I would like to tell you that I own a flying monkey named JarJar, can speak six languages, can do magic tricks, and can even walk while chewing bubble gum, but that would be lie. I'm not that interesting. I can't even burp my ABC's... But I will tell you this (If I haven't already squashed your curiosity):

First off, I am an actress. I mainly do stage work, but I'm no opposed to film. IO'm not famous or anything yet, but I'm working to get there.

I am the Crayon Queen, Queen of all crayons and colors. Feel free to call me Your Majesty, Queen of the crayons, CrayonQueen, or simply Rissa. That last one works just fine.

Other than acting, my other love is another fabulous art form-- writing! Though I'm not the best with grammar, I like to think I have talent. I will let you lovely people be the judge of that.

My life consists of only a few things: Eating, sleeping, music, acting, writing, dancing, writing, editing, music, acting, singing and then start that cycle over.

So come on by and check out my groovalicious stories! I don't bite. You may leave your reviews by the door.

My Main Ships:

From Phantom of the Opera-

Raoul/Christine: Because you can't beat canon and I adore Raoul to bits. He's way cooler than any phantom to live in my mirror.

Erik/Meg: Because I think it's cute and ironic and fitting. Rare, but cool.

Nadir/Madame Giry: Think about it. Erik's two major companions falling in love...

Nadir/Erik: Because its cute, sometimes emo, and very likely.

Erik/Lucianna: Erik's first love, possibly Lucianna's true love and Giovanni is amazing and deserves to have a son like Erik.

From Harry Potter-

Ron/Hermione- Again, canon just CAN'T be beat. And they are adorable together, and Hugo rocks my frigging socks!

Harry/Ginny- Harry is like her hero, but yet, she saves him from himself quite a few times, too so it's like, fate. And canon is the way to go.

Bellatrix/Voldemort- Anyone else ever wondered about that creepy, freaky obsession of hers? There's gotta be something going on there, despite Voldemort's inability to feel anything but revenge, greed, and hate. ;) Plus, it's very sinisteresting

Remus/Tonks- Pink haired werewolf babies... so cute. I'd babysit the cubs, Voldy! Me! Me! Is it just me or is Remus the second best teacher Hogwarts has ever seen? And Tonks is made out of awesome.

George/Angelina- Because missing an ear is no reason to not marry someone.

Fred/Varity- Because I can.

Fred/Neville- Because I can.

Luna/Neville- Don't care what is said about this not being canon. They should have ended up together. I mean who the hell is this Rolf guy anyway? The end.

Bill/Fleur- You know, there is just something about Bill that is irresistible and Fleur is hilarious. My two favorite characters ended up together! Finally. That never happens.

James/Lily- Awww. This is just amazing and adorable and so wonderful. Love/hate to love/love. And then ultimate love/love. And they gave us Harry and no Harry means no books and then there would be termoil and disaster and that just can't happen!

Lily/Severus- Severus Snape deserves some love, people!

Lucius/Narcissa- I don't know why, really. I just like that she really loves him and is all torn apart about his imprisonment.

Lucius/Astoria- Call it peer pressure, call it strange. Call it what you want, really, but it causes some interesting plot lines.

Hannah/Roger- Because I can, again. Try to keep an open mind, people! Anything's possible!

Ron/Fleur- On RARE occasion! Bill/Fleur and Ron/Hermione are my OTPs so... yeah.

Dean/Seamus- Because of reasons.

And then there are various OC's that fit within here... somewhere. And when it comes to Harry Potter, I'll ship pretty anything if its written well enough.

From Sweeny Todd

Todd/Lovette- That's... um, well that's... sinisteresting... (See Bellamort for details)

Todd/Lucy- So sweet. Happy Endings... in a way...

Johanna/Anthony- I love hope, yes I do! I love hope, how 'bout you?

More fandoms to come... eventually!

Eternity -
The time that passes between a dropped cue and the next line

Prop -
A hand-carried object small enough to be lost by an actor 30 seconds
before it is needed on stage

Director -
The individual who suffers from the delusion that he or she is
responsible for every moment of brilliance cited by the critic in the
local review

Blocking -
The art of moving actors on the stage in such a manner as not to
collide with the walls, the furniture, the orchestra pit or each
other. Similar to playing chess, except that the pawns want to argue
with you.

