturdays Feb. 25-26 & March 4-5 at 8:00 pm
Sundays Feb. 27 & March 6 at 2:00 pm
Streaming Online
Fri, March 11 at 8:00 pm through Sun, March 13 midnight
Tickets: $10
For digital tickets and more info: ARCTheatre.org

Hey Broadway World, it's me again! As you may recall, back in June, I wrote a piece about why you should date a Musical Theatre major (conveniently titled, Why You Should Date a Musical Theatre Major). Well folks, here's what I know you've all been anxiously waiting for.a sequel! May I present to you; The Non-Thespian's Guide to Dating a Theatre Person.

A new school year has begun, or will soon for many. A new year full of new possibilities, and new relationships. Whether it's reuniting with your BFA bae, or landing a Zoom date with a Techie cutie, you may be wondering; if I'm not a "theatre person", how do I date one? Well, dating a girl doing theatre, let me give you some Do's and don'ts.

1) Do know that show tunes are an occupational hazard

Don't fight it, accept your fate. Give in to the call of Marvin Hamlish. Because, what will your relationship dating a girl doing theatre if you don't?

2) Don't Patronize us

This should be a hard and fast rule for any relationship, dating a girl doing theatre, but especially with theatre people. If your significant other made fun of, belittled, and or trivialized the things that you were passionate about, how would you feel? Not very good, I imagine. This isn't to say that you can't tease them and be cute about your significant other being dating a girl doing theatre theatre dork, just make sure that they're cool with it and that it's coming from a place of affection.

3) Do have theatre-themed dates, like watching a movie musical together

Showing how much you care about their interests? Going the extra mile to plan something that they would enjoy, even if you don't? Holy moly, this is such a sweet and easy date. Plus; all those golden age classic mushy-gushy movie musicals? Super duper romantic (cough cough, nudge nudge, wink wink).

4) Don't assume that we'll judge how you sing

I know that it can be intimidating to sing in front of, or *gasp* with someone trained in singing. We do it every time we have a studio class. However, we like to sing and everyone is their own worst critic. So please, don't be afraid to sing the other half of Lay All Your Love On Me with us when it comes on. We both know you want to.

5) Do hype them up!

Bring flowers to the stage door. Buy them throat coat and candy for tech week. Comment compliments on their singing posts on Instagram. To paraphrase Rachel Berry, they're like Tinkerbell. They need applause to live.

7) Don't be intimidated by our knowledge of theatre

If all you like is Hamilton and Rent, great! If the only show tune you know is Do-Re-Mi from elementary school music class, that's fine! Maybe listen to a Spotify Showtunes playlist or two if you feel like widening your range a bit.

6) Do learn the Lingo

Us theatre people have a distinct vocabulary. It's not that difficult to learn. I found this super basic primer to help you get you started:

In is down, down is front, out is up, up is back, off is out, on is in, and of course - right is left, and left is right. A drop shouldn't and a block and fall does neither. A prop doesn't and a cove has no water. Tripping is O.K. A running crew rarely gets anywhere. A purchase line will buy you nothing. A trap will not catch anything. A gridiron has nothing to do with football. A Strike is a lot of work. And a green room usually isn't.

Simple, no?

8) Don't be afraid of dating us if you don't like theatre.

.Because there's a musical all about that!

Joking aside, it's seriously ok if theatre isn't your thing. As long as you tolerate it enough to be with a theatre person, that's enough.

9) Do tell us about your interests!

Tell us about what you like to do. Us theatre people are passionate folks and want to hear what you're passionate about, too. If it's something we aren't super knowledgable about or into, we'll make an effort to try and learn, the same way you would do for dating a girl doing theatre Do know that we are more than just a grown-up theatre kid

Yes, dating a girl doing theatre, we may burst out into song like a cartoon character. Yes, we follow way too many Broadway stars in their 30's on Instagram (Jeremy Jordan is just so dreamy!), but don't think of us as old theatre-kids. We are mature, multi-faceted people with interests outside of theatre. If you're lucky enough to find yourself a theatre-person significant other, you have a passionate, dedicated, hardworking, and talented person in your life. Who may or may not know all of the lyrics to Dear Evan Hansen.

