Callie Munson, who is part of the "ghost chorus" in Hungry Ghosts, discusses LeapFeast, the acting process, and yoga.You've been involved with Hungry Ghosts since the earliest stages. How have you seen it change over time, and what is it like to be involved with a project as it evolves like that?
Well, I was initially called in to read for a character who is no longer part of the story, but was lucky enough to be asked to hang around as a ghost. It's been a treat to be a part of this process. Haha, I remember when Margaret [the playwright] walked in with just a concept and a handful of lines... look where it is now! Every workshop/reading has surprising new additions, so it's always thrilling to see what Margaret has put in or taken away.
Can you describe the character you play?
It's funny because each ghost is forming their own personality and it will be different every time the play is produced because the characteristics are so dependent on how the cast clicks. We play multiple characters through-out the play, but have to find a way to come back to the "ghost" personality in between scenes. I go from an 8 year-old girl to a 70 year-old woman. It's Great! Traditional theatre would never allow me to play these extremes (especially being 5'10).
How do you manage to play so many different characters and give each one a unique voice?
It's all about letting go and having fun. It's a show where the actor has to be willing to play and not worry about looking stupid or going too big (someone once described talent as "the ability of the actor to fully invest in their imagination", that is my goal). But, you can't create caricature because the stories are so so important and from real people. If that happens, hopefully, the director will pull you back. I am a very physical actor, so just changing my walk can help inform a character. The voices come from the questions "What would these people sound like? Where in my range does this feel comfortable?" All of this happens in a matter of moments.
Your performance in the "Tea & Boiled Potatoes" section of the play is very moving and emotionally true. How do you manage to have that emotional journey when the character is present for a short section?
First off, thank you! That is so nice of you to say! It's all about the words. If it is well written, the wods will take you there and it's easy. And Margaret has made it so easy (though there are LOTS of words). Sometimes, I think about either one of my Grandmothers, and how important it is for them to take care of their families. Family meals were always big in my southern upbringing. And then, I go to, what it would be like to feel the loss of an empty table. If all my family went away. Loneliness, to me at least, is scary. It's something everyone battles with and we have to learn how to be comfortable with silence. Throughout the scene she is talking about the loss of all her children and then her husband, and finds herself in an empty house. Strength allows her to take a big step and move on, by buying a new house. Then the ghosts come. One of my favorite movies is Pan's Labyrinth because it explores the ability to befriend the dark sides of the human psyche during times of war. And I think about the movie during the scene because the Lonely Mother finds that comfort with her new found guests. I could write an essay about this scene!
Well, I was initially called in to read for a character who is no longer part of the story, but was lucky enough to be asked to hang around as a ghost. It's been a treat to be a part of this process. Haha, I remember when Margaret [the playwright] walked in with just a concept and a handful of lines... look where it is now! Every workshop/reading has surprising new additions, so it's always thrilling to see what Margaret has put in or taken away.
Can you describe the character you play?
It's funny because each ghost is forming their own personality and it will be different every time the play is produced because the characteristics are so dependent on how the cast clicks. We play multiple characters through-out the play, but have to find a way to come back to the "ghost" personality in between scenes. I go from an 8 year-old girl to a 70 year-old woman. It's Great! Traditional theatre would never allow me to play these extremes (especially being 5'10).
How do you manage to play so many different characters and give each one a unique voice?
It's all about letting go and having fun. It's a show where the actor has to be willing to play and not worry about looking stupid or going too big (someone once described talent as "the ability of the actor to fully invest in their imagination", that is my goal). But, you can't create caricature because the stories are so so important and from real people. If that happens, hopefully, the director will pull you back. I am a very physical actor, so just changing my walk can help inform a character. The voices come from the questions "What would these people sound like? Where in my range does this feel comfortable?" All of this happens in a matter of moments.
Your performance in the "Tea & Boiled Potatoes" section of the play is very moving and emotionally true. How do you manage to have that emotional journey when the character is present for a short section?
First off, thank you! That is so nice of you to say! It's all about the words. If it is well written, the wods will take you there and it's easy. And Margaret has made it so easy (though there are LOTS of words). Sometimes, I think about either one of my Grandmothers, and how important it is for them to take care of their families. Family meals were always big in my southern upbringing. And then, I go to, what it would be like to feel the loss of an empty table. If all my family went away. Loneliness, to me at least, is scary. It's something everyone battles with and we have to learn how to be comfortable with silence. Throughout the scene she is talking about the loss of all her children and then her husband, and finds herself in an empty house. Strength allows her to take a big step and move on, by buying a new house. Then the ghosts come. One of my favorite movies is Pan's Labyrinth because it explores the ability to befriend the dark sides of the human psyche during times of war. And I think about the movie during the scene because the Lonely Mother finds that comfort with her new found guests. I could write an essay about this scene!