Blocking Rehearsal -
A rehearsal taking place early in the production schedule where actors
frantically write down movements which will be nowhere in evidence by
opening night

Quality Theater -
Any show with which you were directly involved

Turkey -
Every show with which you were not directly involved

Dress Rehearsal -
Rehearsal that becomes a whole new ball game as actors attempt to
maneuver among the 49 objects that the set designer added at 7:30 that
evening.

Tech Week -
The last week of rehearsal when everything that was supposed to be
done weeks before finally comes together at the last minute; reaches
its grand climax on dress rehearsal night when costumes rip, a dimmer
pack catches fire and the director has a nervous breakdown. Also known
as "hell" week.

Set -
An obstacle course which, throughout the rehearsal period, defies the
laws of physics by growing smaller week by week while continuing to
occupy the same amount of space

Monologue -
That bright, shining moment when all eyes are focused on a single
actor who is desperately aware that if he forgets a line, no one can
save him

Dark Night -
The night before opening when no rehearsal is scheduled so the actors
and crew can go home and get some well-deserved rest, and instead
spend the night staring sleeplessly at the ceiling because they're
sure they needed one more rehearsal

Bit Part -
An opportunity for the actor with the smallest role to count everybody
else's lines and mention repeatedly that he or she has the smallest
part in the show.

Green Room -
Room shared by nervous actors waiting to go on stage and the
precocious children whose actor parents couldn't get a baby-sitter
that night, a situation which can result in justifiable homicide

Dark Spot -
An area of the stage which the lighting designer has inexplicably
forgotten to light, and which has a magnetic attraction for the
first-time actor. A dark spot is never evident before opening night.

Hands -
Appendages at the end of the arms used for manipulating one's
environment, except on a stage, where they grow six times their normal
size and either dangle uselessly, fidget nervously, or try to hide in
your pockets

Stage Manager -
Individual responsible for overseeing the crew, supervising the set
changes, baby-sitting the actors and putting the director in a
hammerlock to keep him from killing the actor who just decided to turn
his walk-on part into a major role by doing magic tricks while he
serves the tea

Lighting Director -
Individual who, from the only vantage point offering a full view of
the stage, gives the stage manager a heart attack by announcing a
play-by-play of everything that's going wrong

Makeup Kit -
(1) Among experienced community theater actors, a battered tackle box
loaded with at least 10 shades of greasepaint in various stages of
desiccation, tubes of lipstick and blush, assorted pencils, bobby
pins, braids of crepe hair, liquid latex, old programs, jewelry,
break-a-leg greeting cards from past shows, brushes and a handful of
half-melted cough drops
(2) For first-time male actors, a helpless look and anything they can borrow

The Forebrain -
The part of an actor’s brain which contains lines, blocking and
characterization; activated by hot lights

The Hindbrain -
The part of an actor’s brain that keeps up a running subtext in the
background, while the forebrain is trying to act. The hindbrain
supplies a constant stream of unwanted information. Such as who is
sitting in the second row tonight, a notation to seriously maim the
crew member who thought it would be funny to put real Tabasco sauce in
the fake Bloody Marys, or the fact that you need to do laundry on
Sunday.

Stage Crew -
Group of individuals who spend their evenings coping with 50-minute
stretches of total boredom interspersed with 30-second bursts of
mindless panic

Message Play -
Any play which its director describes as "worthwhile," "a challenge to
actors and audience alike," or "designed to make the audience think."
Critics will be impressed both by the daring material and the roomy
accommodations, since they're likely to have the house all to
themselves.

Bedroom Farce -
Any play which requires various states of undress on stage and whose
set sports a lot of doors. The lukewarm reviews, all of which feature
the phrase "typical community theater fare" in the opening paragraph,
are followed paradoxically by a frantic attempt to schedule more
performances to accommodate the overflow crowds.

Assistant Director -
Individual willing to undertake special projects that nobody else
would take on a bet, such as working one-on-one with the brain-dead
actor whom the rest of the cast has threatened to take out a contract
on.

Set Piece -
Any large piece of furniture which actors will resolutely use as a
safety shield between themselves and the audience, in an apparent
attempt to both anchor themselves to the floor, thereby avoiding
floating off into space, and to keep the audience from seeing that
they actually have legs

Strike -
The time immediately following the last performance while all cast and
crew members are required to stay and dismantle (or watch the two
people who own Makita screw drivers) dismantle the set.

Actors (As defined by a set designer) -
People who stand between the audience and the set designer's art,
blocking the view. That's also the origin of the word "blocking," by
the way

Stage Right, Stage Left -
Two simple directions actors pretend not to understand in order to
drive directors crazy. ("No, no, your OTHER stage right!")