Tag Archives: Rehearsal

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Wedding Week with Madison

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For the record, the last six weeks have been a non-stop whirlwind of travel both business and personal. And, that is going to continue for the next six weeks or so. Thus, my general lack of blog posts. I’m warning any of my regular readers that there may be more periodic interruptions to come through mid-February.

The BIGGEST event of late that I have yet to post about was our daughter, Madison’s, wedding in South Carolina on Nov 23rd. Here’s the down-low.

Wendy and I rented a house in Columbia for a week before the wedding so that Wendy could make six cheesecakes for the reception. Taylor, Clayton, and Milo arrived the same day as Wendy. It was the first time we’ve seen our grandson in almost a year, so getting a week with Milo was a big deal for us. I, however, had a business trip early that week and didn’t join the fam until late Wednesday night. Ironically, our friends Kev and Beck were on my flight from O’Hare to Columbia, so they were able to give me a lift to the rental house upon arrival, which was a treat.

Madison’s husband, Garrett, is a hometown boy from Columbia who played offensive line for the University of South Carolina Gamecocks back in the day (FYI: He played against Iowa in the 2009 Outback Bowl in which Iowa prevailed 31-10. I don’t really talk about this. He’s a very large man.). On Thursday afternoon Garrett gave all the guys a tour of the UofSC training facility along with a quick stop on the field of Williams-Brice Stadium. It was quite an eye-opener to get a behind-the-scenes look at Division 1 SEC football. Wow!

Indoor practice field (there’s an outdoor one as well)

For those who are wondering, Garrett went to training camp with the Green Bay Packers but didn’t get signed. He played Arena league ball, including a brief stint with the Iowa Barnstormers.

The Columbia Museum of Art also had a rather rare exhibition of works by Van Gogh alongside works of other artists that inspired and informed his own paintings. It was kind of a cool opportunity to take that in with the kids late on Thursday afternoon.

On Thursday evening the whole family went out for barbeque before retiring back to the house to put Milo down and watch a few episodes of the new season of The Crown.

The wedding and reception were held at a historic southern mansion and gardens called Seibels House. Wedding ceremony outside in the garden. Reception inside as well as under a tent outside. The weather forecast had been iffy all week and the family all pitched in to set up chairs and tables in the rain on Friday as we prayed for a break in the rain to at least get the ceremony in the following afternoon. Wendy’s folks arrived in the afternoon and spent a few hours with us.

We gathered Seibels House for the rehearsal on Friday evening and briefly went over Plan B if things needed to be moved indoors. We then rehearsed the planned ceremony in the garden. The rehearsal dinner was a catered affair held on a rooftop patio in downtown Columbia where Garret’s father works.

The wedding day arrived and I’m glad to say that our prayers were answered. The rain held off until after the ceremony. Madison’s cousin (son of my sister Jody) officiated the wedding (Madison: “I just want you to be dad that day” which was awesome!) There were sprinkles and gentle rain on-and-off throughout the reception, but it didn’t dampen any of the festivities. Wendy’s cheesecake was, as usual, a huge hit. After the reception, Wendy and I met up with Kev and Beck at their rental for a glass of wine.

On Sunday, we went to Madison and Garrett’s church (Midtown Fellowship). It was Celebration Sunday and we enjoyed a very loud and raucous worship service as many people, young and old, were baptized. In the afternoon, the girls’ mom and her family hosted us all for a fabulous brunch at their rental. The happy couple opened some gifts (with Milo’s help, of course).

Sunday evening was spent eating pizza and watching television with Tay, Clay, and Milo. Sam was staying at the house with us, as well, for the entire weekend, but he took off by himself for Charleston and did a little sight-seeing on Sunday.

A happy Mrs. Anderson!

On Monday, we met up with Garrett and Madison for lunch at their favorite local taco joint. They had an awesome little courtyard in the back where Milo could run around and we could enjoy the sun.

It was an awesome weekend full of tons of love, laughter, and memories made. Madison and Garrett left the following day on a “mini-moon.” They spent a couple of days in a treehouse before joining Garrett’s family for Thanksgiving.