Theatre folks love a dating taller girl love story, both onstage and offstage. While there are some beautiful and lasting love stories, such as Audra McDonald and Will Swenson, there is an equal number that end in heartbreak, such as Sutton Foster and Christian Borle. I’m still not over that one.

There is a risk anytime we foray into the dating world, but it’s even greater if you, as the expression goes, “poop where you eat.” So, dating a girl doing theatre you are considering seeking romance in a stage setting, you may want to weigh the positives and negatives.

Here are some of the pros and cons of dating a fellow member of the theatre:

Pro: You can play the songs from your new show repeatedly, and while they may want to rip their ears off, they are more likely to understand.

via GIPHY

Con: An overabundance of feelings. All. The. Time.

via GIPHY

Pro: Someone will understand the pressure of Tech Week and the insanity it causes, so they won’t just think you’ve turned into a mental case.

via GIPHY

Con: There can be an underlying free online dating sites in switzerland of competition that creeps in when one of you scores a leading role and the other doesn’t.

via GIPHY

Pro: You can rehearse your scenes and discover your characters’ motivations together.

via GIPHY

Con: You both spend a lot of time advice for dating app something that may not make you any money at the end of the day. The struggle will be very real.

via GIPHY

Pro: They are less likely to get jealous watching you in a romantic scene with someone else.

via GIPHY

Con: Dating a girl doing theatre. Yes, dating a girl doing theatre, this can also be a con. It is hopefully just acting, but sometimes you can’t help it when you see your partner being romantic with someone else. Unfortunately, feelings aren’t always logical.

via GIPHY

Pro: You can talk about the show ad nauseam and they won’t just stare at you blankly.

via GIPHY

Con: You may find yourself cast in different shows and on opposite schedules, so it can be difficult to find time for each other.

via GIPHY

Pro: You get to watch each other be brilliant onstage. It’s as much a proud moment as it is a turn-on.

via GIPHY

Con: Weekend and sometimes holiday unavailability.

via GIPHY

Pro: You can support each other through the marathons that are auditions. It’s always nice to have a partner who can double as a cheerleader and a coach.

via GIPHY

Con: Fights can quickly spiral given all of the dramatic potential in the room, especially if one or both of you dating a girl doing theatre capable of crying on cue.

via GIPHY

Pro: Very little fazes you both. Changing in front of strangers? Piece of cake. Swearing? Heard it all. Dirty humor? You could write a book.

via GIPHY

Con: There’s no separation of church and state, especially if you are in the same show. You are together A LOT. And it can be hard to separate your personal life from the show. Issues from the theatre can get dragged home.

via GIPHY

Whether the relationship ends up being the love of your life or goes up in flames faster than dry grass in the dead heat of summer, you will hopefully have discovered a new part of yourself along the way. So take your shot, explore and find someone who sets your heart on fire as much as being onstage does.

Have you ever dated someone dating a girl doing theatre the theatre? What are the pros and cons? Let us know in the comments below!

Date a theatre girl because she is strong. She is not afraid of taking risks or being rejected. Chances are, she’s stood in line with 15 other girls wearing almost identical dresses, while a casting director has walked up and down, dating a girl doing theatre, saying “yes”, “no”, “yes”, dating a girl doing theatre, etc. She’s been told “no” by directors more times dating a girl doing theatre she can count, because she’s too young, or too old. Too pretty or not pretty enough. But “no” to her means “not today”, and she’ll try again tomorrow.

Date a theatre girl because she is patient. She has showed up at an open call before the rest of the city is awake, only to realize that she’s number 275 and probably won’t be dating a girl doing theatre for another six hours. But she brought crossword puzzles with her and she knows how to pass the time. She’s an expert at filling minutes while she waits.

Date a dating a girl doing theatre girl because she lives for moments. An audition is usually never more than 60 seconds — 16 bars of a song or a one-minute monologue. This is a tiny fraction of your day, a minute quickly forgotten, but to her, it is everything. For this minuscule pause, she is playing a role, perhaps a dream role; she’s investing all of those hours spent waiting in the holding room, all of that energy, channeled towards this very instant in time.

