As most of you know (or could garner from my Facebook status updates) I was recently involved in a production at the South London Theatre here in England. The play was called “The Dog in the Manger” and was written by a playwright known as Lope De Vega who lived in Spain in the 17th century. The play itself is extremely Shakespearian in terms of plot development and characters because De Vega was actually a contemporary of the Bard back in the day. It’s one of those “boy loves girl, girl loves boy, other girl falls in love with boy but can’t be with him because he’s of lower class but leads him on, boy dumps first girl for new girl then gets rejects, boy goes back to first girl and gets rejected, second girl wants boy again, boy gets shut down again, boy becomes a nobleman and gets second girl”…very classic. Either way it was an extremely fun production to be a part of and I am really glad I ended up auditioning for it.
This original audition happened way back in January of this year and I had planned on auditioning for different roles other than the one I was cast in. I really wanted to try and break into different, more comedic roles while over here but my strengths ultimately prevailed and I was cast as the male romantic lead. I know what you’re probably thinking “What the hell’s he complaining about? He got cast as the lead!” I get that…but I rarely ever play comedic roles when I’m in performances and I was hoping to get the opportunity here. However, it was not to be and I accepted the role of ‘Teodoro’ the witty, slightly dumb, and arrogant secretary.
Rehearsals didn’t begin for some time after the auditions were completed but I had a lot of time to print off and start going over my script in order to prepare for when they did. The first thing that struck was the sheer amount of lines that I needed to memorize for the performance. Seeing as this was a Shakespearian play there were a LOT of soliloquies (more than was really necessary I think) and I spent a lot of time on stage by myself contemplating. Apparently that was sort of Teodoro’s thing and so I worked on memorizing those speeches first. The rest of the dialogue came through more in the rehearsal process. As an actor I prefer to work on memorizing lines by coordinating them with blocking and scene motivation. This way I’m not blankly learning lines without any sort of response back at me or movement. It becomes a real conversation where I simply know how to react or respond when another character says a specific line or makes a particular movement. It’s a bit complicated to explain but it works for me and I suppose that’s what matters.
The rehearsals themselves were a ton of fun and I couldn’t be happier with the group of people that the directors Mark and Charlotte had put together. Everyone took their role and commitment very seriously (which can be tricky to get from people in an amateur production) but not too seriously that we couldn’t have a fun time. There were lots of comings and goings because only those who were called for specific scenes were there but I had the chance to get to know everybody at some level, which is great to sink my teeth into this theatre and for forthcoming productions. I almost always acted alongside two people: Michael, who played my servant/lackey Tristan, and Victoria, who played my romantic opposite Diana. Both of these actors had a tremendous amount of experience and training and drama and it was a growing experience learning from their own techniques and preparation methods. We also spent a lot of time with Mark and Charlotte in character development. Not only who we were as people in this world, but what our relationships were with each other. As a result of this extensive time and emphasis on characters and relationships I feel like we produced a very realistic world and everyone truly embodied their characters on stage.
Once the dress rehearsals and performances began it brought everyone involved in the show back together and it was a wonderful experience. We all spent one evening at Charlotte’s house for a big dinner before the show began and shared many laughs. That night strengthened the bonds that had begun from the start of the rehearsal process. The performances themselves went very well and I was pleased. There were some slip-ups here and there (as to be expected) but we recovered very well and almost nobody in the audience even knew something went wrong, which is always the mark of a successful recovery. The run was only five shows and before we knew it, it was all over. From the feedback I received and heard everyone who came to see it seemed to enjoy it very much. Most of the criticism was about the text being too long and nobody really nit-picked the acting which was nice. I can’t thank my friends enough for coming to see the show and supporting me (some from very long distances). It was great to have familiar faces in the crowd and be able to talk to them about it after over a pint.
Once the show was over it was time to put everything away and celebrate! The cast party afterwards was a ton of fun and a little tearful as some gifts were given out to the production team and the unsung heroes in the world of theatre. When all was said and done it was to bed with me (at approx. 5am) and The Dog in the Manger was over. A wonderful experience and a great one to start my time at the South London Theatre with.
But just because that show’s over doesn’t mean that I’m finished! My next production begins this Sunday with a read through and rehearsals begin the following night. I am in a production of Present Laughter by Noel Coward. A much more updated piece (1940s…but more recent than the 17th century) and it’s written in a completely different style. I play a much more minor role in this show (which is welcome given the amount of rehearsal I had for the first show) but I can really stretch my acting muscles out. I play the character of Roland Maule who is a young aspiring playwright who becomes obsessed (some would say stalker levels of obsession) with the main character Garry, who is a 40+ popular actor in London having a mid-life crisis. Although I don’t say much in this show a lot of what makes the character of Roland so funny is in body language and physical comedy. I am very happy to be playing an outrageously funny, comedic character and I really look forward to begin development on him. I’ll update more than this as rehearsals begin. Until then…
Cheers and Love
Erik








