The character — Don Troy — that Ed Altman plays in HONOR is the first one to utter our play’s title word and the way in which Ed delivers its two syllables is like tossing a match Into a room full of Roman Candles. Explosions ensue yet Ed’s character never flinches. Indeed, this dynamism is just what the play requires: an incendiary presence who flicks and lunges verbally at his two colleagues in this debate about what honor means. The trio proceed to sizzle and sparkle along the way in their storytelling with revelations and accusations, but not apologies.
Ed’s formidable array of acting experiences served him well in preparing for this role. Past work with Knowledge Workings Theater includes: The Oracle, Keeping Right, Grudges (Narrator). Other recent stage appearances had him in Two Swans, Nowhere Man, Victoria Woodhull (both at Theater for the New City). Also of late screens both big and small have benefited from Ed’s stalwart presence and straightforward style: TV/Streaming: The Good Cop (NTD/Epoch TV), The Vow (HBO), Food that Built America (History Channel), Dragon Meets Eagle(Amazon). His most recent film: The Dummy Detective is in production right now but earlier efforts include, Biff & Me, Oatmelio’s, Thumbwrestler II, Jazz John, all making the international film festival circuit. Ed was a member of the comedy group Prom Night with whom he wrote and performed at the Westbank Café back in the days of Lewis Black and Rusty McGee. He is also a voiceover artist for commercial and corporate work, and has voiced several audio books. Get your tickets now for one of the three performances upcoming of HONOR at The Chain Theatre Winter One-Act Festival
“Truth in acting was something he could recognize when he saw it or when he momentarily experienced it in his own playing, but he found it difficult to define and to capture.”
Harold Clurman on Konstantin Stanislavsky
Harold Clurman in his book, On Directing, was writing above about Stanislavsky, creator of what in America became known as ‘The Method’ approach to acting. Stanislavsky was the greatest influence upon Clurman who in turn became one of the finest stage directors of his time. And those first three words above — truth in acting — are what we pursue when the audience comes into the theater. Truth set forth onto the stage electrifies us; we walk away marked by the performance. There’s nothing like it.
And we know when we see it as I have known it working with John Blaylock in three plays: as Matt, the wise-cracking liberal younger brother in Grudges (co-written with my friend and colleague Joe Queenan), as GUNNAR GUSTAFSSON, fastidious but corrupt boss of the Swedish Traffic Authority, in Keeping Right, and now as Ludwig Cade, the consummate corporate general Counsel in HONOR opening February 16th in The Chain Theater Winter One-Act Festival. The effect of John’s talent strikes just as strongly in other performances: Victor Frankenstein in The Articulate Theater production of Doctor Frankenstein, Fr. Tommy DiCamilo in Holy Child by Joe Lauinger, Disraeli Levering in Both Your Houses at Metropolitan Playhouse, and Jack Mullen in The Weir at Gallery Players. John brings that truth to each part he assumes. I struggle to say more about the energy and intelligence he marshals and can you blame me? If Stanislavsky found it difficult ‘to define and to capture‘ that truth, what words will I find or invent? You have to see and hear John to understand the veracity of his work.
So buy a ticket using discount code ‘HONOR” to see John along with excellent castmates Alinca Hamilton and Ed Altman at one of our three performances:
And about that book, On Directing? I don’t consider myself a by the book director as a great deal of the delight and satisfaction from making theater live is its collaborative nature, the mix and mess with good talented people of making it up as you go along to some extent. But through the span of a directing project, I am definitely by the books. I return again and again for inspiration and refreshment to three sources: Declan Donellan, Katie Mitchell, and then Harold Clurman. When I am preparing before rehearsals, Declan provides the framework for marking the ‘targets’ of the play: the specific and active focal points outside the actor to direct their performance towards. Katie Mitchell in The Director’s Craft helps to anchor my rehearsal planning in effective structures and routines that are at once practical and illuminating. When it gets to that inevitable point where after a flock of rehearsals I’m not sure exactly how the puzzle of performance ultimately will be solved, I go back to Harold and read him as if that faded paperback was the Gospel. Passages like the one below allow me the occasional epiphany and the constant reassurance:
“Certain directors compose beautiful or striking tableaux or visual patterns. I never consciously attempt to do so. I direct for the idea or intention of each scene for the play as a whole, and seek whatever combination of means will best convey them. I direct for the actor and through the actor: he is body and voice, movement and feeling, and something more than all these. The actor like the production itself, is an indivisible totality. I do not conceive a production in “departments.” I seek the integration of all the theatre’s elements to form a unified effect and meaning.”
Harold Clurman, On Directing
For anyone interested in directing, in theater generally, or any form of art, these books will reward the reader greatly.
Go see as many shows as you can at The Chain Winter One-Act Festival and especially our, HONOR. They all have discount codes that are available at the bottom of this page; our discount code is unsurprisingly ‘HONOR..
At Knowledge Workings Theater, our motto since founding in 2018 has been #maketheaterlive and depending upon your stress of that ‘i’ in “live” the meaning of our catchphrase shifts. To make theater continue to thrive, the actors, playwright, directors, lighting, sound, set, costume, makeup folks, and the producers must engage audiences who after all complete the puzzle of every performance. But first we must persuade the audience to show up, which as Marshall Brickman learned is 80% of success after all. This is not a new problem as some journalists would contend lately; indeed the first documented use of the phrase ‘a run’ in the English language to describe “The (length of) time during which a theatrical performance continues on stage” was in 1699 by dramatist and critic Charles Gildon as part of a complaint about English audiences NOT showing up:
“In Paris almost e’ry one goes to the Theatre, here not the tenth part, for..the Governours of the House were unwilling to wear it out, and so balk’d the Run of it.”
C. Gildon in G. Langbaine, Lives English Dramatic Poets (revised edition) 144
Many writers have referred to theatre more recently as ‘The Fabulous Invalid‘, which ironically originated as the title of a 1938 play by genius playwrights Kaufman and Hart that audiences didn’t frequent enough to get the production beyond 65 performances and middling reviews. It’s never been revived.
And yet theatre persists with the attitude of one of Beckett’s characters: “I must go on, I can’t go on, I’ll go on” And it will go on quite marvelously and prolifically starting this Friday February 9th in the Chain Theater Winter One-Act Festival. Our work, HONOR, is in Program #1, an Equity Showcase, premiering on February 16th at 8:30 PM and then continuing our brief ‘run‘ on the 21st at 6:30 PM and the 24th at 5PM. But we want everyone to know about the opportunity to see other plays such as our dear friend and colleague, Lucy McMichael, in Doc Burns and Mrs. Teter And we want everyone to get the discount available by using the correct ode for each play they wish to attend.
So… below you will find the complete list courtesy of Christina Elise Perry who always helps to #maketheaterlive
Sarah, our friend and ally, who is a partner at Smith Manning design , again has elevated our work by her gorgeous art for The Jester’s Wife, which opens at the Chain Theater September 21st. This is the fifth time we’ve had the very good fortune to benefit from Sarah’s astonishing talent and extraordinary amiability. She brings us luck with each production and we are grateful to her for this work.
