Role Playing

I find it interesting and puzzling how people confuse an actor with a role they played. Should the fan run into the actor in real life, they will identify them with the character, sometimes to an embarrassing degree. They don’t even need to be a good actor. The identity can be so strong it sticks. Should they play a villain, they are greeted as such. If they plays a good guy then a bad guy, then people have a really hard time figuring out how to react. Is it wishful fantasy or lack of critical thinking? These are probably the same people who accept everything they see on the news too.

I mean, I get it, that’s how how people see them-in a role. This is more common with TV or movie, not so much with theater because there’s a different relationship with live performance then with recorded. Rob Reiner knew he was always going to be greeted with “meathead” from his early work on “All in the Family”.

There are exceptions Henry Cavill, who played Superman, walked around Times Square where there was a huge banner announcing the film, while wearing a Superman t- shirt and no one noticed. More likely, given New Yorkers attitude, they didn’t give a shit. Neither should anyone else. Fame is fleeting and caprious.

Personally I’m impressed with someone’s fame for about 30 seconds and I never mistake an actor for their role. Being in theater, I know better.

Extra! Extra!

 

In films, extras are background people to fill in a restaurant, office, or sidewalk scene. It’s minimal wage (called scale) but it’s way to pay the bills. Whenever I go to a movie I imagine being background just to be a fly on the wall and experience the nuts and bolts of film making. Not a major or supporting role mind you, my chances of being in a big movie are about as good as winning the lottery. At the most, a bit part – they pay you more for a speaking role. So I imagined being in this summer’s blockbuster Superman.

(Scene interior: A woman seated at a desk in a large office at the Daily Planet typing or filing papers. She wears a dress shirt and a ID tag on a lanyard. The phone rings, she answers in business like manner)

                                                        Natalie

Daily Planet, information desk how may I help you? (beat) Clark Kent, he’s in the news room I’ll trans- What? ( listens in growing confusion) You’re kidding? You think Clark Kent and Superman are the same person? (beat, rolls her eyes in familiar annoyance) No, no, not even (beat). I know, because I see him every day and he can barely tie his shoes without adult supervision that’s how. (beat) Ma’am, ma’am ( interrupting patiently) Clark Kent is not that smart and we know Superman is not that dumb, but thanks for calling. ( hangs up phone, under her breath) They don’t pay me enough for this nonsense.

The Acting life is ...Shakespeare!

I'm currently rehearsing in a production of " Much Ado About Nothing" with the Roving Park Players. I've never done Shakespeare before  and the Friar is not a big role but I struggle with the syntax of middle English. I also notice, despite considerable trimming of the text by the director, that Shakespeare is a long winded playwright.The production has a Beach Blanket Bingo theme with little regard for gender roles. If men played women in Shakespeare's time, then women can play men today. I don't have much to do until the second act then the friar becomes the driver of the plot, countering the evil machinations of Don John with a sly trick of her own to set things right. The rest of the cast is a good mixture of newbie's and skilled professional actors and  the pro's ability to absorb and remember huge amounts of this linguistic gibberish has me intimidated. The modern mind does not have the memory of the 17th century folk. I am secretly consoled when a week after going "off book" the pro's  still occasionally draw a big fat blank.

The leads are a real life couple who handle the banter between Beatrice and Benedick with relish. There are two other couples involved in the play, As a loner, I look on them with a touch of envy.

I have to learn to project my voice, not a an easy thing with the absorption power of nature. We rehearsed in a park by the river which was no fun in the recent rain though everyone else took it in stride. The show becomes Shakespeare in the Dark as we never make it through the whole thing because of the failing light at sunset.

As I watch the show shape itself into a fine production I pick up on little jewels of  phrases or stage business that I so love to notice. " Your wit ambles well, it goes easily" Benedick remarks tersely to the clueless Claudio. Dogberry is a riot of malaprops and bombast. In one scene, Beatrice overhears Hero and Ursula talk about how much Benedick loves her while she eavesdrops- badly- on the conversation. Her attempt to get closer to the ladies under cover is about as subtle as a great dane trying to sneak into a room by crawling on it's stomach. " For it so falls out that we prize not to the worth whilest we enjoy it" is a line I deliver with true meaning.

Normally I'm not nervous about being on stage but a week before we open, I still anxiously pace back stage.

Stay tuned.

In the Arena

Like gladiators waiting their turn in battle, the actors wait anxiously to perform.The Actor's Table of Eugene was started by Judy MacKenzie as a homage to her late sister. A year later I finally get to join in the fun. The crowd at Tsunami Books is large and enthusiatic. 

