Acting in Plays, Singing/Movies (Films) v/s Dramas (Plays).
which according to you for an artist is a more challenging role to portrait i.e In Movies or Plays (Dramas) ?.
Is it not always the Plays or Dramas because In Plays (Dramas), the artist has to perform live before the audience ?
There is a Movie "Romeo and Juliet" - 2 hours duration.
There is also a Play "Romeo and Juliet" - 2 hours duration.
Now the artist who has portrait the role of Romeo in both is common. i.e Same Artist has acted in both the Movie as well as
in the Drama.
Is it possible that An Artist who is acting in both Movies as well as in Plays may or may not be successful in one of them ?
i.e. Audience have appreciated his/her acting skills in Movies but not in Plays or vice versa.
if that is the above case what could be the reasons ?. Script,
Co stars, Direction, Music, Environment etc
Awaiting your reply,
Thanks & Regards,
Prashant S Akerkar
Hello, Prashant –
Thank you for the question. It is very complex. There is no easy answer or set of rules to point to. But with a focus on the character of "Romeo" and, in particular, the actor chosen for a new Broadway production or another Hollywood or Independent film, I can offer you a few considerations in relationship to my job as a singing teacher.
People who believe they can sustain a living as a stage actor – especially those who want to pursue Shakespeare – must first acquire all the skills it takes to compete against other individuals who believe the same thing and are auditioning at the same time. With Shakespeare, those vocal skills include the ability to be heard in the last row of a standard playhouse, without a microphone, and to be absolutely understood as they deliver lines written in rhythmic poetry and blank verse. My job as a professional vocal coach is to teach that actor how to strengthen and maintain their voice in order to perform 8 shows a week. The stage actor's responsibility is to study everything about Shakespeare and the performance of his plays. The actor who does not have the skills to fight with a sword or any other kind of dagger-type weapon – nor the kind of manner and personality that makes young virgins such as "Juliet" anxious about the marriage bed – will reveal itself on the first day of auditions, before he opens his mouth to deliver his two contrasting monologues to the Producer and Director who hope to make a lot of money.
Before the monied folks parted with their cash to invest in yet another film production of ROMEO & JULIET, the contract was already signed by the Major Box Office Star playing the role. Few of those actors ever had any professional stage experience in Shakespeare nor were the Bard's characters on their list of Dream Roles. But even more important than the celebrity is the Director. The Director is going to bring about a ROMEO & JULIET like no film audience has ever experienced. Ideally, the Director knows that his screen imaging of "Romeo" could happen with a complete Unknown. He doesn't need a Box Office heartthrob to flesh out his vision of Romeo. Because it is HIS Romeo. And no matter the "style" of the film – there are bound to be tons of close-ups of the chosen actor. It really-really helps the Box Office if teenage girls find him unbelievably irresistible – whether they've ever seen him before or not. My job as the vocal coach would include making sure the actor understands his lines completely. He doesn't need to employ volume that can be heard across the street like the stage actor. It's possible he may dub-in his lines after the scene has been shot. His delivery must be in sync with the image and the sound of his voice must match the mood of the scene. Again, it's all about the Director. Legendary director Alfred Hitchcock might put it this way – "Nobody goes home until I get what I want."
None of the above guarantees Box Office success or Critical Raves.
I am a vocal coach to working singers in the San Francisco Bay Area. I'm also an entertainment critic for HuffingtonPost.com – http://www.huffingtonpost.com/sean-martinfield
and Classical music reviewer for Examiner.com – http://www.examiner.com/user/4557381/articles
. When you're ready to come to San Francisco for vocal coaching, contact me at: Broadwaybelters@yahoo.com
Check out my web site: http://FabulousFilmSongs.com
See my recent interview with popular TV host, David Perry, on "Ten Percent":
Below are links to my articles and youtubes on the San Francisco Bay Area entertainment and cultural scene:
"Christmas Holiday" – at the Deanna Durbin Festival, Stanford Theatre, 12/21-23
In Conversation with Peter Gallagher – Coming to the Venetian Room
Melody Moore steps into Tosca — Opening Night at San Francisco Opera
Patricia Racette – A Definitive 'Tosca' at San Francisco Opera
'Moby-Dick' opens at San Francisco Opera: A Conversation with Composer Jake Heggie
Vasily Petrenko, BRIT Male Artist of the Year, Conducts SF Symphony, 10/5–6
Marco Vratogna Is Sensational as Rigoletto at San Francisco Opera
A conversation with Joshua Bell, featured guest artist at opening of SF Symphony, 9/19
San Francisco Opera Opens 90th Season With Verdi's 'Rigoletto'
Jazz vocalist Nicole Henry makes San Francisco debut
Norma Shearer and Joan Crawford duke it out at The Castro Theatre's 90th Anniversary
San Francisco, starring Jeanette MacDonald, to be featured at the Castro Theatre's 90th Anniversary
The Wizard of Oz Meets the San Francisco Symphony
The "It" Girl, Clara Bow, A Featured Star at the San Francisco Silent Film Festival, July 12–15
Jun Kaneko's 'Magic Flute' Is Stunningly Visual
Samuel Ramey is Leo the Great in San Francisco Opera's 'Attila'
'Victor Herbert, Collected Songs' – A Great CD
Tom Judson Is Making It Big In San Francisco
A Chat with Dominique Labelle, featured this week in PBO's 'Alexander's Feast'
A Look at Gennadi Nedvigin, Principal Dancer with San Francisco Ballet
Organist Christopher Houlihan Makes A Powerful Debut at Davies Symphony Hall
RICHARD WINSOR – An Interview With the Star of 'Matthew Bourne's Swan Lake in 3D'
EDDIE MULLER – On the Slow Death of 35mm – An Interview with the "Czar of Noir"
DEANNA DURBIN – The Leading Lady of NOIR CITY, Wednesday at The Castro Theatre
THOMAS JANE – An interview with the star of HBO's "Hung" and 3D Thriller "Dark Country"
KRISTIN CLAYTON– A Conversation with "The Diva" of Teatro ZinZanni
DIANE BAKER – Celebrating the 50th Anniversary of THE DIARY OF ANNE FRANK
CAMERON CARPENTER – An Interview with Seán Martinfield
AT LAST! – ANN HAMPTON CALLAWAY – An Interview with Seán Martinfield
MARNIE BRECKENRIDGE – An Interview with “La Princesse” of Philip Glass’ Orphée
A Conversation with Elza van den Heever
CUBAN BALLET – An Interview with Octavio Roca
A Look At "Giselle" with Ballerina Lorena Feijóo
ZUILL BAILEY – A Conversation