u/AdEconomy501

Hi! I’m trying to figure out if this is normal or I should look into an OB/GYN. For reference, I’m F19.

I feel like constantly wet down there. I live in the midwest, so I am aware that humidity and sweat could potentially be a contributor, but there’s so much moisture that sometimes I have to change multiple times a day. And before people ask, I am not aroused. I also don’t know if I’m experiencing excessive discharge, sweat, or something else. I’m not sure even what that would look like.

I’ve noticed that I usually get a soft, whitish buildup around my vulva area. It isn’t hard or crusty, and I can wash it away, but then a week or two later there is more. I do try to wash multiple times a day, but I do at the very least have a daily shower. I’m wondering if that could potentially be making things worse?

Another thing that may be relevant is that my periods are extremely irregular. I can sometimes go a multitude of months without getting one and I currently haven’t had one for almost 7 months. I don’t have any sexual activity so pregnancy/STIs are not a possibility.

I’m kinda lost here, so please help or point me toward resources!

Hey everyone! I’m hoping to participate as a student vendor at the Redbird Market this year (assuming they’ll do it again), and I’m trying to figure out what ISU students would actually be interested in buying.

From what I understand, food and drink products aren’t allowed, so I’m looking for other ideas.

If you were walking around the event, what would actually make you stop and buy something? I’d love to hear what you’d realistically spend money on (and around what price point).

Just getting a head start on things, thanks!

Hi everyone!

I’m in the process of designing costumes for a community theatre production of Pippin, and I’d love to hear how other designers would interpret this email from the director. This is my first “big” costume design project, so I’m currently reading through the script, taking notes, collecting references, and making some very rough sketches.

I’m a little overwhelmed (in the best way), and I’d really appreciate some outside perspectives and advice before I get too deep into the design process.

— —

Here’s the director’s concept:

Pippin has always been one of my absolute favorite musicals of all time, partially because there is absolutely so much to explore thematically… I think you could deep dive forever and never get to the end of things to ponder. But what really struck me as I was thinking about what I would do with this show is the parallel between Pippin’s meta-story and our present societal drive to have turn even the most mundane bits of our lives into fodder for public consumption and the subsequent obsession with our content (ourselves) going viral. Though the show was written before the internet was even a way to gain visibility, Pippin makes his choices for a majority of the show (or is manipulated into making the choices of the Leading Player) simply measured by the way others then see him and by the dopamine hit it brings him (in so many words). I think this makes it an especially poignant piece for this moment when we as a society are stepping back to asses both in this waning crest of social media and on the brink of an unprecedented rise in AI what it means to really live a life in the real world; it’s such a lovely and bittersweet mirror because we never even know who “Pippin” (the actor) is in his real world, and the only true glimpse we get of him outside of his totally fabricated (and increasingly obsessive) life is in the show’s final moments. One of the brilliant pieces of how this show is constructed is that it’s completely outside of time; the only temporal references are within the show that has been written to take place in the ancient past, but the theatre troupe could be anyone, anywhere, and in any time. I wouldn’t want to go full bore with a bunch of forced modernization, but I would contemplate a judicious use of some contemporary elements throughout when the actors “break character”, especially in the finale. I think it’s important that we don’t see this story as a problem other people have… we need to feel it as personal and urgent.

I wouldn’t want to reinvent the wheel as far as the feel of the original production—I love the freedom of the black box type set and having so much play within the use of very representational props, almost like we’re pulling found items out of a chest. I think that gives the actors a lot of agency within rehearsal to create their own humorous moments, and it also makes the sudden shift toward dead seriousness at the end more jarring. Costumes should be the same—visually interesting but much more representational than hyper-realistic, especially in the context of The Play. I would want a choreographer who is comfortable with both creating some original material and teaching some of the iconic Fosse bits, particularly the Glory trio, assuming we end up with dancers who are able to pull it off.

— —

A few questions I’d love your thoughts on (of course I have many more and I’m sure you may too! Please ask away or dm!!) What stands out to you as the biggest costume design takeaway? When you read this, what colors, silhouettes, fabrics, or overall aesthetic immediately come to mind? If you were building a costume concept from this email alone, where would you start? Would you consider a modern look with some pieces from the timeline?

