We have now had our first two audiences, and it has been very instructive. As it always is. Tonight, the whole play came into focus for everybody. Phillip is still playing catch up, but what he is doing with only 4 rehearsals is remarkable. It's coming. Tomorrow (well, technically later tonight) is what we consider our real opening night. And I'm really excited for it.
I feel so fortunate to be able to play my dream role, and to do it with some of my best friends! (And I've collected some more ridiculously talented friends this year). Ok, so I know I seem to say this every year, but this group of people may be the most talented and wonderful cast we've ever assembled. I am absolutely in love with all of them. And I usually only feel that when I'm directing. When I'm acting, there's always that one...oh crap...the saying goes that there's always "one" in any group, and if you can't figure out who it is, it's you. So, maybe I'm the one. But if that's the case, then everybody in the cast is like Iago-level good liars. Because they seem to think I'm ok.
I am also beyond blessed to have Stephanie Coltrin as my director once again. There are just some artistic partnerships that make the whole better than the sum of its parts. We have absolutely the same aesthetic and bring out the best in one another. We have almost developed a sibling like language. Our conversations go something like this:
Me-"So that moment in the..."
Her-"Yeah, I thought so too..."
Me-"Should I just (vague hand gesture)"
Her-"Exactly what I was thinking."
(and scene).
I feel like I'm ready now for this thing to take off. My mentor (Jack Stehlin, of whom I've written many times and to whom I owe my very way of working) talks about staying out in front, so the play is able to work through you. It's much better when he says it, but the idea is that as actors we are in absolute service to the text. We must understand how every second works, down to the specific word choices and those must appear to be coined in the very moment. And only then are we ready to let the work play through us. Tonight, I found that space. That channel in which I was able to let it flow and let it fly. And it was fun. Beyond fun.
And I wasn't alone. The entire production took a giant leap forward tonight. Everybody was in it. The audience was in it...man, that's the best when there's that energy coming back at you. Every scene was cooking, even the ones that our new Othello is still getting into his bones. There was a moment when he turned to me and mouthed "what's next?", and I whispered back "Arise." And just like that back in it...and united together. It was cool. And what's crazy is that in a week, when all of it is in his bones and he's finding things that it's taken me 6 weeks to find, this thing is going to take off.
Which is not to say you shouldn't come to our opening later tonight. Because it's ready to launch now. But it's going to be one of those productions that will demand another viewing.
Saturday, June 25, 2016
Saturday, June 18, 2016
And what's he then that says I play the villain...?
I try to write a blog every week, but last week got away from me. What with the awful events in Orlando, the disgusting abuses in the Chicago Theatre Scene, opening Cymbeline (with my sweet fight choreography), and helping a new actor in Othello, it slipped away. Also, the Pittsburgh Penguins won the Stanley Cup!!!!!! This took up more of my summer than it has in the past 7 years.
But to SBTS. Usually at this time, I'm freaking out trying to get the comedy that I directed (and inevitably playing a role in) open. That has been my life for the last 3 years. And I loved it. And it gave me ulcers. I am so proud of each of those productions. And after last summer, I directed Henry IV pt. 1 at Little Fish. And I honestly don't think that I could duplicate that experience. If there was ever a show to go out on as a director, that was it. I don't know that I'll direct again. Although there are a few plays written by friends of mine, that I would jump back in the seat for. And also I have some movie ideas...
But back to Othello. The thing I love the most about this play is that it feels so intimate. We have talked about how isolated the world is. Much of that by Iago's design. The scenes take place between two or three people, with the occasional senate scene or party. But it's a very personal drama taking place between many credulous fools, and one man determined to do them harm.
There is much talk about honesty and reputation. And Iago is his most truthful when nobody believes him. Saying these things are fictions. "Reputation is an idle and most shallow imposition, oft got without merit and lost without deserving." "Her honor is an essence that's not seen. They have it very oft that have it not." These are delicious moments. "I think you think I love you." So great. Iago is not only a gifted liar. But he does small injustices without even thinking about it. There is literally no text that explains why he is robbing Roderigo blind. He's doing it because it's fun. He decides to put taking down Othello together with taking down Casio because it makes it interesting. He's a gambler. He loves the action. And some of the most fun in playing this role is that Shakespeare always throws in a monkey-wrench when he's getting his way. He has Casio "confess" in front of Othello and along comes Bianca. Stuff can seriously go sideways. Othello finally makes him his Lieutenant, and here comes effing Lodovico from Venice with a message.
