Michael Emerson's first TV gig

I said that some theatres may not have the $$ to have elaborate sets. I guess, I am comparing them to Broadway productions to which you pay $100 and up per ticket. Otherwise, the sets are fantastic.

I don't know where you live, but I used to live in NYC. Hence, I got to see a lot stuff on Broadway. But I still enjoy the lower priced theatres.

Michael is a tremendous actor. He has so many voices. Don't try to be him. Just be yourself. Those voices will materialize eventually. Again, you may audition and not get a part. Then, work in the background. You will learn a lot.

Sure, glad to help you.

Here's a tip: If you're performing in front of an audience and there’s a glitch of any kind, you adlib. Here’s a cute story about adlibbing:

I was not in this play, but I worked in the background. The play was Oklahoma, the character was Will Parker. Will got to go to Kansas City, where everything was more modern than the farm. He came back with a kaleidoscope. He describes it and then passes it around to all the other male members on stage. They all comment, laugh, and giggle as they look into the kaleidoscope, which is made up of pictures of nude women. After the kaleidoscope is passed around the song “Kansas City” is performed. (Everything is up to date in Kansas City, they’ve gone as far as they can go….)

Will always carried his kaleidoscope in his back pocket and brought it to his eyes when he was ready to deliver his lines. This one performance, he did not have it. He forgot to bring it. So he had to adlib the daylights that night. Not only he had to adlib, but all the other men who were involved in saying the lines had to as well. Now, they couldn’t just say the lines, they had to be convincing and not sound dumb since they did not have this kaleidoscope in their hands.

The actor described the kaleidoscope as best as he could and the men took over. It was so well done, that, I, who saw every rehearsal and performance never noticed that they did not have the kaleidoscope in their hand.

So, in essence, chances are that you go to a performance and someone forgets a line or forgets a prop and you wouldn’t even know it.

Elaine Stritch has a cute anecdote. She was in a play wherein the actor who played the husband was ready to murder his wife at the breakfast table. Before every performance, the prop person was supposed to hide a gun under the napkins. The actor would say his lines, get the gun, and say “I will kill you.”

One night, the gun was not there, so the actor adlibbed. He got a hold of the toast and grape jam he had in his hand and said, “I am going to kill you with this Smucker’s jam,” and he proceeded to smother her to death with the toast and jam. He got laughs. The public thought that it was part of the play.

There is no such thing as a perfect performance. There is always some sort of glitch. I have countless stories that I can tell you.

Yes, they are basically what the director wants you to read during your audition.

If you are given a side, you should memorize your lines before you go for your audition, as well as study the character, and try to figure out how the character is involved with the other characters in the side.

Never, even if you are not given sides ahead of time, you are given during the audition. They give you a bit of time to read it to yourself, study it, and make some acting choices. You are not required to memorize the part if the sides are given out at the audition.

I have enjoyed catching up on this conversation. It makes me so nostalgic for the theater! Just a couple of comments to throw out:

My experience in community theater was that everyone was very supportive of each other, but we did have the occasional prima donna who would grouse about other actors or the tech people if they didn't do everything perfect (like Franz in Edith's story). But for the most part, there is a we're-all-in-this-together feeling which is just so cool to be a part of. I think this is why actors often wax poetic about their co-stars and how much they "adore" them (a term I only hear actors use about each other!

As for declaring a major, I really don't think it is smart to commit to studying acting through to a degree until you have tried it a few times to see if you really have it in your blood. You may be like Edith and myself who enjoy it as an avocation, but don't have the drive (or in my case, talent) to make it a career. Of course, if your parents are footing the bill, their opinion counts for a little more than mine .

Re: auditions. I think directors are looking more to get a sense of your voice, body type, natural-ness (I know that's not a word), than expecting you to have an interpretation of a character. My experience was being handed a script, maybe given a few minutes to look over the pages, and then told to read. I would usually have read a little in advance to get an idea of who the characters are, but often had not read the entire script. Sometimes the director will sort of set it up for you -- tell you what the context of the scene is. Maybe they will ask you to read it again in a different way (i.e. the character is really scared at this point in the scene, or sadder or happier, etc.) Mostly, I think you just need to get in and do it. We can explain till we pass out, but you kind of have to experience it.

The only advice that I think is consistently valid is DON'T ACT. Just try to say the lines as though you are really that person, saying what you think, not delivering lines you have memorized. Shakespeare is VERY tough, but the same thing applies, I think. Figure out what the lines mean, and then speak them as though it is your normal speech pattern. IF you have to bring a prepared monologue, try to get some material that you can really relate to. Even if it isn't the style of play they are doing, it will show the director that you can be natural and believable on stage.

I think it would also be good to get a bit or chorus part to start with just to learn the ropes of theater in general (which way is upstage?) and to learn the particular customs of that university or community theater.

Diction is very important, but you can always improve through exercises or a coach or acting class. You hear about plenty of actors who had serious speech impediments (James Earl Jones stuttered, etc.) and overcame them.

Break a leg! Make sure you keep us posted if you audition!