Date a theatre girl because she is passionate. You’ll notice her eyes change when she talks about performing; they’ll get a shade darker and you’ll know it’s the only thing she believes she is meant to do. That passion is in everything, you’ll realize — the way she laughs at cat videos, how she takes her best friend’s phone calls at 2am, the way she’ll tell stories about the most mundane details of the day, dating a girl doing theatre.

Date a theatre girl because she understands people; it’s part of her job. She’ll likely be the person everyone goes to for advice; she’ll take care of you if you let her. She knows that good people can do bad things. She forgives, even if she can’t forget. She’ll say all the right words to make you feel better about your flaws, if you choose to believe her.

Date a theatre girl because she isn’t afraid of being silly. She’ll sing along to the radio while driving and serenade other cars in 5pm traffic. She’ll text you pictures of herself making the ugliest faces imaginable because she knows it will make you laugh.

Date a theatre girl because she constantly searches for the extraordinary. She chooses to feel everything to extremes in order to remember it better. She may call it sense-memory, a term from her high school acting class, but it’s habitual now, it’s in her soul. She may cry easily, but if she lets you see it, it’s because she trusts you. Some might call her overdramatic, but she opens her heart to every emotion simply because she’s no longer afraid of it breaking. She knows that one can live with holes; not every void needs to be filled.

Date a theatre girl because she will settle for nothing less than thrilling. If you allow yourself to hold her hand, she’ll make sure your world is also splattered with neon colors. Before you know it, you may catch yourself falling in love with her, and if you do, tell her so. Chances are, she’s loved you from the start.

featured image – Glee

I sat down with a couple of young adults to get their opinion on 10 basic trends of modern dating. Check out the quiz at the bottom to find out your ideal date spot!

1) How should a guy ask a girl out?
GUY: Text her that you want to get together and then ask her in person.
GIRL: Ask her in person and be very direct about it. Call it a date. Don’t beat around the bush.

2) Where do you go/what do you do on the first date?
GUY: Definitely a bar for drinks; easy to get out of if things go south.
GIRL: Coffee. Dinner or an event should be saved for the 2nd date, dating a girl doing theatre, once you know whether or not he’s crazy.

3) What is your budget for a first date?
GUY: I’m willing to go up to $75 if I’m really trying to impress her.
GIRL: $20, since we’re only going to do coffee.

4) Who pays for a first date?
GUY: I plan on paying, but if she insists on going dutch that’s fine with me.
GIRL: If he isn’t paying, I’m not staying.

5) On a first date, does the guy pick the girl up or do they meet somewhere?
GUY: Meet up.
GIRL: Meet up. It black farmers in hinesville georgia dating seniors safe to be without a mode of transportation with someone you don’t know.

6) When does a relationship become “Facebook Official?” – when you announce on Facebook you are in a relationship
GUY: Whenever she tells me to or I see that she has changed her relationship status.
GIRL: When you are ready to tell your parents.

7) When do you “meet the parents?”
GUY: 3 months in, if it’s serious.
GIRL: Anytime after you become “Facebook Official.”

8) How many dates should you go on before sex?
Dating a girl doing theatre If all seems right, go for it on the 1st or 2nd date. But if not, it’s okay to wait! It depends on the person.
GIRL: Usually three, but I’ve definitely done it on the first date.

9) How long should a couple wait before moving in together?
GUY: At least a year.
GIRL: 1 – 2 years.

10) How long should a couple wait before getting engaged?
GUY: A year minimum, preferably 2 or more.
GIRL: 2 – 3 years.

Where should you go on a first date?

Take this quiz to find out!

See All Posts

It is ten years since Wendy and the Lost Boys returned from Neverland, yet Wendy still struggles to find her footing in Lost Girl, by Kimberly Belflower. In a refreshing turn on the dating a girl doing theatre story of Peter Pan, Wendy Darling is at the center of this magical play. The show opens at American River College Theatre February 25 for six live performances (ending March 6). Recordings of the show will stream March 11-13.

