Soo Jin Park, who plays Isabelle in Hungry Ghosts, answers some questions about her process. Questions are in bold, and a few editorial comments are in green.
This is the 4th time you've participated in a reading of Hungry Ghosts. What is it like being involved with a project over such a span of time, and how have you seen the play change in that time?
The play has changed SO much since the very first reading! I remember the very first reading in its initial incarnation. It was a totally different play altogether. And then I believe the playwright (M.E.H. “Margaret” Lewis) scrapped most of it (which is a very brave and VERY difficult thing for any writer to do) and kept the most essential elements and re-worked the play with some new research. Pretty brilliant, in my opinion. But I mean, I could write a 20 page thesis on this topic and NOBODY wants to read MY long-winded analysis!
In any case, over the course of time, Margaret would come into every rehearsal and reading with new material. And we and the directors would get to work on them. Every reading got closer to the full play and every reading the characters would get defined a little more. And the LeapFest production is what we have now! Knowing Margaret, she already has new material and is just being understanding of the needs and limitations of the actors. Needless to say, I have something of a girl crush on her. [right back at you, girl!] Two words in her future: restraining. order.
In a festival like LeapFest, the plays are done with very little rehearsal time and few resources. As an actor, how do you think that influences your process and your experience of the play?
Rehearsal time! There’s never enough! J So I guess the challenges lay in finding ways to make most of the time, which is different with every show.
As for resources, coming from a small theatre and independent film background, I have learned that few resources don’t necessarily have to take away from the emotional effectiveness of many contemporary pieces. It can be a challenge, sure, but nothing that can not be overcome by the creativity of cast and crew.
As an actor, you learn to contribute to this “lack” by filling the space with the use of physicality and trying to be as honest as you can as the character. I believe that the audience is usually an intelligent one and they’re able to fill the holes of whatever set or props might be missing as long as the performers can fill the space with the emotional experience.
How do you prepare for a performance?
Going over lines, stretches, trying not to throw up backstage, mouth exercises, clearing myself of the experiences of the day and putting myself into emotional neutral – the usual boring actor stuff. If the discoveries were made in the rehearsals, it usually will come during the performance. And if you’re loose enough, you’ll find more during performance.
Listen to me, getting all Field of Dreams! Just call me Kevin Costner.
How do you feel when the run of a play is over?
There are definitely feelings of withdrawal and with those come the symptoms. Usually, for a week or so after the play has closed, I’ll be wandering the streets at night and crying myself to sleep during the days. It can get pretty ugly...
I am my own worst critic. The wonderful thing about acting in a play is the constant discoveries you make in all the moments that should seamlessly move into the next. When you’re in the place to find those, then its actor heaven. I don’t know if it’s been scientifically proven but I personally think every time an actor makes a discovery, their body shoots up with some crazy endorphins. And man, do I miss those when it’s over. Then I continue to think about what I could’ve done differently in one scene and then another and then another. And I kick myself for not having seen it earlier. I guess I’m slightly masochistic.
The cast of Hungry Ghosts seems particularly close-knit. Why do you think that is, and has it influenced the performances in any way?
I’ve recently discovered that the cast IS trying to kill the playwright (M.E.H Lewis). [I knew it!]But the playwright seems to enjoy it so people can take what they want from that. My theory is that it’s all the overlapping dialogue that’s making them crazy. I’ve suggested a million times to the director (Laura Blegen) that we NEED to put Percocet in everyone’s water halfway into the second act, but nobody wants to listen to the LOWLY ACTOR. Nobody…and I am NOT trying to sabotage the other actors’ performances to make myself look good. Really.
You play the part of Isabelle, a woman who has kept terrible secrets most of her life. Can you describe the character and what it's like to play her? Does it take an emotional toll on you?
Playing the part of Isabelle has actually taught me a lot about acting. She’s a beautiful character. Her story is not unlike my grandparents’ story so it was something I was very familiar with – the efforts to retain dignity after having been an unwilling participant of a past that can only described as madness, the humanity we try to come to terms with after having, in desperation, done something that haunts us every day. Heartbreaking situations that still occur for many to this very day.
The emotional parts are always challenging. I remember when playing an intense part, I would try to get all “Method” and work myself into a frenzy. When I did this, one of two things would happen, a.) I would fail miserably or b.) there would be a bit too much hysteria for my well-being. Definitely not healthy.
Then one rehearsal or performance (and it was for Hungry Ghosts), I remember, I was in neutral as far as my “feelings” were concerned and THAT scene came up, the emotionally devastating one. And I don’t know what happened but something just clicked in my head. I realized that people who are extremely emotional usually are trying to hold them back. But they can’t. The emotions are in the words, the words of any great playwright and they’ll come if I try to hold them back. It’s weird. It might have something to do with the frustration anyone feels when they feel they are forced into something, from something. In any case, it’s been working and I don’t have to be an emotional basket case in my personal life to do it.
For you, what is this play about?
You can’t always get what you want.
You can’t always get what you want.
But if you try sometime you just might find,
You just might find,
You get what you need!
Sounds simple, but god, is it ever hard to come to terms with that.