As for Wendy and me, we returned to Iowa with Taylor, Clayton, and Milo who stayed with us through mid-day on Black Friday. They, however, spent most of their time that week with Clayton’s family. After all the hoopla of the wedding week, Wendy and I enjoyed a quiet Thanksgiving day at home, alone, doing nothing and giving thanks for it.

  • Indoor practice field (there’s an outdoor one as well)
  • Training facility. A cross-fit fantasy.
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The Latest 10-3-2016

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I know that I’m not going to generate much sympathy, but Wendy and I really struggled this week to get back on schedule after our time on Kauai. Like most people, our autumn schedule is packed full and jet lag did not help us manage the stress well this week.

We are deep into rehearsals for Union Street Players production of The Christmas Post. Wendy is directing the show. I’m both producing and performing. It’s a heart-warming Christmas musical based on two Norman Rockwell paintings. Wendy’s directed the show twice before. The last time was 10 years ago. So, our free time has been sucked up by 4 rehearsals a week and production responsibilities on top of that. Performances are Dec 2-4 and 8-10.

Work has also picked up for us of late. We’re grateful for a couple of new clients and new projects! Of course, that means some increased business travel for me. Off to Texas this week. Trips to California and northwest Iowa are on the horizon in coming weeks, and there’s potential for even more. That, of course, conflicts with rehearsal schedules for the show. You get it. It’s busy.

2016-10-01-megan-kappa-sigma-isu

I did get to enjoy attending parents’ weekend at Iowa State University’s Sigma Kappa sorority with Megan this past Saturday. Megan played my daughter in USP’s production of K.O.L.D. Radio back in 2010. I’ve been blessed to get to continue playing an honorary “dad” role for Megan after her father, Mike, passed away during production of the show. So, I drove up to Ames for a late breakfast at the sorority house and hung out with Megan and her mom, Cyndi. We all walked to the ISU vs. Baylor football game. It’s always a joy to be with Megan.

boeing-boeing-date-night

Wendy and I had a date night on Saturday evening and attended Theatre Central’s production of Boeing, Boeing. One of the actresses is a USP Alum and it was fun to see her in the show. The cast and crew did a fabulous job. Wendy and I laughed a lot.

I’m continuing to preach on a regular basis in the auditorium services at Third Church. I was wrapping up one series on Sunday and will kick-off the next series next Sunday. That’s been a lot of fun for me, and I’ve really enjoyed the opportunity.

Taylor is back from Scotland. She continues to live and serve at the Des Moines Catholic Worker. We had a chance to spend an hour or two with her earlier this week and hear about her adventures working the Edinburgh Fringe Festival. It was a great experience for her. She’s continuing to pursue jobs in the art world and has had a few interviews.

Madison is continuing to grow life, community, and career in South Carolina. She works in sales and training for a cosmetics company. She’s on the road regularly across South Carolina and is enjoying her work, even as she learns the ups and downs of it.

I’ve had several friends ask about Wendy’s sister, Suzanna, who lived with us over the past few years. Suzanna is living with her folks in Ankeny and working as Assistant Manager of the Family Bookstore there. We’re looking forward to seeing her this coming weekend!

 

 

Theatre Journal, Tom's Photos, Wayfarer's Journal

The Latest 01-31-2016

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January was an unusually busy month for me. Along with two business trips there was a lot of extra-curricular activity that filled our evenings and weekends.

Jana DeZwarte and Spence Ver Meer in Almost, Maine rehearsal
Jana DeZwarte and Spence Ver Meer with Director Kevin McQuade in Almost, Maine rehearsal
Jana DeZwarte and Spence Ver Meer in Almost, Maine rehearsal
Director Kevin McQuade with Jana DeZwarte and Spence Ver Meer.
Jana DeZwarte and Spence Ver Meer in Almost, Maine rehearsal
Jana DeZwarte and Spence Ver Meer rehearse Almost, Maine

Rehearsals continue for Almost, Maine. Wendy and I have really been enjoying the 3-4 rehearsals each week. The fellow cast members are awesome to work with and we’ve loved the ensemble. Our friend, Kevin McQuade, is a blast to work with as a director. Wendy and I play three scenes together as three different couples. We’re loving the challenge of developing completely different characters and quickly moving from one to another. On Thursday night Kevin called an early halt to rehearsal and took the cast to Kaledra for drinks. He knows how to keep his cast happy! Almost, Maine will be performed here in Pella April 14-17.