This play is an ensemble-based piece. Can you talk about how that affects your process and performance?
I LOVE our cast! We have such a crazy energy and can bounce all over the place.The past couple performances have had dance parties in the dressing room before show time. I have formed some amazing friendships. We are such a diverse group of people, and all have something completely different to bring to the piece and when we get out on stage, it's 110% trust, and that doesn't always happen. We have formed a family, which is really important for the play.
This is a very short run, only three performances. How does that influence your process and your relationship to the play?
Honestly, I do wish there was more time to work on this play. It is SUCH an ensemble driven piece and so much about it relies on pacing, that it's hard to work on it outside of the rehearsal room.Impossible at points. You have to see it to fully understand some of the complexities. When they work, it's a fantastic cacophony of layered voices, but if the pacing goes off just slightly, it can throw the whole scene. These things you can drill and work hard on with a 3 week rehearsal process. That being said, we have to let go and just do it. Trust in your own instinct is heightened, because so many new discoveries are happening in front of a full house!
You're
also a full-time yoga instructor. Do you think that your yoga and meditation practice influence your acting process?
Oh, that's that whole reason I was drawn to yoga as a "day job". I have always loved it. Like I said earlier, I am a very physical actor and yoga allows me to tap into every inch of my body. Allowing me to understand it, acknowledge my limits and how to push past them. Because of the practice, it's easier to mold my body into other people and get through a 2 hour play with lots of energy left. It's also an active meditation. Funny, I've recently noticed that my acting suffers if I don't keep up with my yoga practice. So much time is spent getting lost in a character, giving to your partners, that getting back to the mat allows me to breath, get out any and all anxiety about the current project and just let go. I teach and work at a studio called Yoga Now in the Gold Coast and they are super understanding of the actor's schedule, which is also nice (takes some stress off). A yoga studio constantly has traffic of people who are willing to open up about their lives, and I file away those cast of characters, and pull them out when needed in the rehearsal room.
Finally, for you, what is this play about?
This play is about the people of war. It's not a black and white subject; there are people, REAL human beings involved and this play allows their stories to be told. In college, I spent a semester in Japan, studying the psychological effects of the Atomic Bombs on Japanese society. We met dozens of survivors and their descendants, listening to their stories, walking on the soil where the bombs landed (though they were programed to go off before they hit the ground for maximum impact, but I digress), which made it almost tangible for us. That is what Hungry Ghosts does, allows the voices of war to be heard in a society that is detached from the day to day experience.
also a full-time yoga instructor. Do you think that your yoga and meditation practice influence your acting process?Oh, that's that whole reason I was drawn to yoga as a "day job". I have always loved it. Like I said earlier, I am a very physical actor and yoga allows me to tap into every inch of my body. Allowing me to understand it, acknowledge my limits and how to push past them. Because of the practice, it's easier to mold my body into other people and get through a 2 hour play with lots of energy left. It's also an active meditation. Funny, I've recently noticed that my acting suffers if I don't keep up with my yoga practice. So much time is spent getting lost in a character, giving to your partners, that getting back to the mat allows me to breath, get out any and all anxiety about the current project and just let go. I teach and work at a studio called Yoga Now in the Gold Coast and they are super understanding of the actor's schedule, which is also nice (takes some stress off). A yoga studio constantly has traffic of people who are willing to open up about their lives, and I file away those cast of characters, and pull them out when needed in the rehearsal room.
Finally, for you, what is this play about?
This play is about the people of war. It's not a black and white subject; there are people, REAL human beings involved and this play allows their stories to be told. In college, I spent a semester in Japan, studying the psychological effects of the Atomic Bombs on Japanese society. We met dozens of survivors and their descendants, listening to their stories, walking on the soil where the bombs landed (though they were programed to go off before they hit the ground for maximum impact, but I digress), which made it almost tangible for us. That is what Hungry Ghosts does, allows the voices of war to be heard in a society that is detached from the day to day experience.
4 comments:
yogini ghost! the one non-angry ghostey...does crazy yoga poses during the play to keep centered. look how calm she is compared to the other angry ghosteys! :)
I still wish yogini ghostie did a few downward dogs during the show. It would add a whole nother level to everything.
Margaret, we can work on that in Thursdays rehearsal :)
Su-weet.
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