Reneé O'Connor in Macbeth

An interview with Patrick Vest (Macbeth):

No rest for the wicked. Before I had time to process what had just happened to me, I was on to the next interview. Patrick is a fun guy, full of life and charm. Not to mention the nicest person to talk to. Very easy going and enthusiastic. The idea of interviewing him didn't come to me until the opportunity came to ask Reneé for hers. It suddenly just seemed like a great idea to get his perspective on everything, as well. However, I didn't have time to prepared specific questions for him, so I just winged it... based on some of my questions for Reneé. Because I wasn't glued to my notebook, I was much more at ease with Patrick, and had more fun with it.

SaM - Have you done Shakespeare before?

Patrick - I've done... This is my nineteenth Shakespeare production.

S - Nineteenth! Wow! You're a pro.

P - I've done a lot, yeah. Ever since I graduated from college. My first professional work was in DC, doing Shakespeare. And then I moved to Seattle and did Shakespeare. Shakespeare, Shakespeare, Shakespeare... I formed my own company up there doing Shakespeare. And then I moved down here, did three shows two summers ago.

S - So this has kind of been your trademark.

P - Yeah, I don't know why. I love classical theatre. I wrote a show about Henry David Thoreau, as well. Which I've kind of toured with. So those two are my loves - Shakespeare and Thoreau.

S - How long have you been acting?

P - Since I was a kid. Long time.

S - Yeah.

P - Longer than I've not been acting.

S - (Laughing) I understand that... Have you done Macbeth before?

P - No I hadn't. I hadn't played the part or been in the show.

S - So what drew you to the part?

P - Actually, I did a DVD, just this past summer, where I played Banquo. And so it was interesting coming to this show, because my whole experience with Macbeth was, "here's the guy who's going to kill me." So to really find something to love about him... And what I love about him is that, more than any other character, I think, in Shakespeare, or maybe that I've ever seen, he just responds to whatever is in his moment. So, he meets these witches and he believes in them, he responds to them positively. He decides not to kill Duncan... Then his wife comes in and says, "You're going to do it." "Ok, I'm going to do it." It's that child-like quality that's just so exciting. And he also has such supreme confidence. When he decides to do something, it's done. You know, "I go, and it's done." So, that's what excited me about it. Cause it's just so much fun to delve into that. It was hard. It was daunting, cause everybody has these expectations about what Macbeth is.

S - Well, I know that with people I've talked to, that you and Reneé have switched a lot of people's opinions of these characters. In that, they're not evil villains. You know? They're human beings with a purpose.

P - Right... That's great.

S - Someone mentioned the idea of the amateur-ness, almost, of what they're doing (Thanks Alana!)... They've never done this before.

P - Oh absolutely! They're horrible liars. She's, "Oh, what? In our house?" What kind of lie is that? It's horrible... He's like, "I'm sorry, I did kill them." It's just... they're not good at that. Exactly.

S - I love that playfulness.

P - It's interesting. I've seen Macbeth before. I saw it years and years ago on stage, and I saw the Ian McKellen one not so long ago. And it's just... he always seemed so dour, and so, kind of pensive... And I think that's for Hamlet, you know?

S - Yeah!

P - I think Macbeth is a man of action. It's exciting.

S - The physicality you bring to the role--

P - Thanks. You know. A lot of people keep coming up to me and going, "Well, you've done different things with it." And I'm like, "Oh well, ok. Yeah, I guess."

S - One major question I wanted to ask, 'cause Reneé told me to ask you...

P - Oh?

S - ... was memorization. (He laughs.) You're "Mister Experience."

P - For me... Especially with Shakespeare, it's very easy for me. Because... Reneé and I both work in the same way, which is Meisner training. We both come from that kind of background, which is being in the moment. Cause, if you know what you're saying, then Shakespeare's words are so much better than any I can put on them. So as long as I know what I'm saying, from moment to moment, from beat to beat... this is what this guy is about, this is what he's saying, this is what he's trying to get... Well, Shakespeare's words are great and mine are... this. (He points to his mouth and laughs.)

