One of those Press Questionnaires

QUESTION FOR THE ACTORS:

1. When did you know you wanted to be an actor? 

I snuck up on acting indirectly and relatively late. I started out on the technical / management side of things. During undergrad school and for about a decade after I was a professional stage manager in theatre, opera and dance. My intention was to move into directing as many stage managers used to do. Unfortunately I was several decades out of step as the rise of MFA programs created another path for young, would-be directors. During those stage management years I was directing and producing and sometimes even acting in smaller venues on the side. What I discovered is that I did not feel able to communicate with actors about their process because I had never studied it. I wanted to be able to say to an actor during a rehearsal, “I see what you are going for, try this” and have confidence that it would be useful, helpful direction because I have experienced it myself. So I went to graduate school, not as a director but as an actor, and, well, sorta kinda fell in love with it.

2. Tell me about AN AMERICAN DRUM CIRCLE. How do you feel rehearsals are going? What do you love most about the play?

When I first read the play I thought that this part is not for me. Or more to the point, I am not right for the part. That’s often an indication that you should take a second look because maybe you’re a little bit scared of trying to fit into that guy. Once I began working on it I realized that I have very personal models for parts of Ron’s character and that’s probably what made me uncomfortable. The play engages us on the topic of faith, belief. If you’re going to talk about fundamental aspects of the human condition, you have my full attention.

3. What kind of writing inspires you?

I ran away from the ‘well made play’ and jumped into the downtown 1980’s avant guarde scene when I came to New York from Seattle. I re-embraced the classics and the 'cannon of respectability' as an actor because there are just so many damn good parts in there. I’m engaged by writing that is visceral no matter its genre. And language. Theater is language based, film is image based. Writing for the theater should continue to revel in what it does best, speak.

4. Who or what has been the biggest influence on your work as an actor thus far?

So many influences have contributed. Teachers, friends, mentors, idols. Picking one borders on arbitrary but here it goes. A friend introduced me to a teacher who taught an actor training method taught to him by it’s originator. I went to UCSD because of this teacher and was fortunate enough to travel to Japan with him and a small group to meet and study further with Tadashi Suzuki, the inventor of this training method. Anne Bogart and the SITI company here in New York use Suzuki’s physical work in their productions and it remains for me one of the touch stones of my approach to acting.

5. What else are you working on right now?

I’m remodeling two apartments. Yes, that's what I do for what us actors used to call bread-and-butter jobs. www.renaissancecontracting.net . I’m also writing a little to see if I can put my money where my mouth is when it comes to theater. And I’m looking for the next gig, like always.