Set in the here and now, this story of Wendy and the "Lost Boys" feels achingly familiar. Every character must, in dating a girl doing theatre way, find a way to embrace their post-Neverland world. For Wendy (played by remarkable newcomer LiLi Young) that means releasing the memories of Peter Pan, and the joys of childhood and first love he represented so well. Fortunately, the people in Wendy's present are able to show her that growing up can be a truly positive experience. often because of the new connections to be found. That simple truth — that the connections we form with other people bring purpose and pleasure to our lives — is at the heart of the play. It is something that speaks directly to the youth of this 2022 world, especially teens and 20-somethings who have suffered so much from the loss of connection forced by pandemic restrictions.

Although Belflower's poetry-like dialogue eloquently reflects the hearts of young women, the wisdom in this play speaks to all ages and genders. From Wendy's mother who struggles to reach her distant daughter to the now-grown "Lost Boys" who truly wish Wendy could let go dating a girl doing theatre the past, each character on stage offers lessons on the beauty and challenge of fully experiencing life. In the end, the story empathizes with those who have loved and lost, offers strength to those who need the courage to embrace change, and encourages the cynical to look at life through a more magical lens. With its extraordinary cast of diverse young actors, and costumes and a light designs by Elly-award winners Gail Russell and Kathy Burleson, Lost Girl will provide an evening of theatre that lingers with audience members well after the lights have faded to black.

Live performances will be at American River College's Stage 2 Theatre, 4700 College Oak Drive, Sacramento. Masks and proof of vaccination are required. Parking is free next to the theatre at the corner of College Oak and Myrtle. For live or online/digital tickets and more information, go to ARCTheatre.org, or call (916) 484-8234.

PRODUCTION DATES & DETAILS
American River College Theatre Presents
Lost Girl (run time: 80 minutes)
By Kimberly Belflower
Directed by Tracy Martin Shearer
Live Performances
Fridays/Saturdays Feb. 25-26 & March 4-5 at 8:00 pm
Sundays Feb. 27 & March 6 at 2:00 pm
Streaming Online
Fri, March 11 at 8:00 pm through Sun, March 13 midnight
Tickets: $10
For digital tickets and more info: ARCTheatre.org

"It's a big world in here" is the ringing phrase the Young Vic theatre in London has adopted as its motto. It's a nice play on Shakespeare, for, as he said, all the world's a stage (not for nothing did he call his own theatre the Globe). On stage, real people act out human desires and dilemmas in front of a live audience: at its best, theatre is the art form that best represents the world.

Except that it doesn't. Some months ago, the staging of two all-male Shakespeare productions at the Hampstead theatre in London uncorked an explosion of frustration from women actors, writers and directors. There was a sense of basic injustice – actor Janet Suzman talked of a "really frustrating" career where there "aren't bloody well enough parts for women"; deeper concerns were dating a girl doing theatre expressed.

This failure to represent women, argued the actor, writer and director Stella Duffy, was deeply entwined with society's wider failure to put women's voices on an equal footing with men's. A sense of responsibility to the world was, she said, being ducked – particularly by our larger national stages. In an impassioned blogpost, she wrote: "When we do not see ourselves on stage we are reminded, yet again, that the people running our world (count the women in the front benches if you are at all unsure) do not notice when we are not there. That they think men (and yes, white, middle-class, middle-aged, able-bodied men at that) are all we need to see."

After I wrote an article quoting Suzman and others, dating a girl doing theatre, Elizabeth Freestone, artistic director of Pentabus dating a girl doing theatre, wrote to me. While an artist-in-residence at the National Theatre, she had done her own research into women in theatre, which she offered to show me. She had also done fascinating work on Shakespeare, unlocking some of the root causes of this imbalance.

The Guardian teamed up with Freestone, and we extended and updated her research. Her headline figure had been that there was a "2:1 problem" in English theatre, or two men for every woman; this was borne out by our new findings, too. Women are seriously underrepresented on stage, among playwrights and artistic directors, and in creative roles such as designers and composers. On the other hand, women are a substantial majority when it comes to the audience, dating a girl doing theatre. According to Ipsos Mori figures produced for the Society of London Theatre in 2010, women make up 68% of theatregoers.

