BACK
STAGE WEST
November
13, 1997
ACTORS'
DIALOGUE: Darryl Theirse & Veralyn Jones
Reporting
by Rob Kendt
An
all-black Importance of Being Earnest? Well, why not? With the talented and
well-trained actors of all races residing in Los Angeles, it shouldn't be hard
to cast--just hard to imagine, for some. Director Gregg Daniel's version, which
opened at the 24th Street Theatre two weeks ago (and runs through Nov. 23),
dexterously puts up Wilde's classic, in period, without winking, and lets the
actors' work speak for itself.
Darryl
Theirse, who played Algernon on opening weekend (the role is now being played
by Scotch Ellis Loring), did the full classical and contemporary regimen at
Yale School of Drama, and went on to star Off-Broadway in Playboy of the
West Indies, the original cast of Jeffrey, Steven Berkoff's Richard
III at
the Public, and Incommunicado. On the West Coast, he made a splash in South
Coast Repertory's superlative rendering of Six Degrees of Separation. Theirse has since
appeared in guest and recurring roles on various TV shows, and is currently a
regular on George & Leo. His films include Jeffrey, Turbulence, and the upcoming Hell
Cab.
Veralyn
Jones, who plays Lady Bracknell, got her degree at the Brooklyn College School
of the Arts and is perhaps best known in West Coast theatre circles for her
work with the L.A. Women's Shakespeare Company; she was Claudius in their Hamlet and Elbow/Marianna in
their recent Measure for Measure. She won an L.A. Weekly acting award for the
title role in Neva's Tale, and appeared in Moon on a Rainbow Shawl with the Caribbean
American Theatre. Her earlier theatre credits include work at pioneering black
American theatre companies like the New Day Repertory. Recent TV appearances
include roles on Brooklyn South, Loving, and a memorable recurring role as
Elaine's co-worker on Seinfeld.
Theirse
and Jones got together at Campanile before the Earnest opening to talk about
non-traditional casting, the classics, and L.A. theatre.
Darryl: People like you and me,
and a great number of the actors in the Earnest company, have highly
developed language skills, and we don't get to use those skills to the degree
that, say, our white counterparts do, because we're not called upon to do it as
much. With Shakespeare, they've become a lot more lenient in opening that up,
but there are so many other great language plays. We don't get to do Shaw.
Veralyn: None.
Darryl: We don't get to do
Wilde. I mean, we can go on and on. . .
Veralyn: About what we don't get
to do.
Darryl: To say nothing of the
fact that there are so many great authors who just happen to have written plays
that involve white casts, because they're writing from that perspective. I'm
thinking of great plays like Death of a Salesman.
Veralyn:
O'Neill--I'd
love to do Long Day's Journey Into Night.
Darryl: All those great plays
that we would love to do.
Veralyn: That's why I love
working at the L.A. Women's Shakespeare Company, because for the first time,
I'm given an opportunity to really use my voice, even playing men's roles.
Because there's so little written for women, particularly African-American
women, I'm never really called upon to use my strengths as an actress.
Darryl: I think the reason why
it's starting to happen more and more is that they realize that
African-Americans have the skills to do these plays. Also, these plays are
universal--that's why they're great plays to begin with. So it's interesting to
see them as reflected through--I won't even say the African-American
experience, because that's not what we're doing. I cringe every time I hear
that angle, because what is the black experience? It's as diverse as the white
experience, so if you try to generalize--things like that make me bristle.
Veralyn: I think a lot has
changed, as you've said, because actors are more prepared now. They've studied
more. A lot of actors didn't used to have the kind of training that actors are
coming out with now. I mean, you went to Yale. The preparation is so
incredible. If you have the ability, why shouldn't you be able to do it?
Darryl: When it comes right
down to it--even the term non-traditional casting causes a little bout of
muscle-tightening in my stomach, because if you really think about it,
Caucasians are not "right" for Shakespeare, either. His plays are set
in foreign lands we've never heard of, except for the historical plays. So in
reality, what makes you think you're more right for it, when you really get
right down to it, if you really want to argue about type?
Veralyn: L.A. Women's Shakespeare
did a show the other day at UC Riverside for a conference of Shakespeare
scholars. And usually after we finish, there's a question-and-answer period,
and there was this one man in the audience who was just totally against what we
stood for, what we do. I think they actually wanted to behead him, he was so
outnumbered. All he kept saying was, "It doesn't inform the play."
And the thing that's amazing is that every time we work, the thing that most
people say--'cause we usually have a talkback afterwards--is that they
understand the text so much more clearly, for some reason, as opposed to when
they've see it done normally. I'm not sure why that is.
Full Brunt
Darryl: We're hoping this will
be the start of a company that will do classical plays with African-American
casts--but with that being the only thing that makes it African-American, not
putting a spin on it. Which I really like. It's not Importance of Being
Earnest
set in the Congo. When I tell people about this production, I speak with great
pride in telling them that it's being done strictly in period; the only thing
that's different is that the people are darker. And it's refreshing, because
usually when they do non-traditional casting, it is for a statement--some kind
of comment on the play, on the piece, on the world, on our life.
Veralyn: Right. Sometimes doing
productions like that is fine, but you don't always get the full brunt of the
work as an actor, the way you do when you keep it within the realm of how it
was written. You don't get the whole experience.
Darryl: In film and TV, there
have been tremendous strides made in the arena of non-traditional casting. A
movie that sticks out in my head was Jurassic Park 2. Do you remember that?
Jeff Goldblum's daughter was a black girl. At first, I felt a little discomfort
when she first came on the screen.
Veralyn: How did they deal with
that? I didn't see it.
Darryl: They didn't
explain--that was what was most brilliant about it. It wasn't like, "I had
an affair with a black girl, and the result was this baby." It was just
like, "This is my daughter"--the end, no explanation. Jeff accepted
her as a daughter, she accepted him as the father, therefore we accepted it.
And that's a great part of it, too: how when the performer buys into it, the
audience goes, "OK." That's the direction we need to go in.
Veralyn: Who's best suited for
the role.
Darryl: Yes, and also just: It
is. No explanation. There are too many biracial families across the country.
It's no longer this big, harrowing decision where families are being broken
apart--that happens, but for every one situation like that, there are about 10
where families have stayed together, have wanted to be together, and the
problems they have do not arise from their race. That's what I want to see more
of. There are still problems, there are still issues, but it's a human
condition, not because of their skin color.
Veralyn: Yeah, every time you
see a biracial couple on TV, it's dealing with the fact that they're biracial
and how it affects their lives, as opposed to how they relate to each other: Is
she happy with him? or, Is he committed to her? Whatever.
When
we did Richard III, I played Queen Elizabeth, and we kind of alternated casts, so on
any given night, I had a white child, I had an Asian child. And no one
questioned it. It's only if you come in with that thought in your mind that it
becomes a problem. But if you're coming to see theatre, to see actors act, and
if we're up there acting and doing the work
Darryl: That will all fall
away.