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.
Saturday, May 21, 2016
Iago the spider
There is a lot made of Richard III being "the bottled spider," and Antony Sher's famous portrayal of him (and his book chronicling that) has cemented that image in the shared consciousness of Shakespeare lovers everywhere. How I would have loved to see him fight with those crutches. But Iago also represents the spider. He says:
"He takes her by the palm: ay, well said, whisper: with as little web as this will I ensnare as great a fly as Cassio."
Iago is an opportunist. He's not the great strategist or puppet master that one might think he is. He's like a spider building a web in an advantageous space, and once he catches his prey, he strikes quickly. Poor Roderigo was caught long ago, and put in stasis for feeding at Iago's leisure.
I like this image. Iago as an insect with only one goal--to feed. And like spider webs being blown down with heavy winds, or bigger animals crashing through them, he again and again has to build new webs. He's very good at improv, spider-Iago.
We are nearly half way through our rehearsal process before tech week. Which is terrifying, because we have so much to do still. We still need to block the end of the play...murders and all. I have many lines to learn. Although, I'm happy to report that I have learned the "put money in thy purse" speech, which was my most daunting because a) it's prose, b) it's very repetitive, with slight variations, and c) it's super famous and I was a little scared of it. So, I'm getting big chunks shoved into my brain.
Today was largely devoted to combat. There is much violence in Othello, and it all has to be choreographed and it has to be safe, and it has to be cool. And I'm the guy who does that. As the fight choreographer for SBTS, I love days like today. Giving the framework for the violence. Figuring it all out, and teaching those who haven't had a lot of experience with weapons how to look cool and not get hurt, or hurt anybody else. It's fun. And tomorrow I get to go and stage the fights for Cymbeline. It's the best.
I'm going to look at some more lines now, but I just wanted to jot down that spider image. And just now it occurs to me, that spiders are also prey for larger creatures and must also be somewhat cautious. Yes. So good.
"He takes her by the palm: ay, well said, whisper: with as little web as this will I ensnare as great a fly as Cassio."
Iago is an opportunist. He's not the great strategist or puppet master that one might think he is. He's like a spider building a web in an advantageous space, and once he catches his prey, he strikes quickly. Poor Roderigo was caught long ago, and put in stasis for feeding at Iago's leisure.
I like this image. Iago as an insect with only one goal--to feed. And like spider webs being blown down with heavy winds, or bigger animals crashing through them, he again and again has to build new webs. He's very good at improv, spider-Iago.
We are nearly half way through our rehearsal process before tech week. Which is terrifying, because we have so much to do still. We still need to block the end of the play...murders and all. I have many lines to learn. Although, I'm happy to report that I have learned the "put money in thy purse" speech, which was my most daunting because a) it's prose, b) it's very repetitive, with slight variations, and c) it's super famous and I was a little scared of it. So, I'm getting big chunks shoved into my brain.
Today was largely devoted to combat. There is much violence in Othello, and it all has to be choreographed and it has to be safe, and it has to be cool. And I'm the guy who does that. As the fight choreographer for SBTS, I love days like today. Giving the framework for the violence. Figuring it all out, and teaching those who haven't had a lot of experience with weapons how to look cool and not get hurt, or hurt anybody else. It's fun. And tomorrow I get to go and stage the fights for Cymbeline. It's the best.
I'm going to look at some more lines now, but I just wanted to jot down that spider image. And just now it occurs to me, that spiders are also prey for larger creatures and must also be somewhat cautious. Yes. So good.
Saturday, May 14, 2016
Hello to my tens of readers. I am sorry it has been a long time since I have blogged. But I am back for another summer of Shakespeare by the Sea! I am not directing this year. I wanted to give all of my time to playing Iago in Othello.
This has been a role that I have been chasing for decades. But unlike Hamlet, I finally chased this one down. And I am beyond thrilled to be doing it with Stephanie Coltrin as my director. For those that haven't read my blog, she is my artistic partner in crime. We have worked together nearly exclusively over the last seven years and we have not only become great friends, but we hold one another accountable to the highest standard of theatre. Shortly after she knew she was to direct this play, she told me I was her Iago. I didn't argue. But I rarely (see never) argue with her...because she's a genius.
