You’ve got questions, I’ve got preposterously long answers. Aspiring actor Wilson asks:
“I am someone who wants to do TV/film. Do you think casting directors will look down on someone who has no experience in theater?”
Yes. The prevailing belief is that an actor with theater credits is more properly trained than an actor without. That kind of logic is prejudicial though, in the same way that strong box-office numbers tend to make people think a play is good when it is, in fact, lame. (I'm looking at you, “Mama Mia.”)
Love them or not, theater credits are necessary. Let’s say a casting director is deliberating over whether to bring in you or another actor who has equally identical skills, but the other guy has done a few plays and you haven’t. After a long walk-around, your résumé is merely attractive. The résumé with plays wins the swimsuit competition.
I personally don’t focus on them as much as other actors. New York is a theater town, but this is LA – a TV and movie town. If you don’t love doing theater, or prefer to devote your focus elsewhere (improv and casting workshops for me), then do a few plays for the credits and move on.
But if you do love theater, then by all means continue doing it. Many actors believe plays can help them be seen, but they have to be smart when inviting TV and film casting directors to see their shows. The invitation alone is a great idea – most CDs are too busy to see your play, but a postcard about it will keep your name fresh in their minds and remind them that you’re out there working. And if they happen to show up and you kick butt, all the better. However, if they show up and the production is a mess, you’ll dig yourself a hole you may never get out of. Do you really want casting people to remember you as the actor who wasted their time in that play that sucked shit? Invite at your own risk.
There is some great theater in LA, but the city is teeming with 99-seat theater productions. The reason theaters have 99 seats is a union issue – Equity actors are allowed to act for little or no pay if the venue has less than 100 seats. The problem is you get what you don’t pay for: marginal actors in lousy productions in shithole venues. I once heard a casting director call it 99-cent theater.
One other benefit of doing plays is the sheer nuttiness of it all. A few years ago I was in a period piece called The Heiress. The cast almost came to blows during rehearsal, including one actor launching an “Eff you bitch!” at a female costar, jeopardizing the show only days before opening night. It was at that moment that I truly understood the term “drama.”
So there you have it, Wilson. Suck it up and get some stage time. For now it’s essential, but someday, in the wonderful future, it’ll be obsolete as Bret Michaels.
