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Dear John

How do I make my performance moving but not worthy?

Question:
I'm doing a show based on an underlying issue which I am really committed to, but I want to make my performance theatrical rather than dry and worthy. Any tips?

Answer:
It is certainly very possible to be moved, affected and often inspired to find out more, or even galvanised into action by a well-mounted performance piece, even when it is about an issue or topic you haven't given much thought to before. Most of us, though, have also sat through well-meaning but seemingly endless productions where the old adage of 'if you have to send a message use Western Union' is resolutely ignored or, worse, where the director and performers have something very important to say, but communicate it in such an obscure way that they may as well be talking to themselves. Of course, finding creative ways to bring history, science or politics to life can create real creative challenges and require tightrope walking between the two extremes of trivialising the subject matter or hammering the audience over the head with it. Fortunately there are other more practical approaches, as this week's guests are here to elaborate.

Kelle Bryan

While Kelle is still well known as a founding member of million-selling UK R'n'B group Eternal, acting has always been her first love. Trained at Italia Conti, Kelle's roles have included appearances on EastEnders and The Bill, as well as very successful appearances in John Godber's Bouncers and two different roles in recent productions of gritty stage drama The Brothers. She is currently appearing at the Hackney Empire Studio in Rebellion. Set in Jamaica and Britain, the play tells the story of the lives and loves of two African princes as they struggle to find each other following their capture into slavery. The production features lively dance and music, including reggae, gospel and traditional musical genres.

"As a black British actress, I of course know something about my cultural history, but to do justice to a show like Rebellion, I knew I needed to know a lot more. I sat down and talked for hours with my grandfather, who is in his nineties and from the West Indies, and for obvious reasons has a lot closer experience of the background of the story than I do. I also did a lot of research on the internet and background reading.

"Once I had a good overview, and a West Indian accent - which I now find myself speaking in all the time! - I turned my attention to getting some of the specific story detail right. For instance, without giving the plot away, there is one element that led me to go to my local police station and talk to officers who have experience of that particular topic.

"For me, the more research I do beforehand, the more it frees me up to communicate the serious aspects of the story we are telling, using my performance skills, so that it is an engaging and entertaining experience for the audience rather than something which strives to be worthy for its own sake. Ultimately this show is a celebration of the human spirit - but the spirit that is most useful to me as an actress is the spirit of doing enough groundwork to enable it to take flight."

Photo: © Robert Workman

Graham founded the Kinetic Theatre Company in 1988, making this the company's 20th anniversary year. The Kinetic team specialise in science-based, musical-comedy plays for performance in primary schools and theatres throughout the UK. Graham, who writes and produces the shows, trained at the Guildford School of Acting after having taught physics for five years in Epsom.

"Our own emphasis is on performance - we don't do workshops or issue-based plays - so there is a strong need for good performance skills, including physical and vocal projection, as well as having the stamina for the rigours of TiE.

"I have to be honest and say that these are qualities which can be thin on the ground, judging by some of the auditions we have done in the past. As every producer knows, the ability to learn the script properly and communicate clearly with the audience should be fundamental skills, no matter what kind of role you are auditioning for, but I would say they are all the more important when the piece has something communicate alongside the entertainment element.

"It should also go without saying that being 100% committed to whatever role you are playing makes a big difference. There is no place for performers who adopt the attitude that doing the likes of TiE is somehow beneath them, or that they are simply marking time while waiting for something meaty to come up. It is your job to make whatever you do meaty."

John sums up

Kelle puts a huge amount of preparation into everything she does, heavy or light. As for Graham and Kinetic Theatre, the commitment to high standards of production they invest in TiE would put many commercial theatre companies to shame. The key to doing your best at any particular audition or show is making it your habit to do your best at every audition or show you are involved in. This has the double benefit that if you make excellence your aim as a matter of course, no particular high pressure gig will phase you any more than normal, and if you are aiming to give your all at every show, the chances are you will be doing your best work at that show or audition, where someone who might offer to boost your career happens to wander in unexpectedly. And sadly, as Graham points out, the prepare, prepare, prepare attitude is not as common as it should be among auditionees. So, if you can adopt it sooner rather than later, you will certainly be preparing yourself to stand out from the crowd.

* Graham can be contacted at www.kinetictheatre.co.uk

* Kelle's MySpace website is www.myspace.com/kellebryan

* Kelle's Official Website is www.kellebryan.co.uk where you can also sponsor her London Marathon Run for Cancer Research.

* Rebellion runs at the Hackney Empire Studio from March 25-30, 2008. Box office 020 8985 2424

Also see:

Dear John: Kelle Bryan gives advice to those entering the profession late in life.

Dear John: Kelle Bryan on how to make panto work go further

* Feedback/queries are welcome to dearjohn@thestage.co.uk
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