Taylor will be moving out next weekend. She’s decided to move to Des Moines and live in the Catholic Worker community full-time. She’s working on a couple of different creative projects and has taken up gaining a more in-depth understanding of photography. She and I took a couple of hours this week to play around with light and lenses in my office studio.

Matthew and some of the men who attended the More Than Conquerors workshop at Westview.
Matthew and some of the men who attended the More Than Conquerors workshop at Westview.

My friend Matthew Burch and I have been doing a four-week series of Sunday morning messages in the Third Church auditorium on the subject of shame (audio here). The messages were a microcosm of our men’s workshop, More Than Conquerors which we then presented at Westview this past Friday evening and Saturday. Wendy and I headed to Des Moines on Friday. While Kevin Roose and I were at the workshop, she and Becky enjoyed some girl time and Wendy helped Becky organize their basement storage room.

The More Than Conquerors workshop uses Shakespeare’s trilogy about King Henry V as a backdrop to discussing issues of shame. We loved our time with the 24 guys who attended. It was a great journey. How did it go? I think the answer to that question is in the picture (above) I snapped of Matthew sitting at a table of guys who stayed well after the conference was over to ask more questions and continue learning. When men give up their weekend, sit for almost 12 hours listening to you, and then want to stay for more…I’ll take that as a good sign.

Wendy and I are looking forward to a quiet day today. Here comes February.

Theatre Journal, Wayfarer's Journal

The “Sui Generis” Moment on Stage

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It happened last night at rehearsal for Almost, Maine. It surprised me. It’s early in the rehearsal process and, while it’s not unheard of at this point in that process, it’s relatively rare in my experience.

The Latin term “sui generis” means “one of a kind,” and there is an experience that occasionally, mysteriously happens on stage that I find to be sui generis in life. It is an experience I have found unique to the art of acting, and actors who experience it once usually long to experience it ever after. It is a moment on stage that is other worldly, when actors cross over into another dimension, into the reality of the scene they are playing. It doesn’t happen all the time. You can’t predict it and there is no formula for conjuring it. But, when it happens you never forget it.

When this moment happens, when you cross over, you feel the emotions your character feels and think the thoughts that are flying through your character’s brain. You are at once in both dimensions: being two actors on the community center stage in Pella Iowa, and being two characters in a living room at 9:00 p.m. on a dark winter’s night in northern Maine.

It is an indescribable experience. It is sui generis.

Wendy and I were rehearsing our scene Getting it Back last night. We haven’t rehearsed it many times. Our lines are not memorized, we don’t have all our props, and we’re still struggling to remember our blocking. Yet, as our characters began to argue and things escalated between Gayle and Lendall, it happened. We crossed over. It was incredible. When it happens, I can sometimes also feel those watching being ushered into the moment with us. That happened last night, too.

Wendy and I often comment that we love the rehearsal process almost more than performances. Last night was an example of why. It is in the rehearsal process that you do the work of excavation and exploration. It is in rehearsal that you seek out the doorway to that sui generis moment. Like the portals into Narnia the portals to those moments can mysteriously appear and disappear. The same entrance can sometimes usher you to that moment multiple times. Then, suddenly, the way is shut and you pick up the quest once more.

The quest for that sui generis moment is part of the mystery and magic of acting. It is what draws me back again and again. And when the moment surprises you, like it did at rehearsal last night, it is a one of a kind experience of Life.

I can’t wait for rehearsal on Thursday.

