PERFORMANCE: The Actors' Roundtable: "Practice Vs. Game Day"

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: PRACTICE VS. GAME DAY In sports, we sometimes hear of the distinction between the practice player and the game day player. The practice player excels during practice, oftentimes showing true greatness, but then struggles under the pressures of the game. The game day player might also excel in practice, but has the ability to take that next step on game day. I see a correlation between this and actors and actor training. Many times I’ve experienced actors who in the classroom can really deliver exciting work, but put in the context of the professional environment, seem unable to duplicate this success. They are practice players, but not game day players. What’s your take on this? What skills do you employ to excel not only in the classroom, but in the professional world as well? - Paden Fallis, Performing Arts Contributing Editor

PAGE CLEMENTS Often I see actors taking risks and truly enjoying the work in the classroom, but complain of struggles in auditioning and performing for audiences. There are many theories as to why this may happen and one is that the classroom offers a strong atmosphere of security and safety within a circle of loving supporters, whereas the performance arena may make one feel more vulnerable and self-conscious about a room full of critics. Thus the creation of bolder work with a smaller group takes place. I consider myself very lucky to have experienced a sense of freedom and strength in both. I feel it’s important to recognize the reality of fear and how it can cripple or inspire. Acting is so very exciting and educational and I do feel if we could trust our work in the classroom, then moving to a larger space with more eyes watching is just another step toward understanding and sharing the art form. I often try to look at the audience as a terrific representation of the “human condition”, so if I can reach out to humanity, and not worry about critics, then I feel more successful on many levels. After all, striving to be perfect in the work is a fruitless goal. Truly telling the story with all its greatness as well as ugliness is certainly what makes “game day” so thrilling for the performer and the viewer.

MANON HALLIBURTON I think if you have an actor that can deliver in a classroom/rehearsal they obviously are capable of delivering in a performance, but perhaps need more confidence with themselves when in front of an audience. I have witnessed this type of thing with young actors starting out, but more often in audition settings. In other words, an actor who auditions great but then gets hired and doesn’t bring the goods. Monologue auditions are ripe for hiding bad habits because its usually very rehearsed and perfected, so it can be hard to get a real read on the actors listen/response skills. At the end of the day, I just try to bring my skills to the table any time I have the opportunity, whether it be for an audition or a rehearsal once I book the gig.  The thing about being an actor for me is being self-aware. I think to be a consistent actor that is growing and expanding their talent, they must be able to see their craft for what it is—good and bad. I’d like to think I’m aware when I have a bad day, performance, moment, or whatever. I know when I’m telling the story and I know when I’m manufacturing. I think we have all worked with actors who maybe are not as strong in their craft or not self-aware of their own habits, but that’s the nature of any business and one in which you have to be able to adjust to for your own self preservation. It’s a balancing act and an ever-changing journey of growth.

LAURIE OKIN I think this is an apt analogy; except, it can also work in the reverse, and is called being a “lights up performer,” where an actor who can’t (or doesn’t) “bring it” in the rehearsal process suddenly comes alive in front of an audience. Both of these things can happen to any actor once in a while, for different reasons…maybe something in the character doesn’t “click” until you have the audience’s energy to feed off of, or if someone who really gives it their all in the rehearsal process happens to have an “off” night onstage. Performing in front of an audience is very different from being in a classroom or in rehearsal…you have the lights, the costumes, the audience’s immediate response. It takes some getting used to, transitioning from one environment to the other. That’s why I come back to experience…the more you do it, the more it feels natural in both environments, and the more you learn to mine the differences rather than being thrown by them. And of course, you must trust the work that has been done prior to getting in front of an audience. I think sometimes it’s possible to be great in rehearsal and not so great in the performance if you feel like you’re still struggling with the play or the role and have to “fix” something. Being on unsure ground can really mess up the work that has been done.

THOMAS WARD This is tricky. I’m of the mind that you don’t really learn to be an actor in the classroom, but on stage in front of a paying audience. I’ve learned great things in the classroom and I’ve had some amazing acting teachers, but the best training I’ve had and continue to have is on stage. There, of course, has to be a balance. I think the great thing about acting class is that you learn to serve the play and serve your scene partner. You learn to be comfortable in silence and to find a confined and directed focus. But if you grow to rely on that safe environment, a real life audience is going to mess you up big time. Good! That’s where it becomes fun. That’s where you learn how much to give them, how much to hold back, how much to milk the laugh, when it’s time to plow ahead, etc. And all of that must become third in your priorities, after serving the play and serving your scene partner. I view acting class as a place to learn some fundamental rules and approaches. I view acting on stage as the place to see if those rules can be broken, or if there’s anything of substance to them at all.

ABOUT THE ARTISTS

Page Clements has been a professional actress, vocal instructor, and private coach in NYC for over 20 years. Currently an instructor of voice, dialects, and Shakespeare at the T. Schreiber Studio & Theatre in New York, she has just completed an instructional video for actors and public speakers to be released later this year. She has appeared in over 50 productions throughout the country, received the Favorite Vocal Coach and Dialect Coach Awards from Backstage in 2009, and is a member of Actors Equity Association. Manon Halliburton is a regional theater actress who has worked all over the country. She has also appeared in television shows such as Law and Order and The Sopranos, and recently shot her first film this past year and closed August Osage County at Kansas City Rep to rave reviews. She lives in Kansas City with actor Bob Elliott. Laurie Okin is a Los Angeles-based actress who has been seen over the years in dozens of national commercials, as well as guest starring on The Office and as a series regular on PBS’s Copshop. She has also appeared in Samantha Who?, My Own Worst Enemy, Friends, and MadTV. Laurie also has an extensive background in the theatre and is a company member at The Road Theater and Rogue Machine Theater. Thomas Ward is an actor and playwright based in Minneapolis. He appeared in the Off-Broadway premiere of Craig Wright’s The Unseen at the Cherry Lane Theatre. He has performed regionally with Actors Theatre of Louisville, Alabama Shakespeare Festival, Georgia Shakespeare, WaterTower Theatre (Dallas), and the ZACH Scott Theatre (Austin), among others. He was previously profiled by stated.

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