Fun and French, in a Cold Read

I spent the past two nights getting together with large groups of actors and reading aloud a couple plays. It was an informal gathering put together to explore these scripts as possible candidates for production. We were all assigned multiple parts, had some drinks and snacks, sat in a circle and dug in.

The first night’s play included numerous dialects, some singing and some foreign language. (This was a cold read for most of us, so there was some foreign language faking going on.) Last night’s was much tamer in that regard.

The fun of it, of course, was the discovery and the challenge. Other than the title and the authors’ names, I wasn’t familiar with either script, so I wasn’t quite sure what to expect. Cold readings can be difficult – having to make quick choices, on the spot, about intention, attitude, relationships, character, all only based on what’s in front of you at the moment, not knowing where anything’s going.

Some times that’s a good thing. Some times you choose incorrectly.

After the readings we discussed it all – what we liked, what we didn’t, how produce-able it might be, what kind of audience it might garner, whether it’s right for this company and their audience, etc….. Lots and lots of opinions were thrown out, but there was also much agreement, and good discussion within the group. The conversation was cordial, professional and productive. There were no egos, no arguments and nothing personal.

(I’m not surprised by any of that behavior, I’m only reminded that I see it so little elsewhere.)

I learned a couple things through this exercise.

I learned I can’t always think on my feet well enough to sound clear and smart at the same time in group discussions. (I feel I usually can, but these couple night’s challenged that notion.) Life might move too fast for me, and I like to consider and explore materials when reading them. Or perhaps my mind moves too quickly, jumping to ideas, and I inadvertently skim things I shouldn’t. Or maybe I’m not as bright as I think. No…that’s not it.

Also, I learned, or re-learned, that I have a pretty solid skill of doing some accents, and many I can just toss out, on the fly, without thinking about them. While this includes a few British, Irish, Italian, Russian, Chicago, New York, ranges of Southern US and perhaps a few others, it does not include French. I don’t know why, but I can’t just jump into a French accent unless I’m improvising dialogue. On night one I had to read a character with a “slight French accent” and I started trying one, but as soon as I heard it fluctuate to some Eastern European (probably to a country that no longer exists) I gave up. I couldn’t read and accent at the same time.

But mostly I learned that this kind of thing should happen more often. At any given time I probably know several dozen actors who could be available on a Tuesday night to get together to read a script. Even if people aren’t right for the part, it doesn’t matter. Hearing a script out loud is how scripts are supposed to be heard. Hearing actors put some life (even incomplete, or slightly off-the-mark-in-a-cold-reading life) into the playwright’s words is illuminating. And getting together to practice, discuss and enjoy the process isn’t so bad either.

Every time an opportunity like this comes up I wonder why it doesn’t happen more often. Perhaps it’s time it does.

Actors and Eggshells

I’ve said it before and I’ll say it again: I love watching actors act. I love the creative developmental process of watching a character slowly come to life through trial and error and exploration, like some animal breaking its way through an eggshell.

Today is our last rehearsal before preview and opening, and I’ve been fascinated in the past couple weeks by the process I’ve witnessed from several actors in this show. Partly due to the ensemble-ish nature of the play and partly due to the nature of the rehearsal space, much of the off-stage time has been spent watching the scene in progress, a scene which often has anywhere from three to fifteen (or more) people on stage together.

OK. I’ll also admit that while on stage myself I couldn’t help but notice the detailed exploration happening around me.

The other day at rehearsal I was suddenly struck by one actor’s sudden progression in the development of his character. Not that things hadn’t been coming along for Mike, but suddenly something had clicked and fallen in to place, like some puzzle and now instead of floating across the stage he was flying, now instead of being fairly interesting he was fascinating. There was a depth and detail and history to this character that was suddenly clear and present. Or, maybe I’m putting those things on with my own mind, connecting the dots that he’s simply putting out there. Either way, it works.

What’s that line? “Did I leave the iron on?” Sort of like that.

I had watched Mike making different choices, almost like he was working through a maze and wasn’t sure which path was correct, but Mike kept himself focused on finding that path, and suddenly it seemed things clicked. Vocally, physically, emotionally. He was a human being, and suddenly Mike had become the character he had been working towards.

I’ve seen Mike in several shows and have always enjoyed his work and was excited to be in a show working with him. I figured I might learn a thing or two, but his process seems so organic that I’m not sure I could define it. Not, without, at least talking to him explicitly about it. Which I won’t do. Maybe when this show closes, but not before.

The really great thing for the show is that many other actors in the show have also done some amazing and fun stuff to watch—Larry, Shannon and Faye have gone to some great depths of detail in their work. Strong, bold, interesting and supported choices, combined with deep connection to their character’s goals and high stakes.

Of course, the thing I can’t be sure of is how my own work fits in. I can’t be objective about that. I’m continuing to search for details each moment with each run through, and as some props have been added I find new things about my character, the way he deals with his cigar and how he really eats when there’s actual food and not mimed food. (Unfortunately, he chews with his mouth open.) I can only hope my own work can keep up with this great group of actors.

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* Actors names have been changed to protect…well, I don’t know what. Perhaps an ego.

Early Rehearsals

We’re nearing the end of week two of rehearsal for a production of Elmer Rice’s Street Scene. It’s a monster of a show, mostly due to the variety of the variables: 20+ actors, 3 children, a dog, 60+ characters and over a half dozen dialects.

We open in three weeks.

This undertaking could be a setting for disaster were it not for the wealth of talent involved. The creative team—director and designers—have a track record of great successes, a few particularly noted for making art out of massive productions. The cast is chock full of quick witted, creative, playful and eager actors ready to take on the challenge of creating this world.

And not just creating it, but making it come to life with its broad, sometimes stereotyped characters. Make it come to life with deep roots, accessible people, and relative to an audience 80 years after its debut.

Many of these people (onstage and off) I have had the pleasure of working with in the past, in some form or another and every one of them I looked forward to working with again. And many of the others I’ve wanted to work with because of what I’ve seen from them onstage at other times. Frankly, I’m honored to be in amongst these people.

Much of what was focused on in the first week were dialect choices and blocking. Seriously, it’s like blocking rush hour traffic at times. I’m very well acquainted with the director and his work so I was confident it would all work out. Meticulous is how I would describe it. We spent about an hour blocking approximately three pages. (To be fair, just those three pages needed that.)

I’d never witnessed a blocking rehearsal get a round of applause until then.

Blocking is one thing though. As long as I make the right notes, and can read my writing when we next come to that scene, I should be OK. Dialects aren’t quite the challenge for me that they can be for some actors, and fortunately I’m doing a couple in this show that I’ve done before. Still, it takes reviewing and reminding, and a detailed look at my lines.

Then you have to say it out loud, so there’s that.  Here’s what I’ve learned:

• I can’t speak with an Irish accent if I’m reading dialogue written phonetically in another dialect. (Thank you Mr. Rice, but I’ve made a character choice, the director supports it and I need to help distinguish my two characters.)
• I’m once again appreciating some of the classroom acting exercises of a college teacher where I learned not to be distracted by an actor speaking a different accent than me. Thank you Jean.
• I still haven’t completely lost my Chicago “A” sound and it slips in too easily. I’m becoming paranoid it’s following me.

Next up: Fleshing it all out.