I’m not looking for anyone to design the show for me, I just want to hear different interpretations and thought processes from more experienced designers. Since this is my first major design gig, I’m trying to make sure I’m understanding the director’s vision before I start committing to concepts.
Any advice, tips, or even just how you would approach this would mean a lot. Thank you!

Hey everyone!

I have the opportunity to costume design Pippin, and while I’m waiting to meet with the director to hear their vision, I’ve been sketching out some concepts of my own.

One idea I keep coming back to is dressing the Players/ensemble with a vibe similar to & Juliet, which is keeping hints of a medieval silhouette since the story is based around Charlemagne’s era, but styling it with modern pieces, textures, and layering. Since this is community theatre, we’ll probably be pulling a lot more than building, so I’m trying to come up with a concept that’s achievable while still feeling intentional. Building is still an option, though!

I haven’t been able to dive deeply into the script yet (there was an issue getting scripts to production cast, and I’m currently out of town for summer), so I’m looking more for general design advice than scene-specific ideas.

A few questions I have are would you keep the Players in a fairly cohesive “uniform” look, or would you differentiate them individually? If you differentiated them, how and when? Any thoughts on color palettes or textures? How would you approach costumes for characters like Pippin, Leading Player, Catherine, Berthe, etc. while still keeping a cohesive world?

I’d love to hear about concepts you’ve seen, ideas you’re willing to share, or things you would do instead. Thanks!

Hi everyone! My birthday is coming up, and I’ve decided I want to invest in building my costume construction skills. I’ve spent years designing costumes on paper, and now I really want to start bringing my own designs to life. My goal is to get better at taking a costume from concept sketch to something that can actually be on stage.

I already have a basic sewing machine (it works, but it’s definitely entry-level), a serger that I can borrow, a growing collection of sketches and costume renderings, and a love for upcycling (I spend way too much time wandering through Goodwill looking at curtains, tablecloths, dresses, etc. for fabric).

I’m hoping to ask for some supplies for my birthday, and I’d love recommendations from people who actually do this.

Some questions:

What’s the best dress form/mannequin that’s affordable but still worth buying?

If I eventually upgrade my sewing machine, what models should I look into?

What tools or supplies do you wish you’d bought sooner?

Any books, YouTube channels, or online resources that really helped you improve?

And finally, for those of you who work in theatre or costume shops: what advice would you give someone who’s trying to make the leap from designing costumes on paper to actually constructing them? What do you wish someone had told you when you were starting out?

I’d love to hear any tips, favorite tools, budget recommendations, or even things to avoid buying. Please keep in mind that I am a college student.

Thanks in advance!

Hi! I’m looking to spark a discussion about conceptual approaches to theatre and hear ideas from fellow directors, designers, actors, and just fans of theatre!

Is there a play (common or uncommon, please put me onto new shows!) that you’ve always wished someone would approach differently? Maybe a different historical period, different perspective, unconventional setting, a distinct visual, or concept that changes the story for an audience while still serving the script?

I’m a theatre student with a strong interest in production and costume design, and I’m looking for new concept ideas to research and work on. I want to be clear when I say that I am not asking anyone to do any work for me.

What concepts have been living in your head that you wish someone would finally produce?

I wasn’t planning on making this a post.

In fact, I’ve opened Reddit a dozen times over the last 24 hours, typed something out, deleted it, and told myself I was being dramatic.

But maybe someone out there needs to hear this as much as I needed to live it.

On Saturday, I closed my run as Mayzie LaBird in Seussical.

If you had asked me before rehearsals started what show would completely change my life, Seussical the Musical would’ve been one of the last answers I’d have given.

A silly Dr. Seuss musical? Really?

And yet… here I am.

Before this production, I was exhausted.

Not just physically, but emotionally.

I was questioning everything

I questioned my major. I questioned whether theater education was the right path. I questioned whether pursuing art in a world that often doesn’t seem to value it was selfish or unrealistic. I wondered if all the years of auditions, rehearsals, late nights, missed holidays, sacrifices, tears, and hard work had actually meant anything.

But if I’m being honest, theater wasn’t really what I was questioning.

I was questioning myself.

