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Category — Building Character

His Rage Is My Rage Too

Gretchen Mol & Hari Dhillon

Gretchen Mol & Hari Dhillon

How Hari Dhillon channels the anger and revelations in Broadway’s Disgraced

Welcome to Building Character, our ongoing look at performers and how they create their roles

It’s clearly been a very bad day. Amir (Hari Dhillon) doesn’t so much enter his dusk-lit apartment as storm it, quickly loosening his tight corporate-lawyer tie and pouring himself a stiff drink. His wife Emily (Gretchen Mol) isn’t home, and somehow, that only intensifies his anxious, angry pacing. He stomps out onto the terrace, sips his drink… then hurls his cocktail glass against the wall, shattering it to pieces. He comes back and pours himself another round.

Soon enough, Emily, a visual artist, arrives with some last-minute groceries, reminding Amir that a couple of friends are on their way over for a significant soiree. The guests are Amir’s co-workers and her curator husband, who may have big news about Emily’s inclusion in a new Whitney exhibit. And thus the table is set for a familiar theatrical battle scene: The Dinner Party From Hell. No more glasses will be smashed, but the lives of all the diners will be significantly dented.

Though all four share some blame for the collision, Amir’s rage is the engine that drives the long, volatile third scene of Ayad Akhtar’s Pulitzer Prize-winning drama Disgraced, now at the Lyceum Theatre. So one obvious question for Dhillon would be: What does he do as an actor to psych himself up before coming onstage?

“The writing is so tight, there’s never a point where I have to stand off to the side and rev up my own personal motives,” says Dhillon, who, though American-born-and-raised, is better known in England as heartthrob doctor Michael Spence on the BBC series Holby City. “The train ride feels kind of inexorable. I never feel like, ‘On Line X, I have to do this.’ ”

In any case, much of the fuel for the evening’s conflict is buried, Dhillon explains. [Read more →]

October 21, 2014   No Comments

The Secret to Surviving a Terrible Family

Eric Lange in The Country House

Eric Lange in The Country House

Eric Lange adds texture to Broadway’s The Country House

Welcome to Building Character, our ongoing look at performers and how they create their roles

The ghost of Konstantin, the tortured young playwright whose diva mother withholds her love in Chekhov’s The Seagull, seems to haunt Donald Margulies’ The Country House, now on Broadway from Manhattan Theatre Club.

In the new play, the broken artist shuffling through the living room is Elliot Cooper, a failed American actor-playwright whose unrealized career is partly due to the selfishness of his famous actress mother, Anna. There’s also a hint of the disappointed Uncle Vanya in Elliot, a depressed alcoholic who might’ve been something if only he’d been bolstered by his extended showbiz clan.

Given all this, you might assume rehearsals for The Country House were guided by lengthy discussions about Russians, but according to Eric Lange, who makes his Broadway debut as Elliot, there were none.

“It was mentioned early on, in our first meeting, that the play is inspired by characters in Chekhov and there are themes inherent throughout,” he says. “It was a jumping off point for Donald. [Director] Dan Sullivan said, ‘I want you to throw all that away. This is not a Chekhov play. Let’s just make this about a family.’ We never gave Chekhov any real attention.”

Lange—known for recurring roles on TV series like Lost, The Bridge, and Weeds—resisted the urge to re-read The Seagull or Uncle Vanya. He also sought to avoid “the trap of the role”—overplaying Elliot’s “pity-me” quality.

“Elliot is someone who is deeply wounded, from childhood on,” the actor says. “So to get through life, you adopt these shields, these protective devices. His mind, his sense of humor, his caustic wit.” [Read more →]

September 25, 2014   No Comments

A Woman Walking in A Man’s Shoes

Kathleen Chalfant and Paul Niebanck in A Walk in the Woods

Kathleen Chalfant and Paul Niebanck in A Walk in the Woods

Kathleen Chalfant puts a feminine stamp on a traditionally male role in A Walk in the Woods

Welcome to Building Character, our ongoing look at performers and how they create their roles

A famous old adage says if women ruled the world, there would be no war. So it stands to reason that one of the two envoys attempting to negotiate an arms treaty in A Walk in the Woods is female—only that’s not the way Lee Blessing’s play was originally written. Loosely inspired by a real-life meeting between the U.S.’s Paul H. Nitze and the then U.S.S.R.’s Yuli A. Kvitsinsky during the 1982 Geneva peace talks, the 1988 Tony- and Pulitzer-nominated drama initially starred two men. But over the past quarter century, as more women have become high-profile players in international politics, some theatre companies have opted to change up the characters’ genders. And that’s exactly what Keen Company has done by casting Kathleen Chalfant as seasoned Russian diplomat Andrey (rechristened Irina) Botvinnik in A Walk in the Woods at the Clurman Theatre.

