{"id":574298,"date":"2025-07-03T14:30:36","date_gmt":"2025-07-03T12:30:36","guid":{"rendered":"https:\/\/estherjacobs.info\/?p=574298"},"modified":"2025-07-03T14:37:06","modified_gmt":"2025-07-03T12:37:06","slug":"no-excuses-theatre-show-lessons-in-letting-go-presence","status":"publish","type":"post","link":"https:\/\/estherjacobs.info\/en\/blog\/no-excuses-theatre-show-lessons-in-letting-go-presence\/","title":{"rendered":"No Excuses: Turning my life into a theatre show"},"content":{"rendered":"

No Excuses: Turning my life into a theatre show<\/h1>\n

What creating my own show taught me about letting go, creativity, and being yourself<\/h3>\n<\/div>

On my 55th birthday, I stood on stage at Theater Amsterdam with a one-time-only performance: the No Excuses Theater Show. It was a deeply personal celebration of everything I\u2019ve learned as an entrepreneur, speaker, and adventurer.<\/p>\n

But this show was more than a performance. It was a ritual. A transition. A symbolic farewell to a life of constant productivity, and an invitation to make space for creativity and presence.<\/p>\n

At first, I called it \u201cretirement.\u201d But it wasn\u2019t an end, it was the beginning of a new chapter.<\/p>\n

What started as a spontaneous dream turned into an intense creative process that lasted a year and a half. There was no script, no stage experience, just me, my stories, and a brave team willing to jump in. It was filled with improvisation, confusion, magic, and powerful moments of being fully present.<\/p>\n

In this blog, I share the most important life lessons I discovered while creating and performing my own theatre show: about personal growth, surrender, collaboration, the balance between doing and being, and especially about daring to fail and truly show up as yourself.<\/p>\n<\/div>

<\/span><\/div>
<\/div>

Improvisation as a way of life<\/h2>\n

Theatre is just like life. You make a plan, and then things go differently. You forget what you meant to say or do. And unexpected things happen that you have to integrate anyway. That\u2019s exactly what made this show so special. And that\u2019s exactly what I love most about life: the unexpected, the spontaneous, the real.
\nI\u2019m good at improvising. I hate routine. That\u2019s why I didn\u2019t want to rehearse. I love stepping into the moment and responding to what is. And that\u2019s what happened constantly in this show. I would start a scene that was supposed to come later, and my director Jan would yell, \u201cEsther, you have to die first!\u201d Oh right, I had to go to my own funeral. So we did that.<\/p>\n

Or if I didn\u2019t know what to do next: \u201cJan, where do I go now?\u201d And he\u2019d say: \u201cYou\u2019re traveling to Australia, then Zeeland.\u201d Me: \u201cGreat! I\u2019m already boarding the plane!\u201d And then I\u2019d remember: that\u2019s when the voice-over I recorded would come in.<\/p>\n

We improvised our way through everything. And that made the show feel alive. Real. Rich. Just like tango. I talked about that too, on stage, where I also danced with my tango teacher Adrian. In tango, when you make a mistake, you can get stuck overthinking it. But then you miss the next step. You freeze. You ruin the fun. Your only option is to accept what is and keep dancing. That\u2019s how it works on stage. And in life.<\/p>\n<\/div>

<\/div>

Being present: why real life begins without a script<\/h2>\n

Just before the show started, I stood behind the curtain thinking: wow, I dreamed this up, and now it\u2019s real. From that moment on, I was swept into the flow. Everything started moving, and there was no way back. Whatever I could prepare was prepared. The rest, I just had to do. Live.<\/p>\n

Right in the first few lines, I got emotional. I welcomed my dad, who was watching via livestream from Miami. My father has Alzheimer\u2019s. I was completely caught off guard by my feelings. And because of that, I was instantly present. Vulnerable and open.<\/p>\n