I'm still finding so much in it. Iago is much smarter than Patrick, and far more able to roll with the punches. So, I'm trying to rise to that. And I hope that I'm bringing some humanity to the role that maybe most miss out on. It is my contention that although he's a talented liar and thief that he's never used these things for evil...until now. It may be a leap, but I believe that a switch was flipped in his mind when Othello passed him over for Lieutenant, and then he heard the rumors (far and wide) that Othello slept with his wife. That jealously is clear to me. I understand that. I also understand wanting to punish the person who hurt you in the very same way. Which is Iago's goal. He actually doesn't set out to kill anybody. He wants to get Casio's position and put Othello into the madness of jealousy that he, himself, is experiencing. But as the plan takes on life, better others die than he should, right? I even feel like he tries to save Desdemona from actual death. Two scenes back to back happen where he tells people to follow the Moor and mark him well. Sure, he doesn't try to directly stop it. He needs Othello to shame himself. But effing Lodovico was supposed to mark him well, and Emilia was to run and tell them what has happened.
Not to excuse him, of course. Except that I must. These are the pieces of humanity that make Iago a real person for me, and not some evil caricature. And why doesn't he kill Emilia until after she's outed him? (spoiler alert...doh). He keeps warning her to be quiet and go home. Would it be worse for him to kill her before she spills the beans than after? No. He knows that. He just doesn't want to do it. But then all is lost.
Man, I'm excited to get back to rehearsal. Monday will be interesting. The Monday before opening of the tragedy is always difficult, since it's been a week and a half since we've done it. We have lights, sounds, and costumes for the first time. But this year we also have a new actor in a major role. Some year, I would love to do a documentary of just the tech week to Saturday of the tragedy of SBTS. It's incredible. When I think of some of our best productions, I remember the most ridiculous Monday nights. Caesar was a mess. King John was the end of our careers. Hamlet was a disaster. But they all grew by leaps and bounds and opened wonderfully. To quote Shakespeare in Love: "It's a mystery." Plus Stephanie has directed every drama for the last 7 years...so it's not such a mystery why they are always ready to open.
Anyway, if you want to see me later tonight, I'll be at Pt. Fermin drinking beers and eating Pastrami and watching my friends kill it in "Cymbeline." And then the work begins again!
But to SBTS. Usually at this time, I'm freaking out trying to get the comedy that I directed (and inevitably playing a role in) open. That has been my life for the last 3 years. And I loved it. And it gave me ulcers. I am so proud of each of those productions. And after last summer, I directed Henry IV pt. 1 at Little Fish. And I honestly don't think that I could duplicate that experience. If there was ever a show to go out on as a director, that was it. I don't know that I'll direct again. Although there are a few plays written by friends of mine, that I would jump back in the seat for. And also I have some movie ideas...
But back to Othello. The thing I love the most about this play is that it feels so intimate. We have talked about how isolated the world is. Much of that by Iago's design. The scenes take place between two or three people, with the occasional senate scene or party. But it's a very personal drama taking place between many credulous fools, and one man determined to do them harm.
There is much talk about honesty and reputation. And Iago is his most truthful when nobody believes him. Saying these things are fictions. "Reputation is an idle and most shallow imposition, oft got without merit and lost without deserving." "Her honor is an essence that's not seen. They have it very oft that have it not." These are delicious moments. "I think you think I love you." So great. Iago is not only a gifted liar. But he does small injustices without even thinking about it. There is literally no text that explains why he is robbing Roderigo blind. He's doing it because it's fun. He decides to put taking down Othello together with taking down Casio because it makes it interesting. He's a gambler. He loves the action. And some of the most fun in playing this role is that Shakespeare always throws in a monkey-wrench when he's getting his way. He has Casio "confess" in front of Othello and along comes Bianca. Stuff can seriously go sideways. Othello finally makes him his Lieutenant, and here comes effing Lodovico from Venice with a message.
I'm still finding so much in it. Iago is much smarter than Patrick, and far more able to roll with the punches. So, I'm trying to rise to that. And I hope that I'm bringing some humanity to the role that maybe most miss out on. It is my contention that although he's a talented liar and thief that he's never used these things for evil...until now. It may be a leap, but I believe that a switch was flipped in his mind when Othello passed him over for Lieutenant, and then he heard the rumors (far and wide) that Othello slept with his wife. That jealously is clear to me. I understand that. I also understand wanting to punish the person who hurt you in the very same way. Which is Iago's goal. He actually doesn't set out to kill anybody. He wants to get Casio's position and put Othello into the madness of jealousy that he, himself, is experiencing. But as the plan takes on life, better others die than he should, right? I even feel like he tries to save Desdemona from actual death. Two scenes back to back happen where he tells people to follow the Moor and mark him well. Sure, he doesn't try to directly stop it. He needs Othello to shame himself. But effing Lodovico was supposed to mark him well, and Emilia was to run and tell them what has happened.
Not to excuse him, of course. Except that I must. These are the pieces of humanity that make Iago a real person for me, and not some evil caricature. And why doesn't he kill Emilia until after she's outed him? (spoiler alert...doh). He keeps warning her to be quiet and go home. Would it be worse for him to kill her before she spills the beans than after? No. He knows that. He just doesn't want to do it. But then all is lost.
