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At the Kitchen Table with Jesse Bush and Tony Roach The KTC is excited to welcome back two actors who have performed at the Kitchen Theatre many times–only this time we have put them in dresses! Tony Roach and Jesse Bush are performing November 30 to December 18 in THE MYSTERY OF IRMA VEP by Charles Ludlam. (Get your tickets here or by calling 607-273-4497) We slowed them down long enoughh for quick chat about the challenges of doing this fast-paced, quick-change play. |
We spoke first with Tony Roach: Tony, you’ve got a history with the KTC—tell us a little bit about what you’ve worked on here before. My history with KTC is sort of divided into two periods, which seem to me almost like two different lives. I did Rachel's first production as Artistic Director--Who's Afraid of Virginia Woolf?--in 1997, right after graduating college and attending the Hangar's Lab Company. Over the next three years I ended up coming back to the Kitchen several times. In fact, it was really the only place I worked back in those days, when I was still figuring out what the hell it meant for me to be an actor. During that time I did a couple of original plays as well as another Charles Ludlam play, Stage Blood. Then I was away for almost nine years playing in a band and going to grad school and so on, and came back in '09 to do Secret Order. It was kind of strange being back at my home-away-from-home at Rachel's house, with her husband, David, and with the dogs and etc., but having gone through grad school, become an Equity actor, and in general just to have grown up a lot (or at least to have existed for a decent period of time). You’ve got a lot of Shakespeare under your belt—what is it about his work that draws you in? I actually haven't done that much Shakespeare, I just happen to have worked at a lot of theatres with Shakespeare in their name. But I do love doing Shakespeare, and unfortunately I can't add anything insightful or unique that hasn't been said a thousand times about why people like doing his plays. The characters are great, the stories are great, but the greatest thing is getting to investigate and ultimately speak that language. Whenever I start work on a Shakespeare part, it's like starting a puzzle; and I've got my reference books and anthologies and what-nots. And what's so fascinating is that sometimes it seems like the language is so dense that it's practically code, but when you start deciphering it you find out that in fact it's the most beautifully, brilliantly, and clearly articulated thoughts and emotions that you've ever encountered. It consistently blows my mind; and I love a good mind blowing. You’ve dabbled in film and TV. How have your experiences been behind the camera "Dabbled" is a very appropriate word for the scope of my experience on camera and is maybe too generous. The truth is I would like to do much more on-camera work, both because I like the medium(s) and because that's the only way an actor can really make a living. It is a very different beast than the theatre, and I can't say it comes really natural to me, but I say that without having had much experience. I've very much enjoyed the experiences I have had. Possibly the hardest part is not just modulating your performance style, but modulating the rhythm of your overall day because there's so much stopping, starting and waiting. The Mystery of Irma Vep requires a lot from you and Jesse, physically. How do the quick-changes and the multiple personas affect the way you approach rehearsals and your usual process of building a character? It's really not a different approach other than knowing that the amount of work is going to be enormous and that I'm going to have to really conserve energy--which basically just means not doing much of anything outside of rehearsal. The show is a huge bear to perform, but I'm actually looking forward to opening because it'll mean less work than we do during rehearsal. As far as creating the characters and such, as with all plays it's fairly similar once you've figured out or defined the "style" or the "world" of the play, which in the case of Irma Vep is a very unique and very BIG. But basically, you just go. How does it feel to wear a heavy Victorian dress? Heavy. And Victorian. And strangely satisfying. Irma Vep has a bit of a cult following. Got any favorites in the cult-classic world? I played Hedwig so I'm definitely on that bandwagon. Not sure if that's "cult" but it didn't seem to quite get into the mainstream. Hmmm. I can't think of anything else, which tells me I need to investigate more cults. I like cults. Any cults out there looking for fresh new members? Just between us—who makes the prettier lady? You or Jesse? Do you really have to