What or whom do you consider to be your greatest influence in theatre?

Question

Jean Kerr once said: Young people wishing to become actors have an addiction only slightly less dangerous then heroin.

Hello out there all you drama junkies!

If you work in the theatre in any capacity, what or whom influences you the most in your theatrical life? Actors, what event caused you to choose this path? Singers, whose performances stole your soul away to the theatre? Dancers, how many of you remember the first moment you realized you were a dancer?
Technicians, what keeps you coming back for more? Costume designers-Edith or Adrian? Set designers, when did you decide to make everything work? Lights and Sound, who let you in on the secret? Directors, which show convinced you that you should be in charge? Audiences, what performances left you feeling transcendent and spent?

Answer 1

Great question.

Many years ago, when dinosaurs roamed the earth, I was an English Literature major at the University of California -- Santa Barbara. I had dabbled in theatre a bit, but, until that time, not in any focused or orderly manner. I'd had one prior course in Shakespeare, and really hated it. It was one of those things where a teacher assigned the class a few plays to read -- with no preamble or preparation -- in our case, it was "King Henry IV, pt. 1" and "King Lear." And, after we had slogged our way through the texts, he'd lecture us and tell us what they "meant." Horrible stuff...EXACTLY the kind of initial exposure to Shakespeare that turns people off to his work.

I knew that I needed a second term of Shakespeare in order to fulfill my English Lit. requirements, and I was dreading it. I asked around, and discovered that there was one English Prof. who had the reputation for making the stuff palatable. So, I signed up for his class.

I'll never forget my first glimpse of Professor Homer "Murph" Swander. He barrelled into class wearing beat-up jeans and a denim workshirt. His white hair cascaded around his shoulders, and he peered at us through heavy black plastic-framed eyeglasses. He didn't carry a briefcase. All he had in his hand was a well-worn copy of the Signet Classics edition of "Hamlet."

He slammed the book down on the lectern, looked at us, and said: "Shakespeare didn't write plays!" Heads turned throughout the clasroom. Eyes rolled. A few snickers were heard. I thought to myself: "Oh, NO; here we go again."

Swander paused for effect, then re-iterated: "Shakespeare didn't write PLAYS...he wrote SCRIPTS for ACTORS. You don't READ Shakespeare, you DO Shakespeare!"

I didn't know it then, but I had just experienced one of the true life-altering experiences of my (then) 20 years. With that relatively simple observation, Swander had blown open the doors to what I had previously thought were a fortress accessible only by the intellectual elite.

Swander put us into reading groups of 5-6 students each. Our "homework" would be to meet, and read portions of our assigned plays. Aloud. Assigning roles. Standing up. Walking and talking. Doing the things it took to make those words come alive.

Every day in that class, Swander made magic. He'd sweep in holding only the Shakespearean text we were currently working on. He'd begin class the same way each time. "Okay, who has questions?" Some timid English major would stick a hand in the air. "Why does Hamlet tell Ophelia to go to a nunnery?" he'd say.

"Great!" Swander would boom. "Okay, get up here; you're Hamlet. You, over there...you're Ophelia." And he would proceed to "stage" the scene with a cast of students who had formerly been "merely" readers, in a way that showed all of us that the key to understanding Shakespeare was to see it the way a theatrical practitioner would see it. How would an ACTOR find the best sense in this scene? What would a DIRECTOR do here to create emphasis?

And suddenly, words that had seemed inpenetrable on the printed page became available to me...and I realized that they were the best and most vital and exciting words I'd ever experienced.

I have been acting and directing and teaching the plays of William Shakespeare for most of my adult life, and Homer Swander is almost single-handedly responsible for this passion of mine. I believe that "Murph" is still with us -- a minor miracle in itself -- and I've crossed paths with him a couple of times over the years.

I never miss an opportunity to thank him.

Answer 2

I was hooked at the age of five when I was taken to a pantomime and during the performance some of us were invited up onto stage to join hands and sing a little song. (although I was more interested i n peering over my shoulder to see where the fairies had gone) Intoxicating stuff for a five-year-old! And I've been showing off ever since! Acting is my passion. As a member of an audience "West Side Story"( coming just after a major trauma in my life) was the most invigorating.

Answer 3

All through elementary school I was the only one who would get really excited about the Christmas Concert, in high school, the only one to get excited about doing skits and scenes from plays. So to answer your question, it wasn't until I chose Drama as my major in university, it seemed like it would be fun, so when I was accepted to university and it came time to choose a major, I picked Drama because after reading the descriptions of two drama classes I signed up for I realized how much I wanted to learn more about theatre. And I'm so glad that I did, I love it.

I love acting, directing, I love the rehearsals, and I love the moment you step onstage and nothing exists outside of that moment. Your whole life is what is happening to you at that second, there's no thoughts about "oh, what am I going to do after the show?" or "i wonder who's here tonight?" Your entire self is involved in your show and the person/people on stage with you. And when its all done theres a feeling of accomplishment, you've done what you achieved, and you've entertained the audience, held them in the palm of your hand, and let them through that 4th wall to observe you.

Answer 4

Has to be Jean Rosenthal!

She introduced booms all the way up the stage for ABT much to the chagrin and then delight of Ballinchine.
She was a student of McCandless at Yale and adapted his theories of light for straight theater to musical theater and dance.
She designed for Martha Graham.
She was a woman in the 40's and 50's on Broadway in a totally Male Dominated world and was not only successful but revered and brilliant.
She designed on Broadyway -- musicals, operas, theater and dance.

I think she died in the mid-sixties and so, 40 years later I am still using her rep plot as the base design in my dance theater as is almost very every dance theater in the world.

Merde!

Answer 5

Donald Wolfit. The last of the Great Actor Managers. Him and my love of Qdos Pantomimes, Then E&B productions. Been in the Biz since 1987. We keep coming back for more because it's our job and passion. Once you step in the door you don't know where it will take you and you don't really want to leave. Check out my 360. Good luck.

Answer 6

I has Swander for Shakespeare and Sr Seminar. 1985-86. Greatest Ever. Went to England with him and a group in summer 86 and saw a **** ton on Shakespeare plays in London and Stratford. Got to meet Patrick Stewart, Jeremy Irons, Sean Bean, etc. Swander knew how to make Shakespeare something to seek out and enjoy.

Answer 7

Oh sure it just took the jerries 500 years to get their act together. Didn't know Hitler was a Lutheran. Say,are you jewish? Sounds like you're trying to blame ALL GERMANS FOREVER and ALL CHRISTIAN EVERYWHERE. So you're one to squall about bigotry,eh? You're a racial bigot and a religious bigot. Anyway,your boy in the Ukraine Lazar Kaganovich killed 7 million people because they weren't jewish how's that for genocide? try looking up the Holodomar. Love & kisses.

Answer 8

My English Literature teacher Mr. Barlow has the greatest influence on me, for the theatre. {At the Ankara College (High School) in 60's}

Answer 9

Andrew Llyod Webber...I'll tell you why, He opened up so many door to musical theatre. I found that about 95% of his musicals have opened the doors to many young actors and helped them get their start in theatre!

Answer 10

Bertold Brecht, his concept of epic theatre.