The play has changed SO much since the very first reading! I remember the very first reading in its initial incarnation. It was a totally different play altogether. And then I believe the playwright (M.E.H. “Margaret” Lewis) scrapped most of it (which is a very brave and VERY difficult thing for any writer to do) and kept the most essential elements and re-worked the play with some new research. Pretty brilliant, in my opinion. But I mean, I could write a 20 page thesis on this topic and NOBODY wants to read MY long-winded analysis!
In any case, over the course of time, Margaret would come into every rehearsal and reading with new material. And we and the directors would get to work on them. Every reading got closer to the full play and every reading the characters would get defined a little more. And the LeapFest production is what we have now! Knowing Margaret, she already has new material and is just being understanding of the needs and limitations of the actors. Needless to say, I have something of a girl crush on her. [right back at you, girl!] Two words in her future: restraining. order.
In a festival like LeapFest, the plays are done with very little rehearsal time and few resources. As an actor, how do you think that influences your process and your experience of the play?
Rehearsal time! There’s never enough! J So I guess the challenges lay in finding ways to make most of the time, which is different with every show.
As for resources, coming from a small theatre and independent film background, I have learned that few resources don’t necessarily have to take away from the emotional effectiveness of many contemporary pieces. It can be a challenge, sure, but nothing that can not be overcome by the creativity of cast and crew.
As an actor, you learn to contribute to this “lack” by filling the space with the use of physicality and trying to be as honest as you can as the character. I believe that the audience is usually an intelligent one and they’re able to fill the holes of whatever set or props might be missing as long as the performers can fill the space with the emotional experience.
How do you prepare for a performance?
Going over lines, stretches, trying not to throw up backstage, mouth exercises, clearing myself of the experiences of the day and putting myself into emotional neutral – the usual boring actor stuff. If the discoveries were made in the rehearsals, it usually will come during the performance. And if you’re loose enough, you’ll find more during performance.
Listen to me, getting all Field of Dreams! Just call me Kevin Costner.
How do you feel when the run of a play is over?
There are definitely feelings of withdrawal and with those come the symptoms. Usually, for a week or so after the play has closed, I’ll be wandering the streets at night and crying myself to sleep during the days. It can get pretty ugly...
I am my own worst critic. The wonderful thing about acting in a play is the constant discoveries you make in all the moments that should seamlessly move into the next. When you’re in the place to find those, then its actor heaven. I don’t know if it’s been scientifically proven but I personally think every time an actor makes a discovery, their body shoots up with some crazy endorphins. And man, do I miss those when it’s over. Then I continue to think about what I could’ve done differently in one scene and then another and then another. And I kick myself for not having seen it earlier. I guess I’m slightly masochistic.
The cast of Hungry Ghosts seems particularly close-knit. Why do you think that is, and has it influenced the performances in any way?
I’ve recently discovered that the cast IS trying to kill the playwright (M.E.H Lewis). [I knew it!]But the playwright seems to enjoy it so people can take what they want from that. My theory is that it’s all the overlapping dialogue that’s making them crazy. I’ve suggested a million times to the director (Laura Blegen) that we NEED to put Percocet in everyone’s water halfway into the second act, but nobody wants to listen to the LOWLY ACTOR. Nobody…and I am NOT trying to sabotage the other actors’ performances to make myself look good. Really.
You play the part of Isabelle, a woman who has kept terrible secrets most of her life. Can you describe the character and what it's like to play her? Does it take an emotional toll on you?
Playing the part of Isabelle has actually taught me a lot about acting. She’s a beautiful character. Her story is not unlike my grandparents’ story so it was something I was very familiar with – the efforts to retain dignity after having been an unwilling participant of a past that can only described as madness, the humanity we try to come to terms with after having, in desperation, done something that haunts us every day. Heartbreaking situations that still occur for many to this very day.
The emotional parts are always challenging. I remember when playing an intense part, I would try to get all “Method” and work myself into a frenzy. When I did this, one of two things would happen, a.) I would fail miserably or b.) there would be a bit too much hysteria for my well-being. Definitely not healthy.
Then one rehearsal or performance (and it was for Hungry Ghosts), I remember, I was in neutral as far as my “feelings” were concerned and THAT scene came up, the emotionally devastating one. And I don’t know what happened but something just clicked in my head. I realized that people who are extremely emotional usually are trying to hold them back. But they can’t. The emotions are in the words, the words of any great playwright and they’ll come if I try to hold them back. It’s weird. It might have something to do with the frustration anyone feels when they feel they are forced into something, from something. In any case, it’s been working and I don’t have to be an emotional basket case in my personal life to do it.
For you, what is this play about?
You can’t always get what you want.
You can’t always get what you want.
But if you try sometime you just might find,
You just might find,
You get what you need!
Sounds simple, but god, is it ever hard to come to terms with that.
You can see Soo Jin in Hungry Ghosts tonight at 7:30 and again on 5/29.
6 comments:
A note from Soo Jin's director:
As I've told Soo Jin on numerous occasions, Percocet is expensive, even in bulk. LeapFest does not have the budget for that kind of thing.
Perhaps we should buy from Canada...?
I laughed so many times during this interview! Oh how I love SJ, let me count the ways!
comments! here they are! i couldn't find them before! be afraid for now the floodgates have opened!!!
Bring it on!
holy cow! i just found a website where you can get 20 tablets for $31.99!
http://ipharmacylist.com/drug-info/drug-4119/7.5-325mg/buy-Percocet-online.html
*ahem*
enough for one show...
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