Anyway, we had auditions and cast a lot of amazing actors and now we are in rehearsal. And as we discover what this play is about, I hope to catalogue it here. This role is the most daunting I've taken on since Macbeth, way back in '02. It's one of those "super-leads" that Shakespeare will sometimes create a play about. And I do believe that this is a play about Iago. I know it's called the Tragedy of Othello, but come on we are also doing Cymbeline this summer and I defy you to tell me that that play is about the poisoned king.
So, here's the thing. If you are hoping that I am embracing the notion that Iago is Shakespeare's meditation on evil, you will likely be disappointed at my performance. Even though we've only just begun, I can tell you that Steph and I are united that nobody thinks that they are evil. And Iago is somewhat justified in doing what he does. Sure, he may not care about the collateral damage that he does, but he's not evil. He is hurt. He has been betrayed.(He thinks). He has been passed over for advancement. (Really). Side note--We were talking at rehearsal that first day, and I made the observation that we are all a bad month away from being Iago...or Othello...or poor Desdemona. Besides, I don't know how to play "evil." It's a concept which is inherently unplayable as an actor. And Shakespeare was too good of a writer (and an actor himself) to make one of his players do such a thing. This is absolutely a play about jealousy, but it isn't about Othello's jealously...it is about Iago's. And this jealously is a torment, which Iago can no longer bear, and he passes it on to the man he hates the most.
For me, the play begins for Iago where it ends for Othello. Iago has recently heard report (abroad) that Othello has had carnal relations with Emelia (his wife). And it eats away at him. All of the things that he says of jealousy he understands from first had experience. He can't get the thought of Othello and Emelia coupling out of his head. And he swears to give this pain to the Moor...and perhaps more if he can. The center of my performance comes from this. I can understand betrayal. I can relate to shame. I have no idea what evil is or feels like. But there are people who have deliberately done me wrong that I would repay in kind, if I weren't a tired old family man.
So, that's my jumping off point. Emilia had sex with my commanding officer...the same man who passed me over for advancement and gave it to a pretty boy with absolutely no experience. As a human being, and as an actor, I can understand doing whatever it takes to take down somebody who has wronged you in the worst possible way. And I also understand that sometimes there are no half measures if you want justice. We can look at Iago as a sociopath because he doesn't really seem to value human life (as evidenced by the collateral damage to his plot to topple the Moor), but like I said, we are all only one really bad month from being him.
I think this is what I love the most about this play. It's about relationships. Very small, interpersonal relationships that happen to be played upon an international stage.
We have talked a lot (already) about isolation. Here are a group of people who never communicate. It has a lot to do with the speed that everything takes place, and the warlike climate of the setting (both the political setting in Venice and the warlike setting in Cyprus). Also, the titular character is a foreigner that is an extraordinary General. A war hero that the nation needs (until they don't). His otherness is also at the center of this play.
This isolation works for Iago. He is a great student of people, and a flawless liar. He is a genius at taking any circumstance and turning it to his advantage. (Side note: I have often said that if you are an actor playing Shakespeare--playing the text (and not worrying about subtext) will get you 90% of the way to a performance. This is never more important than in this role. Being a great liar means believing the lies that one is telling (hence...playing the text). My primary goal in this undertaking is to be so pure in the lies that not only do Othello and Desdemona not catch me, but that the audience doesn't' either. The great thing about this undertaking is that Shakespeare has given me soliloquies to tell the audience exactly how I feel about everything, so I don't need to tart up the lie with falseness.
Anyway, those are my first thoughts as we begin this journey. I'm excited to get cracking. My cast mates seem game. There is much to come, much to unearth, and much to lament.
