About the Green Room

In theatre, the green room is where performers wait to go on stage - its energy consists of excitement, nervousness, anticipation, joy, fear, and any number of things to explain the 'green' - from nausea to envy. This green room is updated weekly and gives a behind-the-scenes look at the profession - the auditions, the castings, the rejections; the gigs that fail and the gigs that fly.

Leigha Horton Leigha Horton is a professional actress residing in Minneapolis, Minnesota, and a member of the Screen Actors Guild (SAG) and the American Federation of Television and Radio Artists (AFTRA). For voice and on-camera booking information, please contact Wehmann Talent Agency. For non-union stage booking information, please contact me directly. Headshot, resume, and voice-over demo can be downloaded at www.leighahorton.com.

(photo: Craig VanDerSchaegen)


January 2008
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January 8, 2008

Baby’s First Digi-Patch

Filed under: Voice-over gigs — Leigha @ 6:21 pm

I recorded a spot for the Kansas Lottery Friday morning over at Babble-On. In and out in 15 minutes – yes, I do believe my internal station was tuned to ROCK.

It was great, blah, blah, blah, the Babble On staff were awesome, blah, blah, blah (all true, just not interesting reading – keep reading for the cool and awkward part). The cool and awkward part was that I recorded via digi-patch (aka digital patch; aka ISDN voice-over session). Oh – you want English? The director, producer, writer, clients, etc. were in some other city, but I was still able to hear them and get direction through my headphones.

It was like a professional game of Marco Polo – I knew the principle mechanics of the thing – headphones, mic, music-stand for the script, sound booth, technician, etc., etc., etc.; but I found it tricky to not see the director’s face – I couldn’t get a feel for the room, for the mood. In past sessions I’ve been able to see through the glass into the control room and read the expressions on the director’s and technician’s faces to help guide my performance. It’s easier to gauge if they’re jazzed, frustrated, if I’m close or way off the mark. This time, it was a sea of faint voices and laughter that I couldn’t confidently interpret.

All in all, I nailed it in twelve takes and my session was wrapped with a “that was it – perfect. Good work, kiddo,” through the headphones. I’m still not sure who said it, but I thank them nonetheless for being my First.

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