I’d spent so long comparing myself to everyone around me that I stopped seeing myself altogether. Every audition became another reminder of someone who could sing higher, act better, or simply do things more naturally than I could. I wasn’t the person everyone talked about after auditions. I didn’t receive a callback for the character I wanted. I just wasn’t the obvious choice. Somewhere along the way, I started convincing myself that being “good enough” would never actually be enough.

Depression has a funny way of turning every room into a mirror. Every compliment feels like pity. Every success feels like luck. Every mistake becomes evidence that the voice in your head has been telling the truth all along.

It became exhausting to exist inside my own mind.

I had spent so much time measuring myself against everyone else that I couldn’t remember what I loved about myself in the first place. The passion that had carried me through years of theater slowly got buried under self-doubt, comparison, and the constant feeling that I was always one step behind.

I don’t say that for sympathy. I say it because I know I’m not the only artist who’s ever felt that way.

I was genuinely preparing myself to let go of the dream I’d carried for years.

Then rehearsals started.

Somewhere between learning the music, laughing until rehearsal had to stop because none of us could keep it together, crying over moments I never expected to cry over, and stepping into those wonderfully ridiculous costumes, something inside me quietly started healing.

I got to play Mayzie, a character who is often dismissed as vain, selfish, or comic relief, but I found so much humanity in her. She reminded me that people are complicated. That we all make mistakes. That we all want to be seen. That sometimes the people who seem the loudest are the ones trying the hardest to be heard. That even flawed people deserve compassion.

But more than that…

This cast reminded me what theater actually is.

It’s watching strangers become family.

It’s staying after rehearsal until midnight because nobody wants the night to end.

It’s laughing so hard you can’t get through a scene.

It’s hearing a child laugh from the audience so genuinely that you almost laugh right along with them.

It’s watching kids leave the theater pretending to be Whos, Birds, and Jungle Creatures, carrying an entirely new world home with them.

It’s watching someone step onto a stage for the very first time and discover a part of themselves they never knew existed.

It’s seeing people who may never agree on politics, religion, backgrounds, or life experiences stand and tell one story together.

It’s creating something that only exists because every single person, from the leads to the ensemble, from costumes to lights to sound to the pit orchestra, chose to believe it mattered.

That’s the magic of theatre.

And somewhere in all of that, I remembered why I chose this life.

Not because it’s easy, because we know it isn’t.

Not because it pays well, because it definitely doesn’t.

Not because it’s glamorous.

It’s because stories matter.

Because art has the power to reach people when words alone can’t.

Because imagination matters.

Because every child deserves to grow up believing that creativity isn’t something they have to leave behind.

Because somewhere in every audience is someone who needs exactly the story you’re telling that night.

I walked into Seussical wondering if I should quit theater. I walked out knowing that I never could.

This show didn’t just remind me that I belong on a stage. It reminded me why I want to spend the rest of my life helping other people find one.

If I can help one kid discover the feeling this show gave me—if I can spend the rest of my life creating those moments for someone else as an actor, designer, or one day as a theater educator—then every late rehearsal, every rejection, every ounce of self-doubt will have been worth it.

Because theatre doesn’t just entertain people.

Sometimes, it reminds them who they are.

Sometimes… it brings them back to themselves.

So if you’re reading this and you’re an actor who’s burned out…

Or a stage manager who’s wondering why you keep doing this…

Or a technician who feels invisible…

Or a theater educator who’s questioning whether you’re making a difference…

Or a student who’s thinking about giving up because you don’t think you’re talented enough…

Please stay.

Please do one more show.

Sometimes the production you almost don’t audition for ends up becoming the one that saves you.

Sometimes the story you’re telling isn’t just for the audience.

Sometimes it’s for you.

Now that my incredibly emotional TED Talk is over, I’m seriously considering getting a Seussical tattoo because I don’t ever want to forget what this show gave me.

The problem is… I have absolutely no idea what to get.

I’d love something meaningful and that captures the heart of the show and everything it represents.

If you have tattoo ideas, subtle symbols, favorite quotes, or even your own theater-inspired tattoos, I’d love to see them.

And one last thing.

If you’ve ever had a production that changed your life, please tell me about it. I genuinely want to hear your story.

Theater has this incredible way of reminding us that we’re never as alone as we think we are.

If you need someone to celebrate with, vent to, cry with, or just geek out over musicals that changed your life, my DMs are always open.

Thank you for reading.

