By: Ryan Tuchow
Actors and members of the audience gathered outside a classroom at the Woodsworth College Residence the morning of July fourth. There was joking and laughter while people arrive. This is the first event scheduled for the fourth and the first live script reads at this years festival. The short scripts that were being perfomed were the ReelHeART International Film and Screeplay Festival’s Top Three Selections in the Short Screenplay Competition.
It’s interesting to note that all three of the short scripts selected have music as an element in their stories. At the same time the narratives all come from the known experiences of the writers, and from the deep parts of their hearts that want to share stories.
The live script reads began with a nine page script by Guelph native Sharon Nezny entitled Brownies. It is a story about the deaths which have rocked a family and a child’s journey to come back from it and live a normal life despite the mental illness of her father. It is a narrative that Nezny, who was present for the performance (where real actors and actresses read for the parts) said was “… certainly not a memoir, thankfully. It’s completely fictional. It came to me one night, I had the character, and I knew she loved Brownies and the rest came to me.” The story behind the script is almost as interesting as the work itself. Nezny, a writer who loves writing but referred to herself at the festival as being “considers herself, “…sort of undisciplined and lazy,” took a writing course in Guelph and got the chance to write a screenplay. And that screenplay is what ReelHeART cast actors and actresses to read for.
“I’ve got to tell you that it’s really cool,” Nezny said, after getting to see the performance, “I wish every writer could see their work come to life. It’s amazing.”
Nezny has plans for her short screenplay saying that, “I’m in the process of debating whether to shoot it as a feature length film or as a short.”
The second live script read was a piece by Arizona journalist, Mary Tolan, entitled Just for Men. It’s a story about a father and a son, a touching examination of manhood and what it means to be a man. When the chance comes to make a man out of his son, a father takes him to a place that advertises with billboards covered by a “curvaceous cowgirl” with the words “Just for Men.” When they get to the place the father is surprised (and more than a little embarrassed) to realize it is a clothing store. The father and son eventually find a middle ground in the realization they are different, but they are still family. It is an exploration of new and old values, of generational conflict and how what some believes, is not the same for others. It is 15 pages long and serves as a fascinating examination of older American ideas of masculinity.
Tolan, who was not present at the performance, but who was able to speak to the audience and actors via Skype, explained the story began when she was doing some research in Winslow Arizona.
“I ran across this woman who was a daughter of the guy who had that store Troutmans, it was a story based on people seeing those posters which was real. There were people who went to this place expecting something other than clothes. And I made up a fictionalized story Just for Men.”
The actors who read for the parts expressed an affection for the piece because of the way Tolan managed to mix comedy and drama together. And the way in which the stakes were raised, as one actor said, by setting the story within the context of American politics in the 60’s and the trauma of a war that fractured the family.
The live script reads ended on a bit of a happier note with the work Wilma Deals an 18 page piece by Virginia Shaffer from Chicago, Illinois. It is a heist film of sorts with a focus of friendship set in a nursing home where people who are often seen as powerless, as Shaffer said, get the chance to turn the tables against a women who is committing Medicare fraud.
Shaffer explained that this script was inspired by her love of the well-known heist films The Sting and Oceans Eleven. But at the same time the idea for this story came from reading about an actual case of Medicare fraud in Florida, which she said was disturbing.
From there the story grew, Shaffer said. “I knew I wanted to have a strong character named Wilma who is looking after number one. And at the same time her best friend her dementia; and to have Wilma help her friend even though her friend doesn’t know it…”
And members of the audience, upon hearing this, murmured with perfect understanding, perhaps because the story, like the others presented before it, managed to tap into their empathy and make them feel for the characters in a way that could only happen when actors are giving voice and performance to the words.
After the script reads there was a short break where people could snack on the sandwiches the festival provided before the All About Actors workshop began.
ReelHeART identifies itself as a “mentoring festival” which exists not just to screen films, but to help writers, and actors to improve their work. The live script reads were a chance for writers to see and hear what their words were like when acted, and now this workshop would give Toronto actors and actresses a chance to learn from seasoned professionals in order to help hone their craft.
Its purpose is to give actors an idea on what is happening on the other side of the table when they go to audition for roles.
The actors and actresses had the chance to perform short monologues for the two adjudicators who would critique and comment on all aspects of their performances.
The two judges were Bella Grundy, an eminent talent scout and agent, and Ron Leach, a casting director and award-winning filmmaker.
The first actress was Erin Corrado (who played the son in Just for Men) who performed a monologue she had written herself. It was a powerful piece about identity and a need for acceptance that was permeated by a desperate anger. The judges loved it and Ron Leach began by offering some wisdom about the emotions an actor and actress chooses to take on.
“Anger is not a true emotion. Anger is a result of a greater loss or hurt. The scene needs an arc. I want to become more intimately involved in the characters journey. There has to a structure that relates to the emotions underlying the scene.”