Theatre Journal

“Almost, Maine” Rehearsals Begin

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Last night the rehearsal process for Almost, Maine began in earnest and it killed me not to be there as I’m traveling on business all week. Wendy and I were cast as part of the ensemble back in December and the show will be performed in Pella April 14-17.

Almost, Maine, is likely unknown to many people though in a short period of time it has become arguably the most produced play in schools and community theaters across America in the past few years. It is a wonderful script.

The setting is a moonless night in the dead of winter. The action takes place in the mythical, unincorporated small community of Almost in northern Maine. A solar storm has kicked the the northern lights, the Aurora Borealis into a spectacular display of heavenly fireworks. At exactly 9:00 p.m. there is a magical moment for several people in Almost.

In a series of eight scenes (plus an ninth story that acts in an overarching theme) we meet and witness that magical 9:00 moment for 18 people who are all searching for and struggling with love. The show is poignant and thought provoking. It’s the perfect show for a date night or a small group evening out to the theatre.

A few reasons I’m excited about Almost, Maine:

  • Wendy and I get to play opposite one another in three different scenes and there is no one I enjoy being on stage with more than Wendy. We’ve had precious few opportunities to actually act together, and I’m so pumped to work with her.
  • The show is being directed by our friend, Kevin McQuade, whom I love and respect as a fellow lover and student of the stage. I am really looking forward to being directed by Kevin, exploring the world of Almost, Maine, and putting together an awesome show.
  • The ensemble cast and crew are a spectacular group of talented individuals. Some I’ve worked with before and a couple people are new to me. It’s so much fun working with a great team.
  • In the course of two hours I get to play five different characters. While I’ve occasionally played dual roles, often that means one or more characters are smaller, secondary roles. In Almost, Maine I get the challenge of creating five fully developed characters and presenting them to the audience in a way that their unique differences are distinct and believable.

featured image by Mat Kelly

Tom's Photos

Capturing The Process Behind the Performance

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A Christmas Carol RehearsalI love the process of theatre as much as the performance. It is also one of the things about the stage that I love to capture with a camera. Most people attend a play or a musical at some point in their lives, but few see the process of rehearsals, character development, set construction, make-up, and lighting. It’s such a fascinating thing to be a part of, and to watch taking place. The magic of theatre is the culmination of an amazing amount of human effort, and it creates so many opportunities for interesting photos.

Wendy and I have bit parts in this holiday’s production of A Christmas Carol and the other week I had my camera with me at rehearsal. In this shot, Lonnie Appleby (playing Scrooge) is sequestered in fear on his four-poster bed which at this stage of the production is nothing more than a bench with a couple of posts screwed on. I’ve loved watching Lonnie play with and develop the physicality of the role and I liked the way this photo catches the contortion he’s both developing and which is being forced upon him by the set piece.

 

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“Ham Buns” is Cast

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Canon EOS 6D f/4 1/30 ISO250
Canon EOS 6D f/4 1/30 ISO250

On Saturday afternoon the cast of Ham Buns and Potato Salad was officially cast by director Ann Wilkinson. Last night the cast met for the first time and read through the script. I’ve been asked frequently if I was going to act in the show and that discussion continued until the final moments of audition. In the end, I decided that I did not want to be in the show. As the playwright, I’d rather watch the rehearsal and production process. I know there are things that are going to need to revised and rewritten to make the script even stronger (several things came up at last night’s read through) and I’d like to pour my energy into that process.

Not being in the show also means I get to take photos of the process, which I like to do, as well.

I’m excited about the cast and crew. Auditions yielded a strong group of actors (especially women and girls) and Ann had several difficult choices to make. It’s always hard when you know there are good actors who would have done a nice job in this or that role. That’s part of the sometimes brutal realities of theatre. Choices have to be made and for every person you make happy by casting them, you make several people unhappy by not casting them. Wendy has been cast to play one of my favorite characters in the play. There are two newcomers to the USP stage and I love having a few newbies in the mix along with a capable group of local stage veterans.

Here we go.

