Steppenwolf Theatre Company Blog – Chicago Theater, World-Class Ensemble

If I had my way I would be able to appear in every play that I’m in as an unhsaven (sometimes unshowered) barbarian. I must admit that I’ve been fortunate to have been allowed (to varying degrees) to appear this way on several occasions. But, alas, acting often requires physical and cosmetic transformations from one’s own appearance into that of one’s character in a play. Theatre, being a collaborative art, necessitates from time to time a conforming on the actors part to whatever artistic vision is applied by director and designer. Realizing the futility of arguing that Jerry (the role I play in Betrayal) was a man who only occasionally showered and shaved, I was uncertain what kind of look we collaborators would settle upon. Nevertheless, it goes without saying that I showed up for the first rehearsal with a full beard and a slightly questionable odor.

Generally speaking, people were polite about the odor but the beard provoked some skeptical glances from director and designer. Not that I didn’t have a fine full beard mind you, but I was thwarted by the presence of another actor (Tracy Letts) who also showed up with a full beard, though certainly not as fine. The male characters in Betrayal are written as being the same age and in real life Tracy (a male actor) is only one year older than I but in appearance well…let’s just say he reads a lot older. (say 15 to 20 years). I expected this to bode well for my beard as it tends to age my baby face somewhat, but for reasons best ascribed to collaboration, I consented to shave it off. With the older grayer actor keeping his beard, I was required to AGE myself for the play through artificial means. (more…)

As I sit here writing this in the dim light of the Garage Theatre, laptop balanced on my knee, I have to be careful that my legs aren’t sticking out too far into the backstage walkway — we’re currently about 15 minutes into a performance of The House Theatre of Chicago’s The Sparrow (presented at Steppenwolf as part of our Visiting Company Initiative), and my goal (especially in the absence of any grateful, gift-bestowing understudies) is to not trip any of the cast members who are constantly sprinting by my seat en route to one of the show’s numerous rapid exits or entrances. After last week’s embarrassing collision with an actress during a scene change, I’m trying (bolstered by the fear of being told to put on a skirt and go on in her knee-clutching place) to stay as far out of the way as possible.

Of all the issues I’ve addressed as a house manager in our Upstairs and Downstairs Theatres, I can safely say that tripping an actor has never been one of them (though I did recently entertain a few thoughts after Ian Barford schooled me at a game of ping pong). Patrons passing out, getting sick, falling, snoring, losing their purses, arguing with their neighbors, getting lost, drinking too much, burning incense in the lobby, bringing tickets for not only the wrong play, but the wrong theatre or season (keep in mind this list is a collection, not one unlucky person’s nightly saga) – these things I’ve dealt with. But making sure that I don’t collide with the talent backstage? During a performance in our larger theatres, where every show-supporting activity has a designated space, I rarely get any closer to that hallowed ground than the spacious and well-lit green room… and, even then, usually only briefly and with the passport of an actor-bound bouquet of flowers in hand. (more…)