This isn’t the first time the Obie Award-winning actress has played a part that was meant for a man. Her diverse and illustrious career is filled with performances that blur gender boundaries. “I feel like I do this all the time,” she says with a small chuckle. “I have played a number of characters who are actually male, like in Angels in America, [affecting a flawless Russian accent] Aleksii Antedilluvianovich Prelapsarianov, the world’s oldest living Bolshevik, which was also my first Russian role. In Sarah Ruhl’s Passion Play, I played Queen Elizabeth, Hitler and Ronald Reagan—that part can be portrayed by a man or a woman, but it’s mostly been done by men. And I also played Clov in Beckett’s Endgame. So I had no hesitations when Johnny [Keen Company artistic director Jonathan Silverstein, who also helms the production] asked me to play Botvinnik.”

Of course in this mounting, Botvinnik is no longer a male character, which meant some slight script adjustments were necessary—mostly pronoun switches. But Blessing, who was present during the rehearsal process, was happy to oblige. “I’ve formally been asked for my approval to change the gender of one or the other negotiator in A Walk in the Woods four times, that I recall,” he says. “In each case I gave it. I think the gender change can wake us up a bit more to a play that discusses issues that haven’t been on the front burner in quite this way for decades. It reminds us that more and more women are finding their way into our society’s biggest socio-political discussions.”

[Read more →]

September 18, 2014   2 Comments

Once, Twice, Three Times Your Savior

Arthur Aulisi, Daryl Lathon, & Donald Warfield

Arthur Aulisi, Daryl Lathon, & Donald Warfield

The actors in 3 Christs find truth in insanity

Welcome to Building Character, our ongoing look at performers and how they create their roles

It’s not every day you sit down with three Jesus Christs. Wait, what’s the plural form of Jesus? Jesi? Jesuses?

“Jesees!” says Donald Warfield, one of three actors playing the son of God in 3 Christs, now at Judson Memorial Church in a production from Peculiar Works Project.

When the audience enters Judson’s grand church hall, they see three men onstage, sitting with their backs to each other in a triangular formation—a trinity. In the background, above the set, stained glass windows of Peter, Paul, and John gaze upon them. It’s a striking tableau about an unsettling subject.

3 Christs, adapted S.M. Dale and Barry Rowell from a real-life medical study, follows the two-year experiment of Dr. Milton Rokeach, who in 1959 brought together three schizophrenics (Leon Gabor, Joseph Cassel, and Clyde Benson). All three believed they were Jesus Christ, and Dr. Rokeach hoped that by encountering each other, they would be shaken of their delusions.

This scenario creates a fascinating acting exercise for the actors playing the Christs (as they’re called by the crew). How do you make sense of insanity? [Read more →]

September 16, 2014   No Comments

She’s Standing Next to Herself

And I and Silence

Samantha Soule and Rachel Nicks

Samantha Soule is one of two people playing her character in  And I and Silence

Welcome to Building Character, our ongoing look at performers and how they create their roles

Crafting a character is always a collaborative process, with the performer, playwright, director, and designers all informing how a person moves from the page to the stage. But in Naomi Wallace’s intimate drama And I and Silence there’s an additional variable: a second actor.

Named for a line in Emily Dickinson’s poem “I Felt a Funeral in My Brain,” the ’50s-set play, now at Signature Theatre, traces the risky relationship between two imprisoned female teens and their valiant attempt to forge a life together after they’re released. Two sets of performers portray the African-American Jamie (Trae Harris and Rachel Nicks) and Caucasian Dee (Emily Skeggs and Samantha Soule) in 1950 and 1959 respectively, and though they’re far from dead ringers, their performances are similar enough to suggest you’re watching the same characters at different ages.

While it’s rare to have two actors tackle the same part in one show, Soule has actually done it before. “Karen Allen and I did a play called A Summer Day about two years ago at the Cherry Lane,” she remembers. “I played her younger self. It was about a woman who was stuck in the remembrance of one particular day and was more of a classic memory play. Naomi specifically didn’t want And I and Silence to be a memory play. Both realities are living simultaneously.” Though they start out as distinct, the two eras begin to bleed together à la Tom Stoppard’s Arcadia, with all four actors inhabiting the stage simultaneously. So the pairs needed to be in sync in order to maintain the illusion of being one woman.

To that end, “Emily and I worked a bunch together in terms of crafting this person,” Soule says. “I think Caitlin [McLeod, the director] picked us because we inherently echoed each other. In rehearsal, we did a fair amount of mirroring exercises and improv. Caitlin would let us play for 20 minutes at a time and at the end she’d say, ‘This is what I saw you both instinctively choose to do.’ She had us hone in on places where we interpreted the character in the same way.”

But being identical was never the goal. “There’s definitely a distance between the younger and older selves,” Soule says. “As much as the core of who you are can remain the same, incarceration changes you. That gave us permission to be different. As Dee, Emily has a vivaciousness and openness and wit. I have more of what I call the ‘avocadoness:’ my exterior is a little tougher and the softness is held back.”

[Read more →]

August 19, 2014   No Comments