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Preparing for a Role: Production Week

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In a stage production, the final week before opening night is generally referred to as “Production Week.” It’s the home stretch when all of the various elements of the show must come together before that first performance. My previous posts have been about my role as an actor, but much of what makes the actors look good on stage is dependent on an invisible army of people who work long, hard hours preparing things like:

  • Lights
  • Curtains
  • Audio/Sound Effects
  • Set
  • Flies (Set pieces that can be “flown” in and out via pulleys)
  • Scene changes
  • Costumes
  • Make-up
  • Hair styling
  • Props (all of the things people handle on stage)

A good stage production is a symphony of various individuals and teams all playing their part for the good of the whole. Production week often starts with a rehearsal called “Cue-to-Cue.” In this rehearsal, the actors take a back seat so that all of the lighting, sound effects, scene changes, and curtain cues can be rehearsed and set. A Stage Manager is typically the person tasked to “call the show” which means they have their headset on and are connected to all of the crew members around the theatre. They follow the script, the action on stage, and all of the outlined cues to make sure that everything happens exactly when it’s supposed to happen.

Our Cue-to-Cue rehearsal for Ah, Wilderness took place this past Saturday. Actors reported for a 9:00 a.m. “call” to be ready and on-stage. Actors were instructed to bring homework or something to read because there is a lot of sitting around quietly waiting for the technical crew as they adjust lights, sounds, flies, and sets. In stead of running entire scenes, in a Cue-to-Cue you run “cues.” I had to leave the rehearsal at 4:00 p.m. for a previously scheduled engagement, but the rehearsal went on for a few more hours and I’m sure some crew were there late into the night making adjustments.

Let me give you an example of the types of things you work in a Cue-to-Cue.  In the first act of Ah, Wilderness! there are a number of sound cues that call for exploding firecrackers. The sound effects are a combination of recorded sounds and live blank rounds fired backstage. To practice these cues, the actors will start with a line or two ahead of where a sound cue is to take place in the script. The person responsible for making the sound will practice their timing. Typically we will run the same couple of lines over and over again until the director is satisfied that the crew has it right and the cue is “set.” The director then announces “Moving on!” You then skip to the next cue in the script which might be several pages of dialogue later.

Cue-to-Cue can be a booger of a rehearsal to get through, especially for actors who do a lot of sitting around. The rehearsal is critical, however. The last thing you want is for technical problems to disrupt the flow of a performance. You don’t want a cue for a trolly bell to be a marching band instead. A dropped cue for a firecracker shot means the actors line about the firecracker (which the audience didn’t hear) suddenly doesn’t make sense. A long scene change can wear an audience’s patience thin. You get the picture.

Production week continues with Dress Rehearsals in which you run the show exactly as you would during a performance. Our first Dress Rehearsal was yesterday afternoon and it was the first time for actors to be in (almost) full costume and make-up. Dress Rehearsals are the last chance for everyone to get their lines and cues right and to polish up scenes which need some touching up before an audience sees it. Typically the director will not stop a Dress Rehearsal for anything less than an emergency. Then, after the rehearsal and after the cast get out of their costumes, the cast and crew gather for “notes.” The director, legal pad and pencil in hand, will go through and try to decipher all of the notes they took down to give to actors and crew.

Production week is also a good time to blow off some steam. Everyone has been working long, hard hours and a little fun before performance can help keep everyone loose. So, Wendy and I invited the cast, Stage Managers, and the Theatre Profs from Central over for a little pizza and Oscars party at our house. Wendy whipped up a cheesecake and some cupcakes and we packed our little house with twenty-some guests. A good time was had by all. If it’s one thing theatre people know how to do – it’s have fun (and eat).

Two more Dress Rehearsals. We open on Wednesday. Here we go!

Production & Ticket information for Ah, Wilderness!

 

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Preparing for a Role: Bits & Moments in the Grind

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It’s been a few weeks since I’ve posted about my preparations for a role in the Central College Theatre Department’s production of Ah, Wilderness!. The last time I posted we had the show blocked and had begun the process of really digging into our characters and working the scenes in rehearsal.