S - Yeah, so the key is understanding.

P - Absolutely. And with verse especially... The times where I've done Shakespeare where it's in prose, it's been harder. Cause the verse just sings.

S - Is there anything about the character specifically that-- 'cause Shakespeare's a bit heightened, obviously. What were you able to find in the character to connect to?

P - The thing that was the best... We're doing two shows now, but some of us were only in one, 'cause obviously we couldn't do both... We had a first read thru... and then Reneé and I went and rehearsed that first night. And so we got to do these scenes and just connect and be that sort of couple and have that energy. And the safeness developed between me, her and Anna, our director. We just had this sort of comfort level. And that's where we [found that] sort of "we're in it together." I felt safe.

S - Well, I'm really enjoying this performance. You're a lot of fun to watch.

P - Oh thanks.

S - And thanks for doing this.

P - Sure. My pleasure. Thanks for having me.

I have no idea what he must have thought of this little "formal interview." Unlike Reneé, he gets to talk at some length (if they're willing) to the audience after the show. Reneé, on the other hand, has to do her autographs, without a lot of discussion allowed, because of time. So he may have thought I just did it to be polite, because he was there when I asked Reneé. That may have been initially true, for a split second, but in the end, I think it was a stroke a good fortune for me. I thoroughly enjoyed talking to him one on one, without interruptions, to get a more extensive view of his ideas on the part and the play. It helped me see and appreciate more about the production and his work.

So... Thank you Patrick! You're a prince... I mean, a King!

Copyright - Sarah Mears, 7/7/02; Edited: 7/8/02

FOLLOW-UP - 7/16/02 - I recently had a chance to email Patrick and ask him about his Meisner training. Several people have ask me for further explanation on this technique which both he and Reneé use. In addition to suggesting the book "Sanford Meisner: On Acting" by Meisner and Dennis Longwell, and recommending I check out the acting classes at Playhouse West in North Hollywood, he also shared his own experiences:

... I'll tell you in my own words what I think of the Meisner "Method." (I put that in quotes because I'm not crazy about the word method. To me it has a sour connotation because everybody I've ever met who called themselves method actors have been self-indulgent freaks...but maybe that's just me.) I think of my Meisner training as the best thing I ever did for myself. Back in college and throughout most of my career as an actor, I was very technically proficient. I could break down a script, hit my mark, and give the same performance night after night. And only occasionally did I feel like I was missing something. It was during those magical moments when I was "in the moment." And for something like twelve years of my professional career I assumed that being in the moment was this lucky gift that happened very rarely. I had no idea that there was a way of working that would put me in that space, until I went to Playhouse West. The day that I went there to audit (and you can only audit the basic level class), there were two students doing a scene, and it was so real and powerful and unexpected that I knew I had to learn to do what they were learning to do.

Basically, the goal of the technique is listening to your acting partner and responding from the gut. If you audit the class or read the book you will better understand the tools used for doing this. But basically, you and your partner repeat one another until something from deep within you makes you change what you say.

As an actor, I was so comfortable working from my intellect for so long that it took me quite awhile to break down my bad habits and become alive in the moment. There are a lot of really good actors out there who understand how to be in the moment without ever taking a class, but for me it was painstaking, but so worth it. And when you get the chance to work with someone who works the same way you do. Someone committed to listening and being in the moment, no matter what that moment is...it's special.

I think people have responded so positively to Macbeth because Reneé and I are so connected. And we're so connected because we allow ourselves the luxury of only listening to one another and seeing where that takes us. I used to be the kind of actor that had to plan out my every line reading. I now shudder when I run across this type of actor, because it's not truthful. It's not in the moment. And it leads to very stale, boring performances.

Anyway, thanks for your interest in my approach. I could talk about acting/theatre/art forever and never get tired of it. But truly the book and the class are better sources to really get to know the technique.

Patrick

Thank you again, Patrick, for your kindness and generosity in sharing your experience with me and so many others.
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