An arrow protruded from my chest in Deathtrap, as I came tumbling down the stairs and fell at the feet of actor John Sayles, while he was still clutching the bow. A dramatic scene, made even more so with thunder and lightning.
But how was an arrow able to protrude from me, without actually piercing my skinny little chest? You may well ask.
Fellow actor Chrissy Russell fashioned a cup on a belt, tied around my chest under the jacket I was wearing. When going offstage, Chrissy helped me on with the jacket, already stained with fake blood. Then she took a shortened arrow and stuck it through the already drilled hole in the jacket, ensuring the end was secure in the cup, so it did not fall out.
Just as well for us, the arrow did not fall out as I made my dramatic falling entrance. Instead, I fell at John's feet looking for all the world like a dead playwright.
Tuesday, April 20, 2010
Wednesday, April 14, 2010
End of the road for villain
No more arrow-heads protruding from my chest. No more rising from the grave. No more blood dripping down my neck. It's a wrap on the Samford set of Deathtrap. After six performances, I have said goodbye to my most challenging role to date, that of Clifford Anderson.
For those who did not get to see Deathtrap, it was a black comedy and thriller rolled into one, with plenty of blood, violence and witty threats to keep audiences laughing and squirming. And I loved every minute of it!
I played a young playwright who sends his first play to older and established playwright Sidney Bruhl for feedback. The older playwright has a massive case of writer's block. He jokes with his wife Myra that he might kill Clifford and claim the play as his own. And that is what he does, using a garotte. Then Clifford comes back from the grave, all covered in blood and dirt, to beat Sidney to a pulp. Myra is a witness to the beating. When Clifford turns on her in his most menacing way, she has a heart attack and dies.
This is when the fun really starts. As soon as Clifford confirms Myra is dead, Sidney gets up from his fake beating. The audience realises the two playwrights had planned the whole thing, hoping Myra would have a heart attack. And all that happens in the first act.
I won't continue the tales of woe that follow, but say just this: the play was very demanding. The timing of lines and actions had to be spot-on. I had to struggle with principal actor John Sayles in the strangling scene, as well as later on during the twist in the tail. I had to fall three times, resulting in plenty of bruises. I also had to built up a believable character, one who went from a seemingly innocent young playwright to a calculating bastard who would stop at nothing for money and fame.
Having said all that, it was a great opportunity and loved every second of it. Nailing the performances was such a thrill.
For now, though, I am happy to let the bruises heal and enjoy not having to learn lines every night. Goodbye, Clifford...
For those who did not get to see Deathtrap, it was a black comedy and thriller rolled into one, with plenty of blood, violence and witty threats to keep audiences laughing and squirming. And I loved every minute of it!
I played a young playwright who sends his first play to older and established playwright Sidney Bruhl for feedback. The older playwright has a massive case of writer's block. He jokes with his wife Myra that he might kill Clifford and claim the play as his own. And that is what he does, using a garotte. Then Clifford comes back from the grave, all covered in blood and dirt, to beat Sidney to a pulp. Myra is a witness to the beating. When Clifford turns on her in his most menacing way, she has a heart attack and dies.
This is when the fun really starts. As soon as Clifford confirms Myra is dead, Sidney gets up from his fake beating. The audience realises the two playwrights had planned the whole thing, hoping Myra would have a heart attack. And all that happens in the first act.
I won't continue the tales of woe that follow, but say just this: the play was very demanding. The timing of lines and actions had to be spot-on. I had to struggle with principal actor John Sayles in the strangling scene, as well as later on during the twist in the tail. I had to fall three times, resulting in plenty of bruises. I also had to built up a believable character, one who went from a seemingly innocent young playwright to a calculating bastard who would stop at nothing for money and fame.
Having said all that, it was a great opportunity and loved every second of it. Nailing the performances was such a thrill.
For now, though, I am happy to let the bruises heal and enjoy not having to learn lines every night. Goodbye, Clifford...
Tuesday, April 6, 2010
Ritually speaking
Theatre is one place where rituals and superstitions reign supreme. Forget tennis players having to bounce the ball three times before a serve. Thespians are a far weirder lot.
I'll start with a few examples. One actor I have worked with gives fellow thespians a match just before curtain up on opening night and says ''touch wood''. A male actor I know gives all the females on the cast a red rose ahead of curtain up, but only if he is the lead in the production. Another male actor has to drink a red drink before each show and becomes quite hysterical if he forgets to bring it.
Then there are the actors who won't talk to people backstage before curtain up because they have to get into character. One would withdraw even before each rehearsal so she could find her ''emotional obligation''. Yet another would crack jokes and bring us all to tears of laughter just before we were due to go on, as a way of distracting himself from thoughts of the job at hand.
I know of seasoned actors who can't eat before a production because of nerves and other still who can't drink for fear of having to use the toilet while waiting backstage.
One actor applies make-up at home, though I think this could have something to do with convenience, rather than superstition.
So, what are my rituals and superstitions? I go over my script once backstage before going on stage to keep the lines fresh. But only once. I don't want to overdo it and create panic in that little brain of mine. Otherwise, it's all fine. No red drink. No red roses. No skipped meals. Just showing up is just about ritual enough for me...
I'll start with a few examples. One actor I have worked with gives fellow thespians a match just before curtain up on opening night and says ''touch wood''. A male actor I know gives all the females on the cast a red rose ahead of curtain up, but only if he is the lead in the production. Another male actor has to drink a red drink before each show and becomes quite hysterical if he forgets to bring it.
Then there are the actors who won't talk to people backstage before curtain up because they have to get into character. One would withdraw even before each rehearsal so she could find her ''emotional obligation''. Yet another would crack jokes and bring us all to tears of laughter just before we were due to go on, as a way of distracting himself from thoughts of the job at hand.
I know of seasoned actors who can't eat before a production because of nerves and other still who can't drink for fear of having to use the toilet while waiting backstage.
One actor applies make-up at home, though I think this could have something to do with convenience, rather than superstition.
So, what are my rituals and superstitions? I go over my script once backstage before going on stage to keep the lines fresh. But only once. I don't want to overdo it and create panic in that little brain of mine. Otherwise, it's all fine. No red drink. No red roses. No skipped meals. Just showing up is just about ritual enough for me...
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