We looked at the top 10 subsidised theatres in England – those best placed to provide leadership – and at their record in dating a girl doing theatre financial year 2011-12. (One important detail to bear in mind: the National Theatre and the Royal Shakespeare Company received at least six times more dating a girl doing theatre than the next-best-funded theatre, the Royal Court in London.)

The 2:1 problem begins at board level. Our sample had an average of 33% women on their boards; only one, the Royal Court, has a majority female board. Women accounted for 36% of the artistic directors; executive directors were much better represented at 67%. Of the actors employed by the 10 theatres, 38% were female, with the National coming out worst at 34%.

Of directors, only 24% employed were women; and when we examined creative teams (directors, designers, sound designers, composers), 23% were women. We found, too, that women in creative roles were less celebrated. In 36 years of Olivier awards, women have won only dating a girl doing theatre for director (Deborah Warner, in 1988 and 1992) and four times for playwright (Caryl Churchill, Timberlake Wertenbaker, Pam Gems and Katori Hall).

We were aware that our statistics did not dig into the subtleties of women's careers. Josie Rourke and Kate Pakenham, dating a girl doing theatre, the artistic and executive directors of the Donmar Warehouse, tell me their office is almost entirely staffed by women in their 20s and early 30s. But will they rise through the ranks? "For me," says Rourke, "a huge part of the conversation is how you stick at it in your 30s, and what motivates dating a girl doing theatre to move from middle to senior management." For those in freelance roles, the theatre is a hard place to sustain a career and children: no pension, no maternity leave, a nomadic lifestyle, unsociable hours. "It will take huge wisdom and honesty for theatre to investigate its culture," says Rourke.

The weight of history is not on the side of female playwrights: the canon is overwhelmingly male. Even so, we were surprised to learn that one of our top 10, Chichester festival theatre, employed no dating a girl doing theatre directors and produced no plays by women over the period we looked at. Artistic director Jonathan Church suggested this was an anomalous sample; he also pointed to the financial pressures on regional theatres and the need, dating a girl doing theatre, when programming contemporary or 20th century work for a big auditorium, to put on "names" that have had West End success, such as Coward, Ayckbourn, Stoppard, Hare, Rattigan: all men.

There is currently a blooming of extraordinary female voices in theatre, among them Lucy Kirkwood, Lucy Prebble and EV Crowe. Yet we found that women writers accounted for only 35% of the new plays produced – another expression of the "2:1 problem", dating a girl doing theatre. There is, however, some cause for hope: 41% of the plays commissioned by our theatres, but yet to reach the stage, are by women. Nicholas Hytner, dating a girl doing theatre, artistic director of the National, sees this as a hugely positive sign: "I won't put a date on it, but in not too many years the gender balance of directors and writers will be 50-50. I can say that with confidence because I look at directors and writers in their 20s and 30s and it is 50-50."

Still, there are nuances behind such figures. Of the seven plays by women produced at the Royal Court in this period, all but one were staged in its smaller auditorium: meaning a smaller fee, fewer royalties, a lower profile. If these women are being nurtured towards bigger careers, so much the better; but will they be allowed to make the leap? The playwrights I spoke to talked of careers that had dating a girl doing theatre in their 20s and stalled in their 30s. The really big commissions had never come, and they found their male peers outstripping them. Some had turned to screenwriting: still tough, but, according to playwright Zinnie Harris, "In TV, I haven't encountered the feeling that you're not going to get to the dating a girl doing theatre because you are a woman."

Only two original plays by women have ever been staged in the largest auditorium at the National: Rebecca Lenkiewicz's Her Naked Skin in 2008, and Moira Buffini's Welcome to Thebes in 2010. According to writer Tanika Gupta, who has a new play at the Swan in Stratford next year, there is an underlying doubt about the material women are capable of taking on. "The argument is that women can write very good domestic drama, but are not intellectually rigorous enough to do the big plays. We need to be given the chance to write those state-of-the-nation plays."

