PERFORMANCE: The Actors' Roundtable: "Talkbacks"

For 12 weeks, Paden Fallis posed one question each week to a group of professional working actors from a variety of backgrounds in an effort to dig a bit deeper into their artistic working processes. In this second series of 12, an expanded group of actors explores where their art fits into the larger cultural context. ACTOR’S ROUNDTABLE: TALKBACKS A “talkback” of sorts happened on January 5th, 1935 in New York City. The Group Theatre was performing Clifford Odet’s Waiting for Lefty to an unsuspecting audience. As Group member Harold Clurman recalls in his book, The Fervent Years, this performance was an event “to be noted in the annals of American theatre.” Actor and audience became one, as the audience hung on every word, shouting their approval, applauding, whistling, and cajoling as they became caught up in the show before them. They left the theatre unified, inspired by what they had just seen, eager to enact change in the world around them.  We have talkbacks today as well. From where I stand, they are soulless, contrived, and add nothing to the experience. However, they have become a staple in modern theatre. If there is a show, there must be a “talkback” scheduled afterwards for the patrons to ask any and all questions of the actors and design team. These talkbacks appear to be with us until the bitter end. So, help me here. How do we fix talkbacks? Or, do they need fixing? - Paden Fallis, Performing Arts Contributing Editor

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Actor Brea Grant: 'I'm usually the bookish girl with glasses.'

PERFORMANCE: The Actors' Roundtable: "Humility" (Part 2)

For the past 12 weeks, Paden Fallis has posed one question each week to a group of professional working actors from a variety of backgrounds. Our goal is not to demystify the work of the actor or explore their careers, but to dig a bit deeper into their artistic working process. This is part 1 of 2 in the final question of this initial series. ACTOR’S ROUNDTABLE: HUMILITY (PART 2) If there’s one thing I love to see in the work of an actor, it is sincerity. If there is one thing I hate seeing, it is arrogance. I’ve always believed that the only way to approach the work is with a healthy belief in your own abilities combined with an even healthier dose of humility towards the work. All of you in this roundtable are accomplished, talented, and serious about the work you do. You’ve all experienced great successes and accolades. Your passion and commitment are why you were chosen for this ongoing discussion. So, the final question posed to you is this: how do you stay humble?

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PERFORMANCE: The Actors' Roundtable: "Humility" (Part 1 of 2)

Each week for the past 10 weeks, Paden Fallis has posed one question to a group of professional working actors from a variety of backgrounds. Our goal is not to demystify the work of the actor or explore their careers, but to dig a bit deeper into their artistic working process. This is part 1 of 2 in the final question of this initial series. ACTOR’S ROUNDTABLE: HUMILITY (PART 1 OF 2) If there’s one thing I love to see in the work of an actor, it is sincerity. If there is one thing I hate seeing, it is arrogance. I’ve always believed that the only way to approach the work is with a healthy belief in your own abilities combined with an even healthier dose of humility towards the work. All of you in this roundtable are accomplished, talented, and serious about the work you do. You’ve all experienced great successes and accolades. Your passion and commitment are why you were chosen for this ongoing discussion. So, the final question posed to you is this: how do you stay humble?

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PERFORMANCE: The Actors' Roundtable: "Company vs. Solo"

Each week, Paden Fallis poses one question to a group of professional working actors from a variety of backgrounds. Our goal is not to demystify the work of the actor or explore their careers, but to dig a bit deeper into their artistic working process. ACTOR’S ROUNDTABLE: COMPANY VS. SOLO I overheard two actors talking about the benefits and drawbacks of an actor working with a company versus on their own. The company actor enjoys the assurance of roles given to them through the company season. Consequently, he or she does not have to worry about “hustling” just to land a job. The solo actor has no guarantees of employment, as they spend a lot of their time simply trying to procure work. The downside for the company actor might be that a degree of lethargy and “taking things for granted” might imbue their work with less urgency. The positives, though, mean that with less worry about unemployment, they might have more energy and focus with each role. However, the solo actor, scraping and clawing for each and every job, might have a more acute hunger, appreciate the work more, and deliver a stronger performance. At the same time, he might find himself fighting the negative energy that associates itself with constant unemployment. Assurance of work vs. lack of security. Which breeds better work?

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