He spoke figuratively about how people avoid a man yelling on one side of the street, but they will move towards a woman who is shaking on the ground.
We cross the street to avoid the anger,” Leach said, “but we innately, as humans, empathize with other people’s pain. By beginning in anger and ending with anger you are indicating. And that is anathema to acting. There is a commitment you’ve made. It’s about revealing what you’re really feeling.”
Grundy added onto these observations when she said the performance kept hitting the same arc of anger.
“I want to be taken on a journey, but it’s like music, if it hits the same notes over and over again then it isn’t as powerful.”
The next performer Julie Mahendran (who played Wilma in Wilma Deals) read a monologue from Nina Shengold entitled Lives of the Great Waitress about a waitress who is telling the story of another waitress who had what it took to be great at her job.
After the performance the judges asked why she chose this piece, and Mahendran said, “I loved the character, her evangelism, her enthusiasm.”
Grundy explained that she would have preferred if Mahendran had shown more of what she could do with that piece.
“I would have liked something a bit more filmatic,” but she believes Mahendran has talent, “You have good physicality. I was enjoying it because you were enjoying it.”
Leach commented on her choice of the piece and explained how impacting it could have been. “
Because you’re speaking to the audience and not one person, that makes it presentational, not relational. And the first rule of every acting textbook in the world is that you have to relate. There must be risk, you should search for stronger material. It must have an arc, scenes must, inherently, have an event in them in order to be stitched into the work so it can blend with the rest of the piece. It’s fascinating to have a secret and to reveal it. It’s absolutely valid for you to raise the stakes.”
He noted that she was very composed and this is of paramount importance for actors and actresses.
“Stillness in a camera environment gives you power. But it was not a strong choice for you to do this scene. No matter what scene you do, cold read or not, do it with you telling it to one other person.”
They both spoke about headshots saying one should use the collarbone as a cut-off point. It is good to crop it and keep it tight. You have to be very careful to make sure it doesn’t have a very specific look. The eyes must jump out. And think carefully about your wardrobe. And they mentioned that when looking at their headshot an actor and actress should be thinking what would I be cast as if someone saw this?
Ron ended the critiques by exhorting Mahendran, and the other actors and actresses present to “Watch TV to see where you fit in the panoply of things, and where you want to be and that is where you’ll work.”
Lindsay Ellis did a piece from a work by Canadian playwright Daniel MacIvor entitled Soldier Dreams about a sister whose is reminiscing about his dying brother.
Leach commented that, “There’s a nervous energy that is driving this train. Most importantly it’s a presentation price, telling a story about a third party. If this was a eulogy, I want a very personal story that will make everyone cry. I don’t feel a connection to person. I see a character that you wear and that you can occupy; I want to see what her values are. I want to see their heart.”
Leach spoke about the importance of creating a story that builds a connection with one person in particular.
“I want to dig into this and rebuild it: starting with their being a primary relationship with the one person you’re speaking to. You can’t have a relationship with every single person in the room.”
Grundy critiqued the piece Ellis selected saying, “I didn’t think there was any storytelling for me. Find something else that’s more engaging.”
Both judges spoke about the importance of being comfortable in the space provided as they espoused the value of knowing the area around you, being able to identify where the light is, where the sound is poor, these are things that will set actors and actresses apart from the rest.
Providing a glimpse into his own experience casting people Leach said “You’ve already won if you’re in the space to audition. When people walk into the room I want them to be invited and to know they’re invited. And that someone on the other side of the desk in on their side. People think the casting people are adversarial and against them but that’s not true. We want them to charge the works they’re reading it and make it something more exciting than what is on the page.”
The next actress was Nikita Inniss-Boston who read a part of Neil Simon’s The Star Spangled Girl a fragment of a larger work where a woman confronts a man who is harassing her with affections.
Ron Leach instructed Inniss-Boston to work to make the piece her own, to listen to the humour that can be found in the piece. In terms of her headshot he commented on something that actors and actresses should try to incorporate in them.
“Whenever I see an actor square to the camera then they look two-dimensional. But if you angle your body, create depth of field, then it becomes more interesting. Make love to the camera.”
Bella Grundy also critiqued the headshot saying it was a bit flat. It is worth it to spend more money to get some good shots. And reiterating what Leach said, she told Inniss-Boston that it is important that “you take the script and make it your own.”
Ren Kennedy, during her “real time” and “real world” evaluation did a piece from the 1988 film Bull Durham. About a woman who sleeps with a different major league baseball player every year.
Leach liked that she chose this piece, but maybe could have chosen to incorporate a bit more mischievous sexuality into delivery. “There are so many euphemisms, but you never eyeballed this guy from his toes to his nose. This has to be a recurrent thing. Your joy, the way you evaluate things is a giddy secret. I wanted to hear you giggle.”
He looked at her photo and said she looked upset in it, and he reiterated the importance of never being square to frame.