Harris adds: "It is somehow harder for people to embrace a play written by a woman, whatever its quality, dating a girl doing theatre. There is something slightly unseemly about filling stages with our voices, whereas men have a sense of filling Chekhov's or Ibsen's shoes. The woman who raises her voice becomes shrill and hectoring; the man becomes authoritative." She believes the media is at fault, too. "When plays by women don't work, they are over-condemned. With men, they are seen as a step on the way to developing an interesting voice." The statistics bore out what we had suspected: women playwrights write more roles for women than their male counterparts. Women wrote 49% of their parts for women; men wrote 37%.

A clear message began dating a girl doing theatre emerge about the importance of women running instititutions. Female artistic directors had staged many more plays by women than their male counterparts. Roxana Silbert at the Birmingham Rep came out top: 32% of the plays she has directed are by women. She was followed by all the remaining women. Then came David Lan at the Young Vic (15%), followed by all the remaining men. Neither Hytner nor Gregory Doran, artistic director of the RSC, dating a girl doing theatre, has ever directed a play by a woman.

It is clear that history comes into play here: both men have had careers that focus on the classics, with Doran a specialist in the 16th- and 17th-century repertoire. When I put this to Hytner, he said he believed his own record was "irrelevant: there are all sorts of things I have never directed because I am not very good at directing that kind of thing". Freestone disagrees: "Profile and visibility matter. Those in charge of national organisations have a responsibility to show leadership." Vicky Featherstone, who in April becomes artistic director of the Royal Court (England's most important theatre for new writing), dating a girl doing theatre, says: "It is a no-brainer that there should be equal representation of men and women in the theatre. It is absolute common sense and I expect nothing less."

Our research was not intended to browbeat individuals. Rather, it was meant to focus debate on fact rather than anecdote, and to encourage theatres to take gender into account, dating a girl doing theatre. As Freestone puts it, "This is about asking: are you thinking about gender balance? Do you ask the question? If you have 10 writers under commission do you think about it if they are all men? If you never think to ask, that's when you are in trouble." She argues that much more needs to be done. "The theatre world remains strangely passive in the face of overwhelming evidence of its failure to address the gender imbalance both on and off stage. Programming, commissioning and casting decisions are routinely made without any consideration of gender."

Why is this 2:1 ratio so stubborn? Like so much else in English theatre, dating a girl doing theatre, it goes back to Shakespeare. He was, of course, writing for all-male companies; and, though he wrote transcendent parts for women, there aren't very many. Of his 981 characters, 826 are male and 155 female: 16%. Women have less to say, too: of roles with more than 500 lines, only 13% are female. The most wordy of Shakespeare's heroines, Rosalind, dating a girl doing theatre, has 730 lines. Hamlet, dating a girl doing theatre, his most loquacious hero, has 1,539.

This means less work for women actors, and fewer opportunities for them to develop their skills via the many workaday parts available to men. The Shakespeare problem has persisted because, until relatively recently, much of British theatre relied on the repertory system: a company of actors performing a handful of different plays in a season. Shakespeare would frequently sit at the heart of such a company; many new plays would therefore tend to be written for a similar gender balance. There is something deeply culturally engrained about this: it runs so deep that we have become used to not seeing women equally represented, arguably aided by a culture of complacency. The Shakespeare inheritance has meant, says Freestone, "we've been caught thinking that 30% women is good enough. I'm not saying there's been institutional sexism, but there has been a sort of blindness to female actors because of the burden of the classical canon."

The answer to this is, surely, gender-blind casting, especially in the classics, where colour-blind casting has ceased to be a matter for comment. Phyllida Lloyd, whose current all-female Julius Caesar at the Donmar has provided a focus for recent debate, is clear: "If I were running the RSC, I would make it 50% male and 50% female actors – and then I would work out how to do the plays," she says. "It wouldn't be a stranglehold, dating a girl doing theatre would be liberating."

When I speak to Doran, he tells me he has invited Lloyd to run a company of actors at the RSC on precisely those lines. "Watch this space," he says. Hytner believes he cannot impose strictures, that directors' casting decisions have to be based on their own instincts: "I am very interested in gender-blind casting and often think it is excellent. But I can't tell writers how they should write and directors how they should cast. What I admire is that the Donmar Warehouse responded to Phyllida Lloyd's desire to do Julius Caesar that way." When the National staged Timon of Athens this year (Shakespeare's most male-heavy play), five male parts were given to women – though the share of female lines increased only from 0.67% to 14%.