Man, I'm excited to get back to rehearsal. Monday will be interesting. The Monday before opening of the tragedy is always difficult, since it's been a week and a half since we've done it. We have lights, sounds, and costumes for the first time. But this year we also have a new actor in a major role. Some year, I would love to do a documentary of just the tech week to Saturday of the tragedy of SBTS. It's incredible. When I think of some of our best productions, I remember the most ridiculous Monday nights. Caesar was a mess. King John was the end of our careers. Hamlet was a disaster. But they all grew by leaps and bounds and opened wonderfully. To quote Shakespeare in Love: "It's a mystery." Plus Stephanie has directed every drama for the last 7 years...so it's not such a mystery why they are always ready to open.
Anyway, if you want to see me later tonight, I'll be at Pt. Fermin drinking beers and eating Pastrami and watching my friends kill it in "Cymbeline." And then the work begins again!
Thursday, June 2, 2016
Iago...inside the mind of a killer
Tragedy struck my little community this week. The father of my daughter's friend and classmate was gunned down in cold blood on the UCLA campus. It's been devastating to us. He was a kind and brilliant man. A family man. A world class mind, who also coached little league. If you were to try to create a sympathetic figure in a movie, Bill Klug would be what you would hope to cast.
I have been crying off and on for the last 24 hours. I didn't know him very well. We would chat, usually on Thursdays when he had the chance to pick up the kids from school. They were always so excited to see him. I know his wife and kids much better, as I see them every day. This family went out of their way for me earlier this year when I was laid up with injury. They took my daughter to and from school. They brought us food, because that's what good neighbors do for somebody who's sick. He was one that could actually (and accurately) be described as a pillar of our community.
And he was shot and killed by a psychopath.
And I was supposed to have rehearsal tonight. (Thankfully it was canceled). I was supposed to hop into the skin of Iago tonight. But there was no way that I could. For the first time in my life, being onstage was an impossibility. The stage has always been my safe haven. I used to compare myself to Mike Tyson, who could only function within his square. Outside the ring, his life was a mess.
About 15 years ago, my mom went in for a small procedure. "Nothing to worry about." Well, it turned out that they took one of her lungs and she had cancer. That night I had to perform Macbeth. I learned of the cancer about an hour before curtain. I was a mess. But, luckily I had the talented and wonderful Renee O'Connor as my Lady M. She grabbed me onstage and brought me into the moment. Physically and emotionally. I was able to enter the safe space of the stage and escape the horror of my mom's cancer for those 2 hours. I drove out there after the show and was there when she woke up in the hospital. I was strong for her. I sat with her and chatted when she woke up and then read when she fell back to sleep.
I'd like to think that if I had a performance tonight instead of a rehearsal, that I'd be able to answer the bell. But my job as and actor is to not judge Iago. To justify his murders. To play a charming, caring, con man. But as I read accounts of Bill's murder, I am sickened. This psychopath who killed him invented all sorts of reasons too. I judge him tonight. I can't play him tonight.
I don't have much more to say right now.
I have been crying off and on for the last 24 hours. I didn't know him very well. We would chat, usually on Thursdays when he had the chance to pick up the kids from school. They were always so excited to see him. I know his wife and kids much better, as I see them every day. This family went out of their way for me earlier this year when I was laid up with injury. They took my daughter to and from school. They brought us food, because that's what good neighbors do for somebody who's sick. He was one that could actually (and accurately) be described as a pillar of our community.
And he was shot and killed by a psychopath.
And I was supposed to have rehearsal tonight. (Thankfully it was canceled). I was supposed to hop into the skin of Iago tonight. But there was no way that I could. For the first time in my life, being onstage was an impossibility. The stage has always been my safe haven. I used to compare myself to Mike Tyson, who could only function within his square. Outside the ring, his life was a mess.
About 15 years ago, my mom went in for a small procedure. "Nothing to worry about." Well, it turned out that they took one of her lungs and she had cancer. That night I had to perform Macbeth. I learned of the cancer about an hour before curtain. I was a mess. But, luckily I had the talented and wonderful Renee O'Connor as my Lady M. She grabbed me onstage and brought me into the moment. Physically and emotionally. I was able to enter the safe space of the stage and escape the horror of my mom's cancer for those 2 hours. I drove out there after the show and was there when she woke up in the hospital. I was strong for her. I sat with her and chatted when she woke up and then read when she fell back to sleep.
I'd like to think that if I had a performance tonight instead of a rehearsal, that I'd be able to answer the bell. But my job as and actor is to not judge Iago. To justify his murders. To play a charming, caring, con man. But as I read accounts of Bill's murder, I am sickened. This psychopath who killed him invented all sorts of reasons too. I judge him tonight. I can't play him tonight.
I don't have much more to say right now.
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