Christopher Walken on Christopher Walken

Here’s a pretty cool piece on Christopher Walken from the  New York Times.

The first bit he talks about his new show, Martin McDonagh’s play A Behanding in Spokane then it segues into him talking about his life, career and his acting. It’s after the jump!

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Theater Review: Duncan Sheik’s ‘Whisper House’

This past weekend I saw Duncan Sheik’s new musical, Whisper House at The Old Globe Theater in San Diego. I say musical, but it’s not really a musical in conventional terms. The cast don’t burst out in song and dance across the stage. No, they leave the singing to the Ghosts.

Set in World War Two (1942), Christopher (Eric Brent Zutty) is sent to live with his aunt Lilly (Mare Winningham) in a remote lighthouse. Christopher soon begins to hear music that no one else can hear and to top it off, he begins to suspect his aunts Japanese worker, Yasuhiro (Arthur Acuna), of being a spy.

And that’s all I’m giving away.

The Ghosts played by indie rockers, Holly Brook and David Poe, come and go in the scenes, singing and pretty much doing whatever they want. They take off lampshades and turn the stand into make-shift microphones, fling off Christopher’s covers when he’s trying to sleep and make general mischief for the cast. They act as… narrators of the show? I’m hesitant to say narrators because at some points they deliberately sing their songs to screw things up. And that’s what makes this show so great. The Ghosts are having a fantastic time messing with everyone. And usually to a bad outcome.

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Armin Shimerman: “Luck is a huge factor in every career”

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Armin Shimerman made his name in television - Buffy the Vampire Slayer, Star Trek: The Next Generation, Seinfeld, Boston Legal (to name a few) – by playing unique, memorable characters. But did you know his true love is theater?

I caught up with Armin at the tail-end of his run of The Seafarer where he was kind enough to take time out of his busy schedule to talk about theater, how he prepares for a role and much more!

For ticket information on The Seafarer at the San Diego Repertory Theater, click here!

You’re currently starring in The Seafarer. Even though it’s a short run, how do you keep your performance fresh night after night?
How do I do that?  How does any actor do that?  By being inspired every night by what the other people are doing and finding new things in the play as we go along.  Although it’s a rehearsed and performed piece, there’s always something new.  That’s the great thing about live theater, you can always find something new and fresh each performance.  The audience and the actors give you things.

How do you choose your theatre projects?  Do you have a master list of shows or characters that you want to do somewhere?
I tend to prefer classical theater.  That is what I’ve been trained in and what I’ve mostly done and what intrigues me the most.  However, I saw this particular play in New York when I was visiting a couple years ago, and it was an incredible production directed by the playwright on Broadway.  And when I saw it, after I saw it, I was just absolutely enthralled by it and there was a particular part in it that I really wanted to play.  That is not the part that I’m playing, but I was really enthralled by the play.  And I particularly wanted to play the Devil, but instead the theatre here, very wisely in my opinion, cast me as Richard Harkin which is the host of the party for want of a better term.  And I’m just tickled pink.  Without doubt it’ll always be one of my favorite character’s that I’ve ever played.

I’ve heard you’re fantastic in the show.
It’s turned out very well.  We’ve had a wonderful director.  Delisha [Turner Sonnenburg] did a great job directing it.  The theatre has done a terrific job of producing it.  And it’s an incredible ensemble of actors.

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Jersey Boys Travis Cloer: “I left New York to get a job on Broadway”

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Travis Cloer, who plays Frankie Valli in the Las Vegas production of Jersey Boys, didn’t have anyone hand him his career.

No, as a struggling actor in New York, leaving the city was probably the smartest thing he ever did. Because when he came back, he landed on a Broadway stage.

Check out how he did that, the differences between Broadway and Las Vegas and what it’s like playing an icon.

I saw the show Tuesday at 6:30 and I thought it was fantastic.
Yeah, it’s a fun show.

Yeah, you guys are great.  I guess you can call that an early matinee?
Yeah, it’s weird here because everything’s in the evening.  Anything in the afternoon is pretty brutal.