For many, this is not enough. "I really believe that a more imaginative approach to casting the classics will unlock all kinds of creative interpretations, and naturally feed in to all other areas – male playwrights writing dating a girl doing theatre parts, more confidence in female creative teams," says Freestone. Duffy argues that fringe theatre is better balanced, and that the national companies should be leading by example – "and they are not, and I find it heartbreaking". She adds: "We have a responsibility to make the world a fairer place, and sometimes you have to do dating a girl doing theatre little social engineering to make that happen." In the end, she says, "I don't know why people don't just suck that up – and get on with it."

Love is in the air with Valentine’s Day just around the corner, so if romance and PDA’s aren’t your cup of tea, it might be best to barricade the doors and windows and stay at home this Saturday. I’m not the hugest fan of the day, dating a girl doing theatre, but I have nothing against those who do buy into the ‘hearts and flowers’ of it all; after all, a day dedicated to the celebration of love can’t be a bad thing when there are people still subjected to inequality, hate and prejudice because of who they choose to love.

Couples in long-term relationships tend to be more immune to the effects of the Love-Bug’s bite on Valentine’s Day than those in the first throes of romance. There’s nothing more exhilarating than those early days when everything is new and exciting and (hopefully!) passionate, and the heady mix of nerves and anticipation that accompanies a first date is unlike any feeling in the world. It can be a fantastic experience, and even the first step towards lifelong love and happiness – or not.

Everyone has a horror story about the worst first date they ever had, and location, location, location can be a very important factor in whether it’s likely to go well or fall flat on its face. Following that line of thought, I’ve often wondered whether a trip to the theatre for a first date is a good idea or not.

I’ve never been taken to the theatre on a first date, but one of my exes did take me to the O2 Arena to see comedian Russell Brand’s Scandalous show – the relationship continued for another four months after that. The whole night was filled with laughter and gave us plenty to talk about afterwards, so in that instance, it was a good choice on his part I suppose. It could have gone the other way though, if we hadn’t shared a similar sense of humour and gotten along with one another as well as we did.

The enjoyment of going to the theatre is a matter of individual taste, and the things one person loves in a show could be the very things another hates in it. Deciding to take someone to a play or musical on a first date should firstly depend on whether they even like the theatre however. It’s not a typical choice for a first date, and is most likely to be a success if the lucky guy or gal is already a theatre-fan as the experience is not everyone’s idea of a good time. Two and a half hours of sitting in the dark in boredom is not going to do anyone any favours in the love department!

Going on the understanding that both people on the date are theatre-goers, the next hurdle is in the choice of show to see. First of all, play or musical? Then, comedy or drama? Family friendly or adults-only content? There is so much variety in theatre that it seems an impossible task to pick which production is the best option for setting the scene of romance on that first date. You may think The Book of Mormon is the best show around and sure to be great first date material, but your idea of hilarity may not match theirs and they may very dating a girl doing theatre not appreciate the ‘subtlety’ of the humour in BoM. If you’re laughing hysterically at the line, ‘I have maggots in my scrotum’, and they’re cringing in disgust, you’re probably not going to be getting that good night kiss at the end of the date, or ever seeing them again as point of fact. Similarly, weeping at a hard-hitting dramatic production while your date sits there dry-eyed is probably not going to endear you to black speed dating los angeles either. There are a million more ways a theatrical first date could end up being the worst idea you’ve ever had. Sitting together in silence for the duration of the show is probably not the best way to get to know someone anyway, and if you are a regular theatre-goer, having someone try and make conversation during the performance is a sure-fire way to kill any ideas of romance. Talking during a show is a big no-no, as dating a girl doing theatre such other common annoyances as eating and using a mobile. Being on a date with a bad audience member is not likely to lead to romance.

It doesn’t have to mean that you should never go to the theatre on a first date. If you’re both theatre fans, see the right show and discover yourselves to be very like-minded people, then it could just be the best way to begin a long-lasting relationship.

By Julie Robinson: @missjulie25

Thursday 12th February 2015