Some scenes flowed naturally, especially the ones with my brother. Others I had to drag out of my memory: “What was I supposed to say here again? What came next?” But then there were also those magical moments of full presence. The moments I clearly remember thinking: I’m here, doing this, we made it happen.
\nAnd the most beautiful moment? The final dance. In the video (filmed by Margo in the audience) you can see everything falling away. I didn\u2019t have to remember anything. I just had to dance. And enjoy. And I did. Because I was there. In the moment. And the audience felt it.<\/p>\n

The highlights of the show weren\u2019t perfect transitions or cues. They were the moments of realness, connection, confusion, emotion, joy, and contact. Moments where I was truly there. And I think that\u2019s the biggest lesson: be present. Even when it\u2019s uncomfortable.<\/p>\n<\/div>

<\/div>

Balancing masculine and feminine energy: the dance between doing and being<\/h2>\n

The balance between doing and being, between masculine and feminine energy, between yang and yin, was essential to creating this show. The idea came from feminine creativity. It became real thanks to masculine energy: planning, announcing, organizing, taking action. I kept trusting it would work out, even though the creative process wasn\u2019t finished yet.<\/p>\n

Over the year and a half, puzzle pieces kept falling into place, sometimes just two days before the show. But because I made space, they could fall. At the end, I jumped back into masculine mode to handle the logistics. But on the day itself, I stepped back into the feminine. Receptive. Feeling. Creating. During the show I switched between analytical and emotional, between problem-solving and vulnerable.<\/p>\n

I knew this in theory. But now I\u2019ve lived it. And that changes everything.<\/p>\n<\/div>

<\/span><\/div>
<\/div>

Why collaboration only works when you let go<\/h2>\n

The show lived in my head for a long time. Everything fell into place organically. But that made it hard to involve others. I didn\u2019t even know myself how it would come together until the last few weeks. And that made collaboration tricky.
\nStill, I hired people early on. I knew I had no theatre experience, so I needed help. But because I didn\u2019t have a clear plan or script, they couldn\u2019t do much. What will be on the video screen? What do you already have? What still needs to be made? Where will you be on stage during each of the 40 scenes so we can plan the lighting? How many guests and what will they do?<\/p>\n

All the details came from me at the last minute. Everything had to be rushed into documents. That created pressure. I had to prep a lot, and at the same time, stay in the creative flow.<\/p>\n

I noticed that writing everything down took me out of that flow. Luckily, it worked out in the end. Thanks to an amazing team that carried me through it. But the lesson is clear: Involve people earlier. Give them something to work with. And create space to build together.<\/p>\n

Or… choose something simpler. A TED Talk. A storytelling evening. Something where I just tell the story. No 40 scenes. No props. No lighting plans or cues. Because I\u2019ve learned: the more tech, the less room in my head to really be present. And being present is what I want.<\/p>\n<\/div>

<\/div>

To rehearse or not to rehearse: what I learned about preparation and flow<\/h2>\n

Most performers rehearse their show. I didn\u2019t. I just discussed some scenes with my brother, and reviewed transitions with the team. My own parts? I left them open. I knew I\u2019d figure it out live. We only did one full run-through on the afternoon of the show. For the tech team.<\/p>\n

But that made things confusing. Sometimes during the show I thought, “Wait, didn\u2019t I already do this?” But that was from the rehearsal. Rehearsing pulls me out of the moment. On the other hand, the few things we did rehearse turned out better. More aligned. Better executed. And I got helpful feedback from director Jan and others.<\/p>\n

So: I know I work best without rehearsal. But… for new things, repetition is useful. Like dancing. I knew I wasn\u2019t good at it, so I practiced. Repeated. Learned. And it worked.<\/p>\n

For speaking, I thought: I can do this. So I didn\u2019t rehearse. But maybe I should have, to integrate it better into the flow of the show. Would it have confused me more? Maybe. We\u2019ll never know.<\/p>\n<\/div>