ask??? Sheesh!!!!. . . . . . . . . (Jesse). Anything else you’d like to add? Yes, but I'm saving it for my memoir. Due in stores in 2050. Send me money for your advanced copy now. Next, we caught up with Jesse Bush, a Kitchen Theatre veteran actor and director: Jesse, you’re obviously committed to creating excellent theatre outside of the big city. Why do you think it works in a town as small as ours? The audience. Ithaca is such a great place to live as a theatre artist because you get all the benefits of living in a small, close-knit community and the opportunity to create challenging and thought-provoking work. We have such smart and discerning patrons here who are dedicated to supporting our local institutions. I consider myself quite lucky to have the opportunity to raise my family in an area like this. You’ve got some big musicals under your belt. What makes doing a straight-play (though that may not be the best word choice…) in a 99-seat theatre appealing to you? It’s funny that you mention musicals as Tony and I have often spoke about how this show feels more like doing a musical than a “straight” play. The physical and vocal demands are so intense and the stakes are constantly running at mach 10. I find that I prepare for a run of Irma in the same manner as I do for a large musical role. You’ve played multiple characters on our stage before. Did that experience help prepare you for Irma Vep? I’d have to say that nothing I have done in my career has prepared me for what I’m doing in Irma Vep. While I have had the chance to play multiple characters in shows like The Angle of the Sun and others, none of them combined the high style, specific comedic demands and breakneck costumes changes that this does. It has been an incredible and welcome challenge. A run The Mystery of Irma Vep is quite the workout. What’s the most challenging aspect of a quick-change show like this one? I’d have to say finding the time to remember the given circumstances before I make each entrance. It’s getting easier as we go, but, as an actor, you always want to know where your character is coming from and what they want when they enter a room. Not such an easy task when you just left the room 15 seconds earlier and spent the interim madly changing costumes. How does it feel to wear a heavy Victorian dress? That sucker is heavy! I have an immense amount of sympathy for the ladies of the Victorian age now. Irma Vep has a bit of a cult following. Got any favorites in the cult-classic world? I am a charter member of the cult of Samuel Beckett fans. Plus anything written by Stephen Sondheim. Just between us—who makes the prettier lady? You or Tony? Tony, hands down. I look like someone’s dowdy aunt. He’s gorgeous. |
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At the Kitchen Table with Karen Pittman
The KTC is always excited to welcome a new artist to our extended company. Karen Pittman has played roles on Broadway in Passing Strange and Off Broadway in When We Last Flew. You may have seen her on TV in one of her many guest starring roles on popular primetime shows 30 Rock, Law and Order SVU and Medium. Now see Karen's Kitchen debut on October 19th in NEAT by Charlayne Woodard. (Get your tickets here or by calling 607-273-4497) We managed to have a quick chat with her in between rehearsals. |
Since you work in both theatre and film, what do you find on stage that you can't get behind a camera? Oh...they work two totally different muscles. There's a lot of spontaneity in tv/film that you can take advantage of because the medium requires it. You dont' have a lot of time to rehearse and you gotta be good at thinking on your feet. An actor rehearses in theatre for weeks at a time. The challenge of having a new audience in the room is the most exciting part. Every night is different - if you allow it to be. No performance is the same.
Have you ever performed in a play-with-one-actor? How has it been both challenging and rewarding? I have done lots of plays where I've had to work hard to cover a bunch of roles or ideas of the playwright, but not one where i had to be on stage alone. I think it's a natural progression for me as an artist. I welcome it. I'm ready for it. The material is so close to me as a human being (I'm from the South, transplanted into New York State) so the themes of the playwright's are ones that I can own quite naturally. The opportunity to work on something like this is incredibly challenging but all the more rewarding with a great director/ collaborator like Sara. We have had a good time in the rehearsal room - lots of laughing and crying (on my part, the crying...)
In the play, Charlayne takes to learning everything she can about her
history. How did you prepare for your role with so many characters and histories?
