The Callback Kid

And ever onwards...

It was callback-o-rama this weekend. Or rather Sunday, mostly. After an early rehearsal with Neutrino I raced out to Magnuson Community Center where I called back for Guildenstern in Greenstage's production of Hamlet. And the director asked me to stick around and read as Laertes which was a pleasent surprise. I read each scene only once but got the feeling this wasn't really a detriment to my chances. The director seemed very shrewd and keen to what she was looking for in her play and I really got the feeling just from seeing me read a scene or two she knew exactly where I may (or may not) fit in her concept. Which was refreshing.

I then raced to the East side for a callback for a dinner theater. Well, not just a dinner theater, a murder mystery dinner theater. Actually to be percise, a musical murder mystery dinner theater. I know. It harkens me back to my Musical Mafia Play days. This was without a doubt the strangest callback I have ever been attended. Details to be blogged at a later date.

After my foray into dinner theater (well, musical murder mystery dinner theater) I raced back to Magnuson to read for Fabian in Twelfth Night. The callback was fast and furious (but not like the movie (can you believe there's 3 of them?!).

Tonight was my Wooden O, which I think went all right. I was asked what I thought my age range was, which is a question I've only ever been asked on forms or discussed when talking about type. It was just strange to talk about it in an actual casting situation. I said 18-29. Maybe more with a beard. You can let me know if you feel otherwise.

Also this week, I have my orientation with the company which might be my representation in the very near future. They saw me at TPS at invited me to an orientation/audition. Details to follow.

Confessions of a Third Man

For the longest time I had difficulty pinning down my type. I knew that I was not "above" types somehow but it was difficult for me to narrow the field. To make things worse, a good deal of the actors with whom I studied seemed to have very specific- or rather much more evident- types. One can only assume their type leapt from their mouths during auditions via some sort subliminal gamma ray which the director furiously scribbled on their notepad. Then barring gross incompetence, that actor can rest assured s/he has a pretty damn good shot at the part (if it isn't already sealed in the bag).

When I asked others (particularly directing concentration friends) they furrowed their brows and scratched their chins, then mumbled something vague and non-comittal. Until one evening a very good friend mine (also a director), a very good honest friend of mine laid it out to me during a conversation with a group of actors discussing their types.

"You are the Third Man."

"The what?"

"The Third Man. You know. You have a play, it's two guys yakking on the whole time, and then a third man comes out. And he plays everything else."

"Huh... I'm the Third Man."

The simplicity of it and the truth to it astounded me. If my chronologies are correct shortly thereafter (or perhaps shortly before) I was cast in On the Verge. Now look there at the bottom. See how it says "1 M, 3 F?" I was the 1 M, the 1 M who played 8 parts. The 3 ladies wound in and out of eras in history, and places across the globe, and through three quarters of a thesaurus but I met them at every dip and turn with a new costume and a new character.

It all made so much sense.

This blessing and curse continue to haunt me. It would seem optimal for the Third Man to be an actor's type. Afterall an actor is first and foremost asked to embody the character s/he plays, to slip beneath the surface so seamlessly that the audience no longers sees the actor but becomes engrossed in the narrative. The idea is pathos not, fandom pandemonium. And it's been a great boon for me as far as improv goes. Audiences tend to more easily suspend_their_disbelief, and take whatever offers I throw out.

However, it more often than not leads to a confusion in casting agents because like I said before I'm difficult to pin down. It leads to a whole different version of typecasting. Think Peter Sellars, without the success. Once directors get to know me and see what I can do they seem to like me a lot. But until then I feel like I come off as this sort of overly maleable, ball of talent and energy. Sure, everybody likes the blank canvas but sometimes its difficult for people to think of something to paint if they don't have something already in mind.

But there have been many who have held these sorts of careers and been very successful at it. John C. Reilly leaps to mind. And Michael Caine also fits I think. Even Brad Pitt seems to be difficult to peg to one type. And although some might argue with me, I feel like Jim Carrey has that type of dramatic talent.

Mr. Sellers... I implore you, please, be my guide.