Question for the actors, taking over a role?

Question

When your hired to take over a role from another actor (recast) how do you prepare yourself like do you research the history of the character and do you watch the work of the previous actor. I want to know because this always happens on the soap operas.

Answer 1

It depends on the context. I can't speak for soap-operas, but I was in a stage performance of "A Christmas Story" last year, a play based on the popular 1983 movie. I had the role of the narrator, grown-up Ralph, which of course was played by the author, Jean Shepherd, in the movie.

So in a way, I was "taking over" the role of Ralph from the originator, and in this case the author.

However, I had just seen "The Producers" on Broadway a few weeks before beginning my own rehearsals, and I got a real insight into the issue of taking over a well-known role.

In the clips I've seen from the Broderick/Lane version of "The Producers," Matthew Broderick is almost creepy in his attention to detail by trying to re-create Gene Wilder's performance as Leo Bloom. Lane is a stronger personality (both in the play and, I suspect, in real life), so he came off as less creepy, but there were still echoes of Zero Mostel.

The two guys I saw perform on stage were wonderfully talented, but best of all, they were NOT trying to "channel" either of the actors from the 1968 movie or from the movie version of the musical. It was refreshing, and from a fan's perspective I felt it gave new insight into the characterizations, the energy, and the motivations of the two leads. It was refreshing -- and of course the play was funny as hell, well deserving all the Tonys it won.

I put this learning to use in coming up with my own characterization for our play. I decided not to do an impression or impersonation of Shepherd, but I found a bunch of his old radio shows and listened to them to get a feel for the cadence of his speech and his personality. Then I worked to "make it my own" by incorporating his rhythms and expressions into my own performance of the play. It must have been effective, as we played to packed houses for the full run of the play, and audiences loved it -- it's great to watch a theater full of people laughing and having a great time.

So there's the balance for you -- yes, I researched the history of the character (in this case the author) and listened to his other work to get a sense of what he was like. Then I concentrated on performing the work well and on giving a good characterization, rather than trying to recreate his performance of it.

And I think, after having performed this way but also after having seen the two guys doing a great job as Bialystock and Bloom in the St. James Theater last October, that this is the best way to go about recreating/taking over a role. If I had tried to sound exactly like Jean Shepherd, the performance would only be as good as my ability to imitate him. But by learning what he was like, what words and phrases and rhythms he used, I was able to create something of my own which was more fluid, more cohesive, and ultimately more effective, I believe, than I would have been by trying to do an exact imitation of Jean Shepherd.

Answer 2

Trying to emulate someone else's work is A BIG TRAP for an actor. Conversely, don't watch another actor and think, "I am going to do something completely different with the role." Try to avoid watching the previous performer's take on a part if possible. Have you ever seen a play where the actors looked like they were imitating the actors from the film version? It just looks like a pale imitation.

On soaps, they often try to hire recasts similar to the predecessor to help the audience believe the switch.

An actor would do best to study the script for clues into the character's traits, listen to the director, and attempt to create something unique.

Answer 3

I'm only familiar with this situation in a live theatre setting. In the theatre, an understudy's job is to re-create the performance of the actor who was originally cast. You don't get to re-invent it from scratch. Therefore, you're required to attend rehearsals when the principle is working, and take notes on what he's doing. Most professional theatres will videotape a preview performance, and make that available to the understudies as well. Finally -- and this is a luxury -- a lot of theatres will actually schedule run-throughs of the show using all of the understudies, so that they have the experience of playing the entire show. This is enormously beneficial if/when they're required to go on.

Answer 4

If you live near a big city, being an extra can make you some nice ca$h! I've done it a few times and it's like $100 for a 6 hour day, and you get a free lunch out of it. If they ask you to be on camera more than a certain amount of time, you get more money. If they pan in on your face, you get more money. If you say a line you get tons of money. -- This assuming it's a major Hollywood motion picture. I had a few friends who were asked to do a "featured extra" role for a major picture last summer, they were in the final movie and they got $2,000 apiece for 2 6 hour days, and it is now on their resume!

Answer 5

You of course want to know the history of the character so you can develop depth but don't watch the previous actor make it your own, unless that is how you are directed, don't forget actors aren't all alone in this, directors are a tremendous part of movies, tv, theatre...

Answer 6

When you take over someone elses role, talk to the person (if you can) to see what there role is like. If you can't talk to them, then do some research, ask a question on answers and see what the charector is like.

Answer 7

u should study the character and try not to copy what the previous actor was doing
do it as u feel it, with ur own way, to put ur own stamp