Here's the great thing about a great play. You don't have to prepare the characters and the
histories when the writing is so full. As I said, this is fertile ground for me. But I've taken to
drawing sketches of the characters. So that I can see them. And in the rehearsal process, I
test behaviors and physicalities that Sara and I think are right and truthful.
Which of the many characters that you portray do you most closely identify with? Without question, Neat. She is "special."
We are big fans of Passing Strange, Stew and Spike Lee. Could you tell us a little
bit about your experience working on that project?
I understudied the Mom character in Passing Strange. I had the good fortune of having
my Broadway debut in that show. The actors were incredibly generous, and since i have
a history in the music industry, I had great camaraderie with the band, too. I'm a big fan of Stew! One of the things I took from working with him is the enormous capacity we have as
artist's to "work our wound" and that at some point, your art cannot be your therapy. You
must get yourself together as an artist, face your wounds, wherever they come from. My
favorite lyrics are: "the real is a construct. the raw nerve, private zone. it's a personal
sunset. you go off into...alone." I also quite enjoy, "What's inside is just a lie." :)
If you weren't an actor, what would you be doing?
If I weren't an actor, I'd be dead! (Could I be more dramatic?)
NEAT explores different fads and fashions in music and style. Which fads have
you taken part in and wish you could destroy the photo evidence of?
(lol) i might've worn a midriff top or two during my Janet Jackson phase...tee hee.
The play hits a lot of touchy subjects—racial violence, mental disability,
interracial relationships, selective education. What kind of important conversations
do you hope NEAT will start?
All actors hope to be of service. And in theatre, they say there are no "small parts." This
can actually come back to haunt you in a one person show! But it is the incredible challenge
and all consuming craft of doing a story like this. Many people show up. And their small
losses, and victories is the stuff that all of our lives our made of. I'll feel like I've done a good
job if you can see the small journeys of every character in this play. It is not gonna be easy
but, every character tells this story. The big controversial themes are easy to hit. It's the
humanity of that narrative where we truly shift an audience member. There are so many
wonderful moments of that in Charlayne's play. I hope to make the playwright proud.
Anything else to add?
No. My daughter wants to watch Angelina Ballerina videos...sigh...
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At the Kitchen Table with Camilla Schade
You may remember Camilla’s performance as Louise, the French main with one heck of a cold in last season’s Private Lives. We managed to snag a few moments between rehearsals to ask her a few questions about her experience with theater and life in Ithaca. See Camilla in our 11/12 Season opener Circle Mirror Transformation running until Sept 11. |
What’s your connection to the Kitchen?
I believe it started with walking into the Visitors center at the Clinton House when I moved here 7 years ago and seeing a photo in the Actor's gallery of a long-ago favored student of mine. Instant good karmic connection.
What was the topic of the best conversation you’ve had at the Kitchen?
It was in the dressing room--I can't repeat it here.
Describe your life experience with theatre in three words.
WhatdidI.getmyself.into?
In one sentence, tell us what draws you to the KTC.
I like the scrappiness--a little David tackling Goliath ideas.
What does bold, intimate and engaging mean to you?
From an audience point of view:
bold--Dares to be raw and touchy.
intimate--You share watching the actors sweat.
engaging--At intermission you realize your mouth has been hanging open and you haven't blinked.
What are your two favorite things about the Kitchen or your experience here?
That the process of building the play is so honored. It is a very humane, human, flexible organization and yet we all understand it's ultimately about The Work.
What’s your favorite Ithaca restaurant/meal?
I like a good beer selection so Northstar, or with a tuna ceasar salad at the Ale House, and for lunch with that whaddyacallit fat grilled mushroom sandwich from Ithaca Bakery
If you were stranded on a desert island, what 3 items would you take with you?
My husband.
No?
ok. A black floorlength leather trenchcoat. A bolt of purple fabric. A match.
Fill in the blank with a word other than “gorges.” Ithaca is _____.
Confoundingly paradoxical and pleasantly weird.
