Terry Galloway's Complete Testimonial:
Taylor Flanagan
I love her and she’s a hoot. And I’ll never do another production in Austin without her.
Here’s why.
She’s a smart performer. She brings that intelligence to even the smallest roles and that makes all the difference.
She’s naturally funny. There are a lot of performers who work hard to be funny. It can be painful to behold. Taylor’s comedy is effortless, her timing impeccable. She has a gut-level instinct for comedy that you either have or don’t.
She’s deeply charming. Part of that charm is her beauty—she is striking on stage, the first face on stage that you notice, the one you follow from scene to scene. Part is her chameleon quality–male to female, wench to creature. Part is that elusive something else, a kind of simmering inner dazzle that kicks into high gear when she gets onstage.
She can move like nobody’s business--with the fluidity, grace and precision you usually see only in serious dancers.
She has a director’s mind. She knows how the stage picture should look and what it would take to make it come alive.
She’s no Diva. She doesn’t whine. She doesn’t demand. She pitches in to help make things work.
She has unexpected talents. A talent for languages. A talent for choreography. A talent for music—her voice is so pure it can be chilling.
I liked and admired Taylor after working with her in the Scottish Rite gender swapping production of The Merry Wives of Windsor. Now, having worked with her on the Mickee Faust Club’s ShakesParody After Dark, I’ve come to love her. And my admiration has turned into almost a need. Taylor is the kind of person I need and want to be working with, the kind of person whose presence automatically makes a play, a video, a skit, a musical number, better and stronger. Like I said at the start, I love her and she’s a hoot. And I’ll never do another production in Austin without her.
Taylor Flanagan
I love her and she’s a hoot. And I’ll never do another production in Austin without her.
Here’s why.
She’s a smart performer. She brings that intelligence to even the smallest roles and that makes all the difference.
She’s naturally funny. There are a lot of performers who work hard to be funny. It can be painful to behold. Taylor’s comedy is effortless, her timing impeccable. She has a gut-level instinct for comedy that you either have or don’t.
She’s deeply charming. Part of that charm is her beauty—she is striking on stage, the first face on stage that you notice, the one you follow from scene to scene. Part is her chameleon quality–male to female, wench to creature. Part is that elusive something else, a kind of simmering inner dazzle that kicks into high gear when she gets onstage.
She can move like nobody’s business--with the fluidity, grace and precision you usually see only in serious dancers.
She has a director’s mind. She knows how the stage picture should look and what it would take to make it come alive.
She’s no Diva. She doesn’t whine. She doesn’t demand. She pitches in to help make things work.
She has unexpected talents. A talent for languages. A talent for choreography. A talent for music—her voice is so pure it can be chilling.
I liked and admired Taylor after working with her in the Scottish Rite gender swapping production of The Merry Wives of Windsor. Now, having worked with her on the Mickee Faust Club’s ShakesParody After Dark, I’ve come to love her. And my admiration has turned into almost a need. Taylor is the kind of person I need and want to be working with, the kind of person whose presence automatically makes a play, a video, a skit, a musical number, better and stronger. Like I said at the start, I love her and she’s a hoot. And I’ll never do another production in Austin without her.