Aaaaaand, there’s my face on a poster:
I’ve always said that Benedick was the first role I ever got to play where I had the best lines and got to kiss the girl. I know that I don’t have leading man looks, but my take on Benedick has always been that he doesn’t need them. Claudio has to be young and beautiful the first time you see him, but Benedick’s charms, I think, work better when they emerge as his character evolves. The industry term would that he’s a “character lead”, which indicates that there’s substance and a journey, but is also a nice way of labeling a main character that less-attractive people can play.
My face has appeared in marketing materials before, albeit selling a slightly-different aspect:
That I take as a compliment, because it’s about selling something a little weird and a little dark, which I can do and I enjoy. But the above poster blatantly says “Don’t you want to pay money to see these two people be charming and romantic?” There I’m still not 100% sure I agree on the wisdom. But I think that’s probably just my own self-confidence issues.
Yesterday I did a brief interview with the Long Beach Press Telegram as part of an overall promotional article for the show. That’s a new experience for me, and it made real for me, kind of for the first time, the fact that when you start working at institutions like the Long Beach Playhouse, there is a certain responsibility involved in playing a leading role that goes beyond what you do on the stage.
Sure, one interview and a poster is nothing compared with a months-long worldwide press junket for a Hollywood star. But it is something new to me and my acting experience – and, I must confess, at least a little cool.
Add this to the list of unexpected outcomes from this resumption of my acting habit – this arrived in the family mailbox this week:
It’s a promotional mailer advertising the Long Beach Playhouse’s upcoming Studio Season – and they’re using that little moment from Dracula in order to convey, in a nutshell, what the Studio is all about. I think it boils down to: “Like handsome? Like crazy? In the Long Beach Playhouse Studio – you get both!”
(The Handsome, by the way, is my friend Travis Dukelow, who played Dr. Seward, and was ever-so-generous in allowing me to taunt, befuddle, abuse, and stab him every night.)
They had me on the poster and program cover along with the rest of the cast for The Odd Couple, but none of the posters left the theater, so essentially anyone who saw it was already part of the audience. I think this is the first time someone is literally selling tickets with my face. I question the wisdom of that (especially in the state it was in for that show), but how could I take it as anything but a huge compliment?
The Long Beach Playhouse has announced their full studio season for the year, and confirmed audition dates for a couple of the shows on their Facebook. Accordingly, I have updated the audition bulletin board to include the shows for which audition dates have confirmed. I think my policy is going to be to include no more than one show at a time from a company if they’re not providing confirmed audition dates – no sense cluttering up the bottom of the board with a hundred “n/a” entries if it’s not going to help you mark your calendars.
Myself as Renfield and Barney Crow as “Attendant”
So many different types of blood necessary for this play. Blood that can spray across the face in watery streaks. Blood that can sit visible on the stage floor in thick, fat drops. Blood that can be safely ingested. Blood hidden in capsules in the mouth, sponges inside handkerchiefs, tubes inside props. Every night I see the crew mixing blood, pouring it into spray bottles, injecting it into props via syringe. Every night they have to mop the stage floor of it. I have to shampoo it out of my beard.
This is so far from The Odd Couple. Curtain goes up tonight.
I have a very dramatic fall. We staged it Thursday night. To fall sideways safely, the sequence (quickly and fluidly) is knee-hip-wrist-elbow-shoulder-back-head. Each bit absorbs SOME of the gravity so that no one part absorbs all. Most stages are going to be hard wood, so you can’t stop it from hurting a bit, and bruises are going to happen. I’ve been rehearsing in knee pads for the past couple of weeks, but I’ve got a nice solid bruise developing on my left hip and it will probably stick around until November.
Bruised skin is a good result. The bad results we avoid with the bruises are broken bones and concussions. This show isn’t Spider-Man but even little moves can be much more dangerous than they appear after they’ve been rehearsed well.
You have to do this stuff so often that you stop thinking about it. One of the reasons that Wesley v. Inigo Montoya in The Princess Bride is one of the greatest sword fights in movie history is that, in order for the humor to work, they had to have the choreography cold so they could deliver their lines with that arched casualness through it all. So any minute on set that they weren’t in the scene, they were practicing the moves, making them automatic.