You guys were just on fire and cracking.
Those 2 show days are… you know, everybody is pretty high energy throughout the full day.

How long have you been in the show?
I’ve been involved with Jersey Boys since February of 2007. I was in the Broadway company for about a year and a half, and then they moved me out here last September of 2008.

Did you want to come out here?
It was kind of 50/50.  I enjoyed being in New York and being on Broadway, but the role of Frankie Valli opened up out here and they offered it to me, so I kind of had to take it you know.

How do you keep it fresh?
That’s a good question, man (laughter).  That is a really good question, especially after almost 3 years.  You just really have to – well, a lot of it is what the audience is bringing to you that night.  You know, if it’s a great house and if it’s a great audience of course you always feel as a performer to give it just that little bit extra, instead of – you don’t always want to coast on auto pilot.  But sometimes you know you get tired.  But as far as keeping it fresh, you just, with this show, I find I really enjoy singing the music. And the music itself is fresh to me just about every night on its own.

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Robert Knepper, from ‘Prison Break’ to ‘Heroes’

From Canada.com:

Robert Knepper, a career actor who cut his teeth on the theatrical stage in his hometown of Fremont, Ohio before majoring in drama at Chicago’s Northwestern University, is often typecast as a villain, but he approaches each new role as if he were playing the sweetest person in the world.

Lessons from Prison Break:
“Prison Break taught me that the writers have to break the story. They ponder it, they wrestle with it and all of a sudden they figure it out. What I realized, week after week after week of doing Prison Break, is that you do the same thing as an actor. You break the story from that character’s point of view. You break that scene down and go, `Ah-a, I get it.’ It’s kind of like a slow- moving river that’s coming to a waterfall, and all of a sudden the water starts to flow. You can’t just memorize a scene without knowing what the scene’s about. If the writing’s not good, I can’t memorize it at all. I’m like, `Damn, why won’t these words stick in my head?’ Once I break the scene, like the writers do, then it flows.”

On Heroes:
“I have a good vibe for Heroes, because I’m pulling my hair out trying to discover that character. The difference between now and Prison Break is that Prison Break put me on the map. With Heroes – it’s weird, but I haven’t talked about this before – it’s almost as if I feel the audience will be watching me develop the character as I’m developing it. I haven’t got it all developed ahead of time. I’m still fiddling with it. We’ll get to see what happens with it from one week to the next. For the audience, it’s like the theatre. It’s like watching a live performance unfold that happens to be on film.”
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Charles S. Dutton's trip back to the stage

Charles S. Dutton is starring in the Yale Rep. revival of Death of a Salesman in NYC and gave an interview to Playbill recently.

In it, he talks about why he quit the stage for the lure of Hollywood… and why he came back. Here’s a snippet below.

Check out the whole article here.

Playbill.com: What made you fall out of love with acting in the first place?
CD: It was purely the intoxication of Hollywood. I will freely admit it. It was not necessarily the money, but the freedom and the power. I was pretty much given free reign when I got out there, my own show and tons of things in development. It’s a different kind of headset. Instead of rehearsals, you’re in meetings. You’re hiring and firing. You’re overseeing something from point A to point Z. In film and television, you only act for a few minutes at a time, and then you’re in your trailer, waiting. So, it’s an easier life. It is. It’s a more lucrative life. It’s Los Angeles. It’s sunny California. It’s palm trees. You’ve got a pool in your backyard. Everybody gets consumed by it. Everybody who’s left the theatre and gone to Los Angeles will tell you the same thing, not publicly but privately. I lost a respect for the training. Not respect, but I forgot about the intensity of the training I got. I tried to leverage it a bit. We did a whole season of “Roc” live. But as the years went, you get fat and lazy, and you don’t feel like working that hard. Theatre is like digging your ditch for a living.

Playbill.com: But you’re working hard now, aren’t you?
CD: Oh, man. Like never before. And the irony of it all is that, when you’re a young actor, you say “I can’t wait to play Willy Loman and King Lear.” When you’re able to do it, you say, “Oh, man!” You get a sense of mortality.