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Curtain Call: Lauren Blair takes a leading role in OCT’s ‘White Christmas’ By Jim Flint Oct 28, 2022 04:15 AM A A 3 View all photos Lauren Blair, here in a scene from Collaborative Theatre Project's "Elf" as Emily Hobbs, will play a leading role in Oregon Cabaret's "White Christmas" at OSF's Thomas Theatre. Submitted photo Lauren Blair works with Teen Musical Theatre of Oregon dancers, choreographing a number for "High School Musical." Submitted photo Lauren Blair will appear in Oregon Cabaret Theatre's "White Christmas" during the holidays at OSF's Thomas Theatre. Submitted photo Lauren Blair began her university studies as a voice major and dance minor, switched majors and colleges to pursue a degree in fashion design, and has enjoyed a successful career as a costume designer, director and choreographer. But when Oregon Cabaret Theatre’s “White Christmas” opens Dec. 1 at OSF’s Thomas Theatre, she’ll strut her stuff on stage as one of the leads in the holiday classic. She plays Rita, one of two dancing sisters in Bob and Phil’s touring show. “Rita and Rhoda are flirty and silly and like to stir up a little trouble,” Blair said. “That will be super fun. I’m so excited to finally be doing a true dance show again since moving up to the valley. I’ve played a lot of fun roles in this area, but I’ve missed dancing my butt off!” Blair came to the Rogue Valley from L.A. in 2016 at the behest of Valerie Rachelle, artistic director of the Oregon Cabaret Theatre. “She and I had worked at Morgan-Wixson Theatre in Santa Monica, but never at the same time,” Blair explained. People would often ask Blair if she had ever met Rachelle, noting their theatrical styles and methodologies were similar. “Once I made the decision in 2015 to pursue a career in directing, I just took a leap and reached out to her. We still had never met.” Blair offered to assistant direct for Rachelle if she ever needed help. “She wrote back almost immediately and said, ‘Come on up!’ My first gig at the Cab was AD for Val for the 2016 production of ‘Ring of Fire.’ I fell in love with Ashland instantly,” she said. She returned in 2017 for “Noises Off,” then had three contracts in 2018 and five in 2019, working every show that season. “By mid-2018, I started considering Ashland home,” she said. “It was made official when my husband finished his master’s program in 2018 and moved up from L.A. to join me.” Although she has worked for other companies in the Rogue Valley, she particularly values her time at the Cabaret, praising Rachelle for her encouragement and mentorship. “There’s a lot of insecurity in theater and often people are threatened by the talent around them,” Blair said. “Theater is still predominantly a man’s world. One of the greatest pleasures I have working regularly at OCT is seeing women being brought into all aspects of theater-making — directors, designers, stage managers, production managers. Women supporting each other and lifting up the whole team.” As an example, she noted that there were 15 women, including herself, working on the production team for “The Full Monty.” “That’s groundbreaking in the world of theater,” she said. In the valley, she has directed, choreographed and performed for OCT, choreographed productions for Teen Musical Theatre of Oregon, directed, choreographed and performed for Collaborative Theatre Project, and performed at Camelot Theatre Company. She also is on faculty at Southern Oregon University, teaching musical theater and dance. After earning a B.S. in fashion design from the University of Cincinnati and an M.A. in theater arts and dance from California State University, Los Angeles, she pursued a career in costume design in the L.A. area, working on independent films, commercials and TV shows. “My favorite was being a costumer for the very first season of ‘Dancing with the Stars.’ Gorgeous costumes and dance, my two favorite things. But after two years on set, I realized how much I truly missed theater. So, I shifted careers again in 2006 and never looked back.” She started dancing at the age of 5 with ballet classes. But she didn’t really fall in love with dance until she discovered musical theater at age 12. “From that moment on I pursued all things theater voraciously,” she said. She attended the arts program at University of Cincinnati’s College Conservatory of Music Preparatory Department, a program designed to teach musical theater to young performers. “For several years I studied voice, dance and acting from theater professionals, Broadway performers and highly trained educators,” she said. “At age 14, I met my amazing lifelong mentor, Dee Anne Bryll, who ran the program. As a teen, I never dreamed of having a career like hers, but it’s certainly no coincidence that now I do.” Bryll is the one who taught her to tap dance, convincing her to join a class. Blair thought it would be a beginners’ class, but it turned out to be an advanced class, the only one available at the time. “Every week, I hid in the back, trying my best, and would go home and cry with frustration that I wasn’t picking it up fast enough,” she said. “But Dee Anne was patient and I was determined. At the end of the year, I happily performed with my classmates for the program’s showcase.” While building her director/choreographer résumé, she worked part-time for almost a decade in the costume shop at Santa Monica College. “I no longer need the costume work to supplement my career, so when I take on a costume design gig now, it’s because I’m just dying to design the show,” she said. She doesn’t discount her studies in fashion design. In fact, she credits her design study as key in her success as a director and choreographer. “My designs were always way more theatrical than practical, so the theater nerd in me lived on.” She’s had some memorable acting roles along the way. “I really enjoy exploring gender performativity onstage and was lucky to play a Wickersham brother in ‘Seussical’ a few years back,” she said. “It was the most fun I’ve had onstage.” One of the most difficult roles was as Brooke Wyndham in “Legally Blonde.” “Jumping rope for an entire number while belting out high C’s is an experience that I’m grateful for, but will likely not repeat again!” A career in the theater is not without its lows as well as its highs, but Blair has never let a challenge get her down. “My dad raised me on the Edison quote, ‘I have not failed. I’ve just found 10,000 ways that won’t work.’ So, I view the more challenging or disheartening experiences as opportunities to further identify my contributions and define my boundaries,” she said. Are there any dream roles on her bucket list? “For the longest time, it was my dream to play Peter Pan, but that role’s a bit young for me now,” she said. “I’d love to play Tanya in ‘Mamma Mia’ and Morticia in ‘The Addams Family.’ Both are sassy women of a certain age who still get to dance their tails off. Right in my wheelhouse!” In 2023, Blair will be stepping into a larger leadership role at OCT, “which I’m super pumped about,” she said. She’ll be directing their production of “Five on Fire” in the spring, and will continue teaching at SOU. “And I hope to get up onstage at some time next year,” she added. From the sound of it, Lauren Blair’s “wheelhouse” is a pretty big one. Reach writer Jim Flint at [email protected].