We sit in the "green room" a quaint term for any place where actors sit, stash their stuff or rehearse. This one is a large store room in the back of the store with a book shelf on one side, extra chairs stacked neatly in a corner and a very large window letting in the afternoon light. No matter how well prepared an actor is there is always an air of nervousness before a performance. Everyone has their rituals: some sit quietly, some engage in minor chit-chat or checks their costumes. If someone needs to be left alone we leave them alone. Some pace, some go over their lines, some pass the time checking their ubiquitous cell phones.

I glance at my script to remind myself of cues, do this do that but other wise give it a cursory scan, assured that I have my lines down. I'm dressed for the part, dark blue pants and short sleeve work shirt . A prop ID badge that I made up hangs around my neck. It's a nice touch. The mop and bucket I'll use as a prop is tucked in the corner of the stage.

Jen, our emcee strides before the crowd and give her clever introduction to the show and reminds folks to turn off their cell phones. Her dire threats work because I didn't hear a single one during the show. I'm the third act out of fifteen which suit me fine, the earlier I end the stress of  waiting, the better. I step up on stage and aside from a momentary blank I stay in the moment, the script tucked in my pocket.

"That's where he sat. . .this guy. . ." I begin Penn Station by William Monstrisimone. It''s a poignant glimpse of a lonely janitor and the almost forgotten longing for love and companionship that haunts her. I've wanted to do this piece ever since I read it years ago. I missed the chance once before and I'm thrilled to finally do it here. Uncut it runs about seven minutes but me and the director Laura, edit it down to under five. Even then I'm daunted at the task or memorizing it.

"He looks me straight in the eye with this smile and goes 'how ya doin' ". . . .

I used to be a janitor long ago so I know how it feels to be invisible. I too have never been in love and her pathos speaks volumes to me. I'm a bit nervous but it works for the character , who is almost a bit nervous at the possibilities she encounters.  But the opportunity doesn't turn out the way she dreamed and she returns to her sad little life.

"How ridiculous would that be- a janitor with lipstick." she ends sardonically. I leave the stage amid applause and the relief of getting it right. Afterwards I'm touched by compliments from the audience and fellow thespians. It feels good. Pavarotti was right, applause is like oxygen.

Everyone does well and afterwards everyone celebrates at a local restaurant with good food, drink and each others company.

The Art of Acting

I'm in the process of learning a part for an actors showcase. Me and a fellow thespian were helping each other by "running lines". One person reads the part "off book" and other prompts them from the script.

People often ask, how do we remember your lines. Simple : repetition, practice, practice, practice. This day we were tangling with the business of how to remember lines by connecting words or phases together using any mnemonic trick we had. Using a word or phrase from the other actor to cue you to a response, this is especially helpful when your character is going off topic or in another direction. It might be a prop or a gesture that cues you to your next line. This is the nuts and bolts of acting.

The tenor Caruso once said that a singer required  "A big chest, a big mouth, ninety percent memory, ten percent intelligence, lots of hard work and something in the heart." He was right. An actor also learns the art of observation. We are very keen on understanding why people behave the way they do, so we learn to watch them.

In a film about a robot the actor playing the robot decided to turn to the other fellow whenever a certain word was spoken so it looked like he was paying attention in a natural way. A way I use is to reverse engineer a scene. I will literally read a scene backward to figure out how the character goes from one point to another. This helps me see the logic and flow of their thinking.

But sometimes a single word or phrase can trip you up. I was practicing Hamlet's "To be or not to be"  and kept getting stuck on one line every time. Like a singer who's struggles with a note or passage, you just keep practicing until you get it right.

People wonder if I ever get nervous or self conscious on stage, a natural fear most have. No, not really. Some performers never get over being nervous . Roger Daltry supposedly threw up before every performance with the "The Who'" but he channeled that energy into his performance.

Once on stage there's no turning back so focus on doing the work. My inner director takes over, reminding me of cues, to speak clearly, pay attention to the other actor, etc., all the while staying in character.

You can't perform, sing or give a speech if you are self conscious. Your doubts or ego will get in the way. You hand yourself over to the demands of the performance. In the play "Beyond Therapy" I had a dreadful outfit I would never wear but it was perfect for the character. I wasn't t bothered because it was her not me. Whatever you're doing on stage is the actions of the character not you- especially when you are playing a villain.

How do you play an evil person? An actor never thinks his /her character is the bad guy .Every actor must believe their character is right. Watch how an actor responds in an interview about playing a bad guy. They will always defend the characters actions as acceptable. We justify our actions in real life why should it be any different to a grieving Prince, a mad king or a suicidal salesman.

We have all kinds of tricks to relate to our roles, memorize lines and bring characters to life. It's called acting.