And thank you, Seussical—you big, colorful, chaotic, utterly ridiculous Broadway flop—for reminding me exactly where I’m meant to be.

I’m currently 6 months pregnant with our 4th and (possibly??) final baby, and we’re completely stuck on the name for our second son.

Our other three are Alden Rhys, Jovie Maren, and Deia Monroe.

We’re looking for a first and middle name that fits well with the rest. We’re not looking for names that are extremely trendy, overly made up, or difficult to spell. We also don’t mind gender neutral names if they fit the vibe. As you can tell, we tend to like names that are uncommon but not too difficult to pronounce, timeless and soft-sounding, and has nicknames. For example, we call Jovie “Jo,” Alden “Aully” and Deia “DeDe.”

One combination we considered was Kellan “Kel” Reid, but we’re not completely sold on it.

Thanks in advance!

Hi! I was wondering if anyone had the obc seussical bootleg? I’m wiling to trade, but open to getting it as a gift!

Hi! I’m a theatre education and production design technology major, focusing on costume design and other costume related aspects. I’m looking for advice on how to strengthen my portfolio.

So far, my main design credit (other than practicum-based stuff for my major) is designing costumes for a production of Sweeney Todd in a 70s slasher theme, which I just did on my own free time. I have sketches, research, renderings… but that’s it. I feel limited with only one design project.

What are some more production projects and other things I can do?

My long term goal is to work in theatre education and costuming (and to win a Tony haha…) Any advice from professionals, costume designers, educators, or people involved in anything would be greatly appreciated.

Note:

I did put this in another subreddit and what I got was people answering the question as "how do I become a better costume designer?" while I'm trying to ask how do I build a portfolio that looks substantial when I'm still a student? I'm in as much as I can at university level to increase my portfolio, but I want to stop waiting for productions to be handed to me and start creating portfolio projects myself.

Hi! I’m a theatre education and production design technology major, focusing on costume design and other costume related aspects. I’m looking for advice on how to strengthen my portfolio.

So far, my main design credit (other than practicum-based stuff for my major) is designing a production of Sweeney Todd, which I just did on my own free time. I have sketches, research, renderings… but that’s it. I feel limited with only one design project.

What are some more productions projects, internships, and stuff I can do?

My long term goal is to work in theatre education and costuming (and to win a Tony haha…) Any advice from professionals, costume designers, educators, or people involved in anything would be greatly appreciated.

Hello, everyone!

I’m currently an undergraduate student in the United States studying Theatre Education and Production Design, and I’m hoping to go to the UK (or potentially surrounding places) after graduation.

I’m interested in programs such as drama/theatre education, applied theatre, educational theatre, and/or drama in education. My goal is to become a secondary school theatre teacher, so I’m looking for programs focused on education, community engagement, pedagogy, and theatre-making rather than actor training.

Coming from a fairly typical state university in the American Midwest, I’m finding it a bit difficult to navigate the UK University system and identify programs that would be a good fit.

I was wondering how you search for master’s programs in these fields? Are there universities known for strong Drama in Education or Applied Theatre programs? If you’re an international student, what was the application process like? Are there any schools or programs you would particularly recommend (or avoid)?

Any advice or personal experience would be greatly appreciated! Thank you!

Hi! I am going to be (hopefully) direcrting a production of Clue: On Stage in a very small black box theatre that also doubles as a classroom, so we're working with limited space.

We're not able to build large, permanent sets (no painting flats, some/minimal construction), but we are open to getting really creative with things like cardboard, paper, and other materials. Our current plan is to stage the show as a board game, so it's really fun to think through things like that!

Here is what I know we will have access to for sure: 4-6 wall flats, 1 wall flat with a window piece, 1 door flat, a coupl long black panel of curtain/curtain rods, 1-2 benches, 2 rectngle tables, 1 square table, 1 coffee table, 3 small footstool tables, rolling office chairs, a couple regular chairs). If you can't tell, mostly rehearsal furniture (which we can alway add decor to bring to life!)

The biggest challenge is going to be the different rooms, and we're trying to figure out how we can suggest multiple locations without full set changes. We have a truly talented team, so I;m not too worried about making things look good, but more for smart staging ideas, transitions, or ways to use minimal piece creatively.

If you guys have any ideas or any questions, I'd love to hear them!