I feel as if I have to work extra hard because I don’t have any formal movement training – no pantomime, no clowning, no dance, no body-mapping, none of those disciplines actors add to their toolbox to prepare for a highly physical role like Renfield. I’ve done some basic exercises in general acting classes, and picked a few things up as needed for shows, and by observation and mimicry. But I think if I had internalized a broader sense of the fundamentals, I would be more instinctively expressive with my body and the character (whose body language must be a fractured as his mind) would come across more cohesively. I think I’m doing well, but I think I would be much better with that in my arsenal already. Classes may be in order next year.
Still, I am getting some amazingly positive feedback. Tonight the director paid me one of the highest compliments I think a director can give someone like me. He said – and I am paraphrasing – that he had been wondering for weeks what he was going to do with lighting in order to create a certain scenic effect, but that my acting had rendered it unnecessary.
That made me smile and smile.
So, this is the gentleman playing Dracula in our show:
IMDB credits here. He was in an episode of Dollhouse! Of course, I abandoned Dollhouse after two episodes and never re-visited it, so I haven’t seen his episode, but still…Whedonverse! I’m nowhere near the top tier of Joss Junkies on the Internet, but I still think that’s pretty cool.
Actually, that makes at least two minor Whedon connections for me – my dear friend Norma Jean played the shelter volunteer Captain Hammer shoves out of the way when he flees after experiencing pain for the first time in Doctor Horrible’s Sing-a-Long Blog.
She also played the waitress in Men of a Certain Age, so…Bakula connection! Or…ROMANOVERSE! Whichever you prefer.
It’s about time I confessed something…
I seem to be an actor again.
I have posted before about how my sporadic stage appearances since college have largely happened accidentally; and that’s essentially true. I didn’t pursue many opportunities at all. But this year…what a curious year it has been.
Back in February, a friend and colleague was urging me to get to know a new theater facility getting off the ground in Orange County. Most of the time I have done theater in the last few years, it has been in LA, but that gets pricey, and difficult to coordinate with the ol’ day job. And it seemed like I ought to do more to build a creative node in my own backyard. So I decided to show up and audition.
And I got cast. As Benedick in Much Ado About Nothing. There are pictures of it and everything.
I received tremendous positive feedback and encouragement – with friends, co-workers, and strangers alike asking what my next role would be. At the time, there wasn’t a plan; all I wanted was a vacation and some time for the bruises to heal (physical comedy, you know…)
Then that same friend who introduced me to this place was making her directing debut with The Odd Couple, and offered me the chance to be a part of it. And suddenly I was playing Felix in The Odd Couple.
At this point, I was having enough fun, and sacrificing enough of my off-hours to it, that it would have to be considered at least a hobby. But it cost me valuable writing time, and still didn’t hold any interest for me as a professional pursuit, so I wasn’t booking any headshot photo sessions. Still – I was tracking local stage auditions more actively. Some ambition was growing there. I liked the people I was meeting and really enjoyed being in the push of rehearsals again.
On Monday night I went to an audition at the Long Beach Playhouse. This was me punching way above my weight class – walking into a prestigious company with a nearly 90-year history and competing against Equity Actors in front of complete strangers for a non-comedic role. Put me in the right role and I can get laughs on-stage. But the dramatic muscles…no one’s called on them for awhile.
I can now announce (confess?) that somehow, strangely, I have been cast once again. I will be playing Renfield in the Playhouse’s production of Dracula, as adapted by Steven Dietz from Bram Stoker’s original novel. It’s a heavy schedule – at least 16 performances in October and possibly some private bookings on top of that. My first read-through is Saturday morning, and I’ll have to leave early to make the matinee of The Odd Couple, which is still playing for the next two weekends. My next real free time is likely to be November.
Still – a Shakespearean romantic comedy lead, a hypochondriac neat-freak, and a bug-eating asylum patient, all in a six-month span. That’s a good year for anyone who loves the stage. I can’t pretend anymore. I’m not a writer who sometimes acts. I’m a writer and an actor.