One of the things that you learn in the rehearsal process is that, in most productions, there is a natural flow to it. The initial excitement and fun of launching into the work together eventually gives way to a rehearsal grind. You work the same scenes over and over and over again. You get tired of being there. You stop looking forward to rehearsal and feel a sort of “here we go again” groan as you head to the theatre. It’s natural. It will eventually lead to a second wind of excitement and adrenaline before performance. The rehearsal grind is necessary and profitable for finding deeper layers of understanding, relationship and authentic moments on stage.

“Bits” and “Moments”

It’s in the grind of working scenes over and over again that you begin to find “bits.” “Bits” are small actions on stage, typically physical in nature, that generally provide a little humor. For example, in one scene my character is coming home just in time for family dinner after having gotten a little tipsy at a Fourth of July picnic. The script calls for me to greet our housemaid, Nora, with a simple “Hello, Nora” while giving her a courtly bow. As we worked the scene I realized that I’m greeting Norah just as she’s coming out of the swinging kitchen door with a serving bowl full of hot soup. I suddenly thought it would be a funny to hide behind the door so she doesn’t see me as it swings open, then jump out from behind and scare the daylights out of her. The first time I did it I think I actually did give actor Abbi Hartman, who plays Nora, a small heart attack (sorry, Abbi!).  The bit got a good laugh, however, and Director Ann Wilkinson let me keep it in the show.

Compared to a physical bit, a “moment” is more of a relational connection that is made between two characters. It might not be verbal or physical. A moment could be a look or a silent connection. These moments begin to emerge only as you grind out the scene over and over again and delve deeper into the character and the circumstances that are happening within the scene. For an actor, there can be a feeling of magic when moments happen. In that moment the lines, blocking, and character work all combine to create a very real, very emotional moment between you and a fellow actor within the scene. This is when you know you’ve begun to press beyond just “going through the motions” and are creating a reality on stage which will cause audiences to suspend their disbelief and get lost in the world of the play.

For example, there is a subtle “moment” that happens when my character confronts his young son, capably played by Jacob Anderson, about whether he’s been trying to take advantage of his girlfriend. In his defense the 16 year-old son spills that he and the neighbor girl are engaged. As we worked the lines in the scene the reality of the moment sunk in that my 16 year-old son is surprising me with news that he’s engaged. That reality caused me to reel back with a look of paternal astonishment. That look, in turn, caused Jacob to respond with a defensive pull back and the way he played his next line changed. It’s a small moment, but it allowed me to feel that this is a very real moment between father and son.

Some of my other favorite moments happen in the final scene of the play in which my character and his wife, Essie, are sitting together in the quiet of a summer evening having a marital conversation about their children, the days events, and engaging in that subtle non-verbal dance of flirtation between husband and wife that eventually leads to bed (don’t worry – only the flirtatious non-verbal part is in the script). First of all, I have to compliment my fellow actor Tiki Steen who has had to face the challenging task of being a young female college student thrown into an on-stage marriage with a strange man old enough to be her father. Acting can put you in weird situations and Tiki has handled it with cheerful humor and a generous amount of maturity for an actor her age. I bring years of marital experience to the scene which helps tremendously. I can totally relate to late evening conversations about children and worries and subtextual flirtations that happen between husband and wife. Tiki has had to do the yeoman’s work of learning, exploring and discovering. The reward for both actor and audience is some very genuine moments that happen in the scene.

As I rolled out of bed this morning about 2 hours later than normal, Wendy commented on how much of a toll “the grind” of rehearsal has taken on me. When you work a part hard and rehearse well, it can tax you physically and mentally. I tend to come home from rehearsal tired, but buzzing from the experience. I have to take some time to wind down, debrief with Wendy about the rehearsal, have a small bite of something and a nightcap, and let my brain and body relax. That usually means getting to bed a little later than normal and being a little more worn out than usual.

The grind is over. Tomorrow is a long technical cue-to-cue rehearsal. Then it’s three dress rehearsals before opening night.

Ticket and Production Information for Ah, Wilderness!