This has been a role that I have been chasing for decades. But unlike Hamlet, I finally chased this one down. And I am beyond thrilled to be doing it with Stephanie Coltrin as my director. For those that haven't read my blog, she is my artistic partner in crime. We have worked together nearly exclusively over the last seven years and we have not only become great friends, but we hold one another accountable to the highest standard of theatre. Shortly after she knew she was to direct this play, she told me I was her Iago. I didn't argue. But I rarely (see never) argue with her...because she's a genius.
Anyway, we had auditions and cast a lot of amazing actors and now we are in rehearsal. And as we discover what this play is about, I hope to catalogue it here. This role is the most daunting I've taken on since Macbeth, way back in '02. It's one of those "super-leads" that Shakespeare will sometimes create a play about. And I do believe that this is a play about Iago. I know it's called the Tragedy of Othello, but come on we are also doing Cymbeline this summer and I defy you to tell me that that play is about the poisoned king.
So, here's the thing. If you are hoping that I am embracing the notion that Iago is Shakespeare's meditation on evil, you will likely be disappointed at my performance. Even though we've only just begun, I can tell you that Steph and I are united that nobody thinks that they are evil. And Iago is somewhat justified in doing what he does. Sure, he may not care about the collateral damage that he does, but he's not evil. He is hurt. He has been betrayed.(He thinks). He has been passed over for advancement. (Really). Side note--We were talking at rehearsal that first day, and I made the observation that we are all a bad month away from being Iago...or Othello...or poor Desdemona. Besides, I don't know how to play "evil." It's a concept which is inherently unplayable as an actor. And Shakespeare was too good of a writer (and an actor himself) to make one of his players do such a thing. This is absolutely a play about jealousy, but it isn't about Othello's jealously...it is about Iago's. And this jealously is a torment, which Iago can no longer bear, and he passes it on to the man he hates the most.
For me, the play begins for Iago where it ends for Othello. Iago has recently heard report (abroad) that Othello has had carnal relations with Emelia (his wife). And it eats away at him. All of the things that he says of jealousy he understands from first had experience. He can't get the thought of Othello and Emelia coupling out of his head. And he swears to give this pain to the Moor...and perhaps more if he can. The center of my performance comes from this. I can understand betrayal. I can relate to shame. I have no idea what evil is or feels like. But there are people who have deliberately done me wrong that I would repay in kind, if I weren't a tired old family man.
So, that's my jumping off point. Emilia had sex with my commanding officer...the same man who passed me over for advancement and gave it to a pretty boy with absolutely no experience. As a human being, and as an actor, I can understand doing whatever it takes to take down somebody who has wronged you in the worst possible way. And I also understand that sometimes there are no half measures if you want justice. We can look at Iago as a sociopath because he doesn't really seem to value human life (as evidenced by the collateral damage to his plot to topple the Moor), but like I said, we are all only one really bad month from being him.
I think this is what I love the most about this play. It's about relationships. Very small, interpersonal relationships that happen to be played upon an international stage.
We have talked a lot (already) about isolation. Here are a group of people who never communicate. It has a lot to do with the speed that everything takes place, and the warlike climate of the setting (both the political setting in Venice and the warlike setting in Cyprus). Also, the titular character is a foreigner that is an extraordinary General. A war hero that the nation needs (until they don't). His otherness is also at the center of this play.
This isolation works for Iago. He is a great student of people, and a flawless liar. He is a genius at taking any circumstance and turning it to his advantage. (Side note: I have often said that if you are an actor playing Shakespeare--playing the text (and not worrying about subtext) will get you 90% of the way to a performance. This is never more important than in this role. Being a great liar means believing the lies that one is telling (hence...playing the text). My primary goal in this undertaking is to be so pure in the lies that not only do Othello and Desdemona not catch me, but that the audience doesn't' either. The great thing about this undertaking is that Shakespeare has given me soliloquies to tell the audience exactly how I feel about everything, so I don't need to tart up the lie with falseness.
Anyway, those are my first thoughts as we begin this journey. I'm excited to get cracking. My cast mates seem game. There is much to come, much to unearth, and much to lament.
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