So, I'm not sure if you heard, but now in then I like to dabble in the world of Thee-a-ter. You know, just a musical or twelve every now and then. But it was just recently I realized WHY I love it! Recently, at a celebratory gathering of Jews--which, believe it or not, is like any other holiday celebration, albeit with more wine and less good conversation--an acquaintance who deserves a good beating explained to me that actors were spoiled, insecure dolts who took to the stage only because they needed the mass approval of an audience. Businessman, doctors, lawyers, live without that approval just fine, thanks very much. I didn't have a very good counter-argument (it consisted mainly of incoherent stammering, frustrated sighs, and, oddly enough, the repeated exclamation of "Jesus!"). But never fear, I do now. Why do I perform live? The reasons are twofold (is that grammatically correct? I haven't the slightest idea);
1) SPONTANEITY MAKES FOR BRILLIANCE-I realized this recently, whilst watching Barbra (we're on a first name basis) sing "Papa, Can You Hear Me?", from Yentl. Lit by moonlight, camera slowly inching towards her, the titular character laments the loss of a parent, praying that his wisdom will "Illuminate the night the way your spirit illuminates my soul". If this ain't the cloth a good tearjerker moment is cut from, I don't know what is. But yet I didn't cry. Then, I went out an bought the DVD recording of "One Voice", a social activist event/mini-concert Barbra did way back in the 80's-I'll write a book...erm...blog about it later. Against the ethereal canvas of the stars and moon, lit only by a candle, she re-created the moment from the film for an adoring audience. This time....Niagra Falls. I was incredibly intrigued; what made me cry this time around?? I watched both scenes back to back. Admittedly, I didn't shed any tears for either version the second time 'round, but the live video still eliciting a more potent reaction. Today, whilst I was in the midst of consuming a generous helping of chips and queso, it hit me. The movie version was too...good. She held every note without straining, emoted convincingly, was photographed gorgeously. But their was no ache in her voice, no true effort in her rendition of the song-she'd probably recorded it about 800 times in some walled-off room until it became nothing more than a mechanical reproduction of the same notes and phrasings. But singing it live, in front of an appreciative audience, with no shot at a re-do, she stuns. She compresses her lips, casts her eyes skyward, and, it would seem, erases any kind of middle ground between her heart and her throat. Unable to have a second shot at the vocal dynamics, she feels what she sings. Her hands bob to the rhythm, stretch and spread during the high notes as if she's grabbing for the heavens themselves. Her irises glisten as the lilting melody touches even her. And on the final note, something remarkable happens-she closes her eyes, shrugs her shoulders, stands up as if physically keening toward the note, and...her voice cracks. But alas, it's that very voice crack that gets me every time. It's human. It's vulnerable. It's REAL. All entertainment is about creating some sort of emotion, some connection to life. Life, like theatre, happens in the moment, and it's thus the most emotionally transportive of all the arts. We do it because people NEED that transport, and because there's nothing like performing in the moment-it comes with a unique thrill that you can't get on a set or in a studio.
2) COLLABORATION-
You can be a movie star and go your whole life without forming a friendship. Scenes are filmed out of sequence. Sometimes-think Meryl Streep and Amy Adams in Julie and Julia, the performers playing the leads don't even meet! Even if you DO share a scene, you can shoot it separately and be cobble together via blue screen. The writer;s BFF is a computer screen and a cup of coffee. But the live performer can't do it alone-thank God. From a solo monologue to a concert to a full-blown ensemble show, it takes an enormous amount of man and woman-power to mount a live performance. DIrectors, actors, chorus members, crew-you're all in the same boat, headed toward the same goal. That kind of experience is bound to form powerful bonds. In the world of performing, these are the people you travel with to places you've never been before-to 1800's England, 1960's Boston. Here are the folks that help you cope with exploring uncharted emotional terrain-playing a member of the opposite sex, crying in front of an audience. These are the people from whom you learn a thousand things-actorly things, also life things. These are the people who become your family. These are the people who love creating as much as you do, because, while fewer people enjoy it than say, football, those who DO love it...well, it runs in their blood. These are the people who spend so much time with you that than know you inside out, both as a performer and as a person, and help better you as both. These are the people that change you, really change you, for the better. These are show people.
Now what did you say your hobby was again?
MASON WALEKR OUT.
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