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Preparing for a Role: Rehearsal Process

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Ah Wilderness Rehearsal

Time is flying and between work, sleep, and rehearsal I’ve not had much time to write. I’m finding that the rehearsal process for college is shorter and more intense than I’d remembered. In community theatre you tend to rehearse a show for 8-12 weeks and have about three rehearsals a week. With Ah, Wilderness! we’ve been rehearsing five times a week and only have 5-6 weeks.

For those who’ve never been in a show, the rehearsal period can basically be broken into:

  • Blocking: In which you go through the scene, script in hand, and the director decides where she/he wants you to move as you say your lines. You do a lot of jotting down where you are on stage and where you’re supposed to move.
  • Working: The scenes are “blocked,” but now you start running through them top to bottom to get a feel for how it flows. You dig in to what your characters are doing and thinking. Eventually, you put down the script and run it “off-book.” The stage manager is generally sitting there with the script. If you forget your line you yell “Line” and she/he feeds it to you.
  • Run & Polish: With everyone off book and things starting to come together, you begin running scenes, acts, and the show from top to bottom. Costumes, props, and set pieces are incorporated. The director begins targeting scenes that need to be polished. Eventually, the director tells you you’re “off-book” and if you drop your line you’re on your own.
  • Tech Rehearsal/Cue-to-Cue: These rehearsals (typically in the later stages of the process) are all about incorporating sound effects and lighting changes. Actors typically do a lot of standing around and running scene changes over and over again as the tech crew get their cues set.
  • Run/Dress Rehearsal: With all the elements in place, you begin running the show as you will in performance. The director waits until the end of the night to “give notes” in which she/he will tell you what you need to work on or change before the next rehearsal.

I’ve really been enjoying rehearsals at Central College. We’ve finished blocking the show and are beginning to work the scenes and acts. It’s been fun working with the students and we’re getting to know one another. Chatting in the dressing room with Jacob Anderson who plays my son Richard in the play, I came to find out that Jacob and his family used to be members of Westview Church where I was a member before moving to Pella. I knew Jacob when he was a baby and now he’s a freshman in college and I’m in a show with him [cue: weary groan] Dang, I’m old.

The students have been great to work with. I have the advantage of having seen many of them in multiple shows at Central, and I’ve gained respect for their abilities even though I’ve never truly met them. They’ve never seen me on stage, however, and don’t have a clue who I am. So, we’re getting to know one another.

So, what am I learning?

  • Life makes you a better actor: Wendy and I were watching Derek Jacobi on PBS’ Shakespeare Uncovered yesterday. Sir Derek was watching himself play Richard II when he was 30 years younger. “I wish I could do it again,” he said. “I could do it better.” Wendy and I said in unison, “Of course you could.” The truth is that actors draw from life experience in developing their characters. The more you experience in the life, the more you have to bring to your character. The other night I had a conversation with Tiki Steen, a fine young actor, who plays my wife Essie in the show. There’s some subtext in one particular scene in which husband and wife are doing the subtle, unspoken flirtations that husbands and wives weave into everyday situations as they toy with the idea of making love that night. Obviously, Tiki has never experienced these flirtations so I was able to shed some light on what Nat and Essie are really communicating with one another.
  • Productions have different motivations: Actors talk about their character’s motivation all the time, but the entire production has a motivation, as well. Wendy and I were having a conversation with Ann Wilkinson who is directing Ah, Wilderness! the other night after rehearsal. She spoke about the transition she’s had to make from being a professional casting director to small college professor. A hollywood film is about motivated to make money, but a college production is motivated to educate students. The atmosphere in a Central production is different than a USP production because college and community theatre have slightly (though not completely) different motivations. Sometimes you have to alter your personal expectations and lean into the production’s motivation.
  • I love the process as much as the performance: I can’t say I’m learning it for the first time, but I’m rediscovering it again, as I do every time I get the opportunity to dig my teeth into a role. While there is no rush like making your entrance with a packed house watching, there is a subtle and somewhat more satisfying rush from the process of discovery, work, and collaboration in rehearsals.
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