<\/div>

Selling it before it exists: my No Excuses way under pressure<\/h2>\n

Everyone says: don\u2019t sell the skin before you\u2019ve shot the bear. But for me, that\u2019s exactly what works. It\u2019s part of my success system<\/a>. First, I announce I\u2019m doing something, as if it already exists. And then I make it happen.<\/p>\n

This time was no different: I announced the theatre show a year and a half in advance. Before I knew what it would be. Before I had a contract with the venue. Even before I had seen the place. The fact that it was the only one available on my birthday was all the confirmation I needed. So I posted it on social media. Started selling tickets. Based the price on the venue\u2019s brochure. No official offer. No formal agreement. No knowledge… \ud83d\ude09<\/p>\n

And then the extra costs started adding up. Tech, lights, staff, service. Many things only became clear much later, or kept changing up to the day before the show. But I had already begun. I couldn\u2019t back out. In the end, the costs were more than double what I had expected.<\/p>\n

What hurt me most? Not the unexpected costs. But the fact that for the first time in my life, I wasn\u2019t welcomed with enthusiasm. Not as someone doing something special. Just as a regular customer. A number.<\/p>\n

With Coins for Care, my projects, my events – people always got inspired. They joined in. Offered help. Did more than asked. So did I, for them. But this time? Nothing went naturally. Everything had to go through formal channels. When I asked questions, I was seen as \u00ab\u00a0difficult.”<\/p>\n

Still, this is how I work. And it usually works. So despite the chaos, I stand by my method. Most of the time, it really is better to sell the skin before the bear is shot. I speak from experience.<\/p>\n<\/div>

<\/div>

Would I do it again? My honest answer<\/h2>\n

No.<\/p>\n

A full, honest no.<\/p>\n

Not because it wasn\u2019t amazing to be on stage. It was a bucket list item. I wanted to step outside my comfort zone, and I did. I discovered new talents. I gained a unique experience. But in hindsight, most of the work went into organizing and logistics. While what I really wanted was to stay in the creative space. In the content. In the storytelling. And I feel like that part didn\u2019t get enough attention.
\nAlso, I never do anything twice. Even if it would be more efficient. The second time, everything flows easier. You know what to do. Everything is set up. But to me, there\u2019s no adventure in that. I live for steep learning curves. For the thrill of something new.<\/p>\n

What do I want? To tell more stories. To be on stage more often. Not just at conferences. But at storytelling nights, podcasts, improv events. Give me a word or theme, and I\u2019ll create a story on the spot.<\/p>\n

And you know what else I learned? I always thought I couldn\u2019t dance. And honestly, it\u2019s still not my natural habitat. But when I look at the footage… I don\u2019t see an awkward girl anymore. I see someone having fun. Someone brave. And that is what I want to feel more often.<\/p>\n<\/div>

<\/div>

Missed the show? Want to experience it yourself?<\/h2>\n

500 people experienced it live in the theatre in Amsterdam. And hundreds more watched the professional livestream from around the world.<\/p>\n

The full recording is now available. Including all the scenes, music, emotion, and lessons.<\/p>\n

\ud83c\udfa5 Watch the livestream + get a free e-book of your choice<\/p>\n<\/div>

(Re)live the show<\/span><\/a><\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":574222,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"sfsi_plus_gutenberg_text_before_share":"","sfsi_plus_gutenberg_show_text_before_share":"","sfsi_plus_gutenberg_icon_type":"","sfsi_plus_gutenberg_icon_alignemt":"","sfsi_plus_gutenburg_max_per_row":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[103],"tags":[],"class_list":["post-574298","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-about-esther"],"yoast_head":"\nNo Excuses: Turning my life into a theatre show - Esther Jacobs \u2013 the NO EXCUSES LADY: speaker, author, digital nomad<\/title>\n<meta name=\"description\" content=\"On her 55th birthday, Esther took the stage. 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