I used to have an ongoing argument with my ex-girlfriend: who's schoolwork was more difficult? Engineering (hers) or acting (mine)? She actually began the whole contest when she heard me complaining one evening and said something to me along the lines of, "What the hell are you complaining for? You're just acting! At least you don't have to do all the s--- that I have to do!"
Most people have no idea what goes on during the run of a show, and in this case, my ex-girlfriend was the queen of naiveté.
I am currently in a production here at UB called "Blood & Farmyard." It is a dark and disturbing play about a farm family and the unmentionable things that occur within their structured, silent lives.
The show is extremely difficult to act. Memorizing lines is always the first major problem to tackle when approaching a play. It's difficult remembering what you are supposed to say, when to say it, and how.
Because of the characters' poor agrarian background in "Farmyard," their language strays far from what is considered proper English. This poses a problem for actors. Trying to speak poor English is not an easy task when trying to convey strong messages on stage. While I was learning my lines for the show, I wanted to correct the script and make it grammatically correct. This isn't, however, an option - actors must stick to the script, no matter how difficult the language might be.
Unlike most fields of study, where you can do your homework whenever you want, the actors in a show need to do their work every night for a specific period of time. We have been in rehearsal since Sept. 17. Except for Sundays and Mondays, the cast is always rehearsing.
Primarily, we act out scenes, practice lines and then run the entire show through. Over and over again. The cast receives notes on what actions we missed, what lines we fumbled or what pauses we held too long. Try doing your chemistry homework with your professor looking over your shoulder, taking notes every time you use the wrong formula.
Breaking into a role is also quite difficult. It takes time and dedication to understand the psyche of a character. In this show, I play the Farmer. He's a controlling old man whose young, mentally disabled daughter gets raped by his employee.
It was a really difficult part to get into.
And then of course we must constantly run through the show. Every time a show is rehearsed, actors are expected to feel and be their characters. My ex-girlfriend may have tons of electrical theories she needs to study, but every night I have to cope with my daughter being raped. Try that out for homework.
The technical part of a show is just as important as the acting, and most people don't even stop to think about it. The stage manager is there to keep us, the lines, the show, and even the director, in check. Also a part of the technical team is the lighting designer, set designer and costume designer, who all make their own ideas work while conforming with the flow of the play.
We just started working on our set last night and it was amazing. It really gives you the feel of being in a poverty-stricken farmhouse. It also brings out the characters in the actors. It's hard to act in a big black space when you are supposed to be in a dirty, rusty barn.
The whole process actually takes months. The designers have been working weeks before we even had our first rehearsal. While researching different aspects of the set, costumes and lights, the designers must remember to base their plans on the realistic proportions of the set.
Once the ideas are finalized, they must find the materials to work with. Our set designer, Kate Palame, had to go to junkyards and flea markets to find items that were old and rusty.
When the show is ready for the audience, our hope is that all the loose ends come together and our performance captures the audience in the play's world and the characters that live there.
"Farmyard" premieres tonight at 8 p.m. and runs until Sunday, Nov. 3. Special matinee performances are at 2 p.m. on Saturday and Sunday.
