This is part two; read the first post here.
There are layers of complexity in “Measure for Measure” that require an incredible amount of effort. For instance, because there are only five AFTLS members, each is required to play three-to-four characters. Gerrard plays Duke Vincentio, Froth, Barnadine and a friar. “It’s really fun,” Gerrard said. “You have your major roles- mine is the Duke. We discovered that 30 percent of the play is the Duke talking.”
Sometimes these characters overlap in a scene. The actors are, in effect, talking to themselves. And yet, the audience is entirely convinced there is more than one person on stage. This happy trick is played on the mind throughout the whole of “Measure for Measure.”
But the overlapping roles are not a handicap. In fact, it is a welcome reprieve and challenge. “I swap from the Duke to the friar and Froth,” Gerrard explained. This style of acting is difficult but satisfying: He gets to play more than one character. “But it’s the audience that makes it work,” Gerrard added. “The Duke and the friar are the same person, and you want the audience to know that.” When these characters overlap within a scene, the audience must imagine that they are, in fact, different people; otherwise, the scene falls flat.
Gerrard paused in his explanation to smile and wave cheerfully at someone over my shoulder. “It’s Peter,” he said. “Here he comes! You can interview both of us.”
Peter Bray is tall and broad-shouldered. His smooth, chiseled face, wiry hair and dark eyes are a striking combination. He also wears a polo, though his is dark grey. Like Gerrard, Bray’s eyes communicate an abiding, although more reserved, passion for theatre. I ask him the question I had posed to Gerrard: What is it like to play more than one character, especially when they overlap in a scene?
“It’s really exciting,” Bray said, animation in his deep voice. “There’s extreme demand. At the drop of a hat — literally — you have to have rapid access to a different character; you have to step into a mask.”
Before “Measure for Measure,” neither Bray nor Gerrard had assumed several characters within the same scene. Drama school prepared them to access the level of required ability, but it was never directly addressed. Both agreed that there is a level of mystery involved. They get to “let the audience in” on the secret. The audience feels as though they understand something about the characters and the actors themselves; that is what makes “Measure for Measure” so compelling.
“It’s an ongoing process,” Gerrard continued. He leaned forward, eager for me to understand. “We’re still getting better. You never really finish it, and nothing really prepares you.”
“It takes more than time,” Bray nodded. “It takes extreme attention and brain fuel.” After even an hour of practice, Bray said, the team is exhausted.
But what role is the audience play in a performance? Much more than you might assume; it goes beyond laughter and facial expressions. The third and final installment will be this Friday!