I sit in solitude in the lower dressing room, below the stage, at the Rialto Theatre in Loveland, CO, waiting for my cue to go on. The rest of the cast are upstairs in the new green room dressing and applying makeup. My preference is to get some self time before I go on. I have a bit part in our production of Father of the Bride.
The stage is set and the popcorn machines in the lobby are popping away, blowing a magical waft of diacetyl and hot corn into the dimmed auditorium. The curtain is closed and the blue low-wattage lights backstage are shining on the floor and black curtains in the wings. The stage crew are making last minute adjustments to the set dressings. Background music is playing and a few patrons are shuffling to their seats.
In a minute I’ll apply some makeup so my pasty white face topped with whitish hair will display a bit of facial expression in the bright stage lights. A bit of mascara to darken the eyebrows and some eyeliner to make the whites of the eyes pop out a bit: All to accentuate the emotional spin I will apply to the lines. This will emphasize vocal nuances contrived to convey the emotional intent of the playwright.
One of the key ideas in acting is listening. An actor must listen to the lines being said not only for the cues they may contain, but for pacing and to convey a realistic sense of the interplay. For many of us in life, conversation consists of waiting for others to be silent so we can talk. The best actors sound natural in part because they are also listening.
Opening night of our 2 week run went well. We need to fill the seats with backsides to fund the next production. Snow is predicted for tomorrow, Mother’s day. Hard to tell what effect that will have on attendance.
7:30! It’s show time!