After more than a year of intense preparation and then performing in the Taree Arts Council production, that chapter of her life had come to an end.

The come down after being invested in something for that long can be hard.

In the weeks following the close of the show Liz aimed to keep herself busy with gigs and singing at various carols events in the Manning, so she didn't have too much time to think about it.

"It's an awful feeling finishing a show," she said.

"We've spent a lot of time rehearsing and in particular I spent a lot of time with the four kids (who shared the roles of Jane and Michael Banks). We became best friends.

"When we finished the show we knew we wouldn't be spending time on Monday, Wednesday and Sunday together like we had been.

"We had our own dressing room together, which was aimed at trying to keep them focused. Everything they were in I was pretty much in.

"You grow really close."

Liz made firm friends will all her cast mates, who she spent three times a week rehearsing with for six months and she spent extra time taking singing lessons twice a week and working to be physically and mentally prepared for the show.

She developed a good bond with rigger Grant Finlay, one of the professionals hired for the flying scenes.

"I wore the harness for the flying scenes through the entire show.

"Eventually I learnt to take the corset and mic pack off, which was attached to the harness, so I could go to the toilet."

Every show, five minutes before curtain-up at interval, she would find Grant and they would have a chat.

"It was a bit of a breath before going again for act two."

Liz would arrive at the theatre three hours before each performance.

"I would get there at 5pm (for an 8pm show) and spend an hour and a half in hair and makeup."

Then she would have to put her undergarments on, which included stockings and full body suit.

"I would find the harness and do the first part myself and Grant would do the end bit."

Her costume wardrobe consisted of five or six dresses.

"I did the quickest change known to man in that show. In the professional musical the actress was able to take her harness off at one stage. How on earth they did it is beyond me."

Liz's costume changes were assisted by a team of dressers.

"I ran backstage to where I needed to go, tightened the straps myself and the dressers helped change the entire costume to be ready to meet the cue to be able to fly.

"Then I had to be harnessed up so I could 'Cheerio Bert!"

Two to three weeks after the show closed, Liz said the bruises and marks that had developed on her body as a result of the harness started to go.

"It was my entire life," she said of her dedication to the production.

"It's all flat lined for me - but now it is time to look after myself."

She said her relationships with her family and friends had been neglected as a result of her commitment to the show.

"Ultimately they have been a really strong support... I want to spend a bit of time with the people who matter most to me.

"As sad as it is I've got to take in that it happened and it's a lovely memory but now it's on to other things."

That includes spending this year working towards auditions for professional performance schools across the country.

"I will study as hard as I can vocally and try to get back into dancing a little bit and take private lessons."

She also hopes to attend open days at WAAPA (Western Australian Academy of Performing Arts) in Perth and NIDA (National Institute of Dramatic Art) in Sydney.

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lauren.green@fairfaxmedia.com.au