Owning the Stage

Owning The Stage

11/24/11

Preamble

Last weekend was the closing weekend of the community theater show here in my little burg north of Chicago.  I know that for most of us, Community Theater conjures images of Waiting For Guffman – it’s something to be tolerated rather than enjoyed - probably because you know someone in the cast and are obligated to go.  

In this community, however, Community Theater isn’t (generally) what you’d think.  The town and its neighbors are big art supporters who are sitting on highly taxed properties.  Meaning that the park districts, which are by-and-large the producers of said community theater, can afford to put on a pretty good show.  They also have a lot of talent to work with.  Overwhelmingly college educated, there are many residents who have professional-level jobs but have degrees and/or experience in the performing arts.  So, while it ain’t the Guthrie, Community Theater around here is usually a pretty enjoyable experience.

The question

K.  So there I am at the closing performance of our park districts spring musical.  I have some students in the cast, and so of course we’ll be talking about it in their lessons this week.  And, being the teacher, I’d better have something smart to say about it.

This particular show got me thinking about what makes one actor riveting, the next compelling, the next merely pleasant, and the last, well, pitiful.

For the sake of this reflection, I’ll be staying away from “riveting” and “pitiful.”  But I did have a thought about the difference between “compelling” and “pleasant”.  From this day forward I’ll be calling this pearl of wisdom the Home Ownership Theory of Performance.

The Home Ownership Theory of Performance

Scenario #1: You in the House which is Not Yours

In this scenario, you are comfortable.  You’re comfortable because the house belongs to someone you love and trust.  You don’t have to notify anyone when you use the bathroom.  You help yourself to a glass of water or coffee it you want it.  You know which kitchen drawer is for silverware.  You’re clear on whether this is a “shoes” or “no shoes” home and you follow the rules with familiarity.

Though this house is familiar and comfortable and welcoming, though you feel quite at home to move about and help yourself and speak your mind, you’re nonetheless aware that you’ll be leaving sooner or later.  You can’t really help the resident child find her lost little-bitty-thingy, nor would you know where the Christmas lights are stored, or be able to cook a meal without a lot of cupboard exploration.

You In This House is the actor who is “just fine” on stage.  The actor who “did a good job” and who had fun in the doing.  That actor enjoyed the show and contributed to it.  The director appreciated that actor and the role he or she filled.  That actor was familiar with the stage, but didn’t own it.

Scenario #2: You in the House which IS Yours

In this scenario, you’re the one paying the mortgage/rent.  This is where you sleep.  If you want to throw your stuff on the floor or over the chair you can.  And you probably do.  You know where the medium-sized Philips head screwdriver is and which is the squeaky step and how cold it has to be for the back door to stick.  You own this space.

I know you’re with me, here.  You In This House is the actor who is compelling to watch.  He or she owns that stage.  That actor is the one that would be cast in the role that requires transparency or intimacy, because that actor could make those feelings or actions believable to the audience.  This is the actor who later tells us that he or she “got lost in the role”.  They barely knew we – the audience – were there.

No surprise that this also applies to any other performing artist.  The singer that you stop talking to listen to is the one who doesn’t even need to consider the fact that she’s the one leading the band – she just does it.  She owns that music.  Or the dancer you can’t peel your eyes from even though there are six other dancers on stage with her.  It’s all the same.

Of course this begs the question, “How do they do it”?

I don’t know the answer, but I think it’s fair to say that unless it comes completely naturally to you, the first step is awareness.

Groove on,

Meredith
www.BestNorthShoreVoiceLessons.com

Paul Simon in Milwaukee, 11/7/11