Bella Grundy noted that it was a nice piece but she felt like Kennedy’s wardrobe took away from it. “I wanted you to wear something different for this. There’s levels here, and if you were wearing something frilly then you would have to fight for respect in this monologue.”
Building on what he said earlier, Leach said that, “Mischief is important. It’s something actors forget. Jack Nicholson from day one to retirement built his career out of mischief. You have to take us on this ride.”
Sean Dwyer performed a segment of Frederick Knott’s play Dial M for Murder while choosing to adopt a British accent, like Ray Milland in the Alfred Hitchcock film from 1954, a decision Leach did not agree with.
“It’s a limiting piece to do as a monologue because of the British accent,” Leach said, “You could have Americanized it and it would have brought it into a larger audience. Ray Milland created a stodgy woods character who moves with grace. That Brit puts you in a box and it makes it presentational not relational. British accent and these errs in graces which hid your heart. I want to see your heart break at the sight of her. As a result I couldn’t see your loss and know your rage.”
Speaking anecdotally Leach mentioned how “Growing up in a Victorian household people wanted to hide how they felt, and that is unfortunate. I want to see it.”
Grundy believed it was a “neat choice.” But not one that really sold what he could do.
“I know nothing about you from that. I want to know something about you. I want to see that you have facility and faculty. When it was over and you spoke, it was nice to hear that you were just a dude, that gave me a reference.”
Ron added to this by saying, “Play yourself first, and then show me something else.”
They both agreed after looking at his photo that one has to be careful with the colour. And they mentioned once again how one should never be square to camera.
The youngest actress present for the monologues and script reads was Isla Parekh, who at 11 years old, played the daughter in Brownies. She did a monologue from You’re a Good Man Charlie Brown.
Grundy offered her views saying, “It looks like you’re really into it. Your resume is good. You’re doing all the right things. That you’re working with the Canadian Opera Company is good. You’re learning so much and almost not even knowing it. You’re getting yourself out there. There are many children who want to do this but who aren’t doing this. You seem to be doing this. I think you have this natural acting talent. You’re a little drama queen and it’s natural and that is appealing to me. You’re young you need to work on your voice. You owned yourself in that little piece. I think you’re mature.”
Leach agreed. “You were filling your space. Owning it. But your voice and your breathing need a little work. Once you opened up after the first laugh you came into the work.
He made a general note saying that a key to good acting is that, “Every actor should be playing a scene as if they don’t know what’s going to happen.”
In her picture they commented on her hair, saying it looked over processed. “I want shots to be absolutely natural,” Leach said. “Brush and go is what I want to see run into the room to audition.”
The final actress to perform a monologue was Krista Barzso who did a piece from Almost, Maine a collection of shorter pieces by John Cariani.
Leach commented on some of the aesthetics of her performance before moving into the abstract elements of it. He noted her good vocal projection, and that fact that she found the light to perform under.
What is important, Leach explained, is “Realization to discovery. The same question of where do you go and what do you comes to mind. An unconscious reality is that you feel sorrow and pitiful. And embarrassment. It’s a flurry of emotion. It’s an overwritten monologue and I don’t need to know all that shit. I know all I need to know. You get to raise the stakes and you played the transition beautifully, but not the reward. I wanted to see you turn into this little girl who believes in true love and who finds out it doesn’t exist.”
Leach spoke about his acting teacher who taught him that the job of any actor is to make everyone feel a little less lonely in the dark. I don’t want to see embarrassed. I want to see the upset at this realization and the thought of what you want to do next.
Grundy highlighted Barzso’s strong start. “Most actors don’t start strong they get warmed up. But if you can start strong and be in the moment, then you will succeed.”
Leach agreed saying an actor has to be like a prizefighter, “when the bell strikes you have to come out swinging.”
“If you create questions you create doubt,” Leach said, “And that is dangerous. If you aren’t fully in the moment and come out swinging then the network people on TV will hit the skip button.”
Barzso explained that her performance had gone through some revisions after others had told her to act it out in a certain way. Leach and Grundy understood with Leach saying, “This is a safe place, this is a good place to do it and get the feedback. What I get for free from you is worth more than whatever process you’ve gone through. You have innate timing. You need a little more text work. The guideposts that get you under the text. The camera is looking for three chakras head, heart and hips. Head is conscious intention, heart is secret beliefs and thoughts, hips is the reward, what keeps people engaged. You’ve written yourself a future when you ring the doorbell in the scene. And there can only be one conclusion when that door opens and that is heartbreak. And if your heart breaks our hearts will break too, and you can feel that right now.”
Because of the detailed critiques the judges gave each of the performers there was no time for a Q&A from the audience, but after it was all over the judges were around to speak more to the actors who performed for them, but also for others who wanted to learn something more from them as well. And people lined up inside and outside the classroom for the chance to speak to the two adjudicators who could teach them all about acting.