YouTube videos, apps, online courses, and free resources can help you learn music—but they cannot always hear what you are doing, correct developing habits, or build a path around your individual goals.

There is no magical age when every child suddenly becomes ready for music lessons. Some students are ready earlier than expected. Some need more time. Some start young and thrive. Others begin as teenagers or adults and do beautifully.

Students do not grow because every lesson feels comfortable. They grow because someone is willing to meet them where they are, see where they want to go, and help them close the distance between the two.

When an instructor truly knows a student—their personality, strengths, challenges, goals, interests, and learning style—teaching becomes far more effective.

The artists who continue growing are usually the ones who prepare well, show up consistently, remain teachable, support other artists, and continue refining their craft long after they could have stopped learning.

The artists who eventually stand out are often the ones willing to stay the course while everyone else is chasing the next shortcut.

These are simply some of the vocal health habits I've picked up through experience, college training, professional performance, and conversations with other singers, actors, directors, and vocal coaches over the years.

At Hickory Arts, we believe artistic growth requires more than access to information. It requires mentorship, accountability, performance experience, collaboration, and real-world participation.

The idea that individualized instruction produces stronger results isn't simply a matter of opinion. Educational research has supported this concept for decades.

Those who have worked with me as a director and/or music director know I do community theatre for the fun of it. I insist. It has to be or bust. This time it was, above all else, a love letter to Coble, and I had as much fun as I could allow myself.

Theatre is the most collaborative live art form. Hickory Arts is dedicated to the preservation of live musical theatre orchestras in Catawba County and surrounding areas.

I remind my casts to think about who they're representing and what it means. What's the ultimate goal here? Respect it. Enjoy it. Love it. Eat it up. Soak it in. In the immortal words of Billy Joel, "Forget about life for a while." What keeps good casts and crew coming back for more is the sanctity of the process. Good plan. Good tone. Good people. Good support. Great show.

Last Stop on Market Street reminds us of the responsibility we have to exercise empathy, move towards what we don’t understand, and challenge ourselves to hold each other accountable in love.

This has come to me in waves over the years, but I've been inundated lately with questions and concerns from students and colleagues about the value of education and experience in theatre, music, photography—the arts, in general.

William Shakespeare, played by Corey Knighton, is the ultimate rock star of the Renaissance, and beginning to feel the pressure of it all. Though outwardly confident, Shakespeare is gradually losing his cool, trying to maintain his success by copying work from others.

Nigel Bottom, played by Branden Nuhfer, is the troupe’s primary writer, and there’s little doubt that his talent rivals and perhaps outshines Shakespeare’s. Nigel is very sensitive, so when he meets Portia, he falls fast. The younger of the two brothers, Nigel, has two great passions – to love and write about it. Nigel is the only major character in Something Rotten! not based on an existing Shakespeare character, excluding the Bard himself.

Nick Bottom, played by Scott Hudson, is Nigel’s brother and the leader of the acting troupe. He’s driven by success, but above all, his ability to support his most loved ones. That pursuit leads him down a rabbit hole of trying to outwrite and outperform his arch-nemesis, Shakespeare.

Brother Jeremiah, played by William Edward Morgan (seen here “Cuttin' Footloose”), is a Puritan who cares for nothing more than to maintain a completely virtuous life. Much like the character of Rev. Shaw Moore in Footloose, his conviction takes priority over all things, including his daughter, the theater, and the other ills of society.