Leslie Ezra Smith is, arguably, becoming one of the most-respected actors on the Pittsburgh stage. One of Pittsburgh's favorite sons seems to earn genuine acclaim from his "passionate" portrayals on stage. Even more than a gifted actor, this national spoken word, and slam poet, is also a father, playwright, and a science aficionado. Smith is preparing to portray the role of Walter Lee Younger in the, upcoming, "A Raisin in the Sun", in the premiere offering of the, new, Erie Theater Company.
Born and raised in Pittsburgh, Pa, Smith has become a popular spoken word artist and actor. He has worked with Pittsburgh Playwrights Theater Company, Kuntu Repertory Theater, New Horizon Theater,
August Wilson Theater Ensemble, and many others. He won the best supporting actor in a musical for his performance in Kuntu's "Sarafina!" in 2007 and best lead actor in a play for his performance in New Horizon's "Freeman", awarded by The African American Council of The Arts (AACTA) Onyx Awards. Leslie was the recipient of the Poet of the Year Award in 2010 given by the Pittsburgh Hip Hop Awards.
He has directed for the Pittsburgh Playwrights Theater Company's annual Theater Festival in Black and White. Published in 2010 by Meeting of the Minds Publications in Pittsburgh, "Journey of a Teardrop" is his first book of original poetry. As a member of the 2003 Steel City Slam Team, Leslie competed in Chicago. Since then, he has won many slams and hosted many poetry events throughout the city.
Despite being fairly "new" to the theatre tribe, he's winning roles, accolades, and audience-approval. He also provides acting coaching, as well as, spoken word coaching. Marcinho Savant had a chance to speak with him today.
M.E.S: Good afternoon, Mr. Smith! Thank you for making time for me today. Of all the creative arts, why words? Why theatre?
L.E.S: When I was younger there was a lot I wanted to express, but didn't know how. I was going through some deep situations including domestic violence in the home. There were a lot of issues happening in the community and my family. I didn't posses the tools to talk about them, so had to keep mute about them. My mom read to me a whole lot, and gave me an introduction on how words could be used to express feelings. I began to read a whole lot, and found myself playing the roles (characters) I was reading. I even performed all the voices--- Charlie Brown voices... lots of voices for all the characters I was reading in the books. I did that all the way through school. I went into character, and my friends used to laugh at me... but I found I remembered more of the stories, because I remembered how I read it in those characterizations.
M.E.S: So the love of words you developed enhanced your educational experience? So how then, were you led to spoken-word, and the theatre, as an expressive outlet?
L.E.S: I was really into hip-hop, and that culture. I wanted to be like my friends who were Hip-Hop performers, and dancers. I had never thought of being an actor, but found myself getting real hype over friends and what they were doing. Then I thought that I could maybe be an emcee, using words, which had always been really hard for them up to that point. I tried rhyming, started reading
Maya Angelou in elementary school. Through a combination of factors, I became more expressive, and less fearful of expressing myself in words. My family had also been prone to find verbal expression of any substance, to be a big challenge. Observing me, my family learned that it was okay to be free in expression, using words. Words are huge in my life.
M.E.S: How did you get to acting as a form of expression, and enjoyment?
L.E.S: I decided to do a cold read for Arch Productions in the eleventh grade, and got cast. The director was listening to me read the script, with skills that I didn't know I had. He'd ask me if I realized that I used a particular inflection on a line? Or if I intended to take a specific pause, of a certain duration? He asked me things, and I explained that I had been doing them for years--- with my reading and characterizations. I just didn't know that I was doing anything that was important. Then, in working with him on roles, I felt a need to express the role with purpose. Not just say the lines. I searched for the reason that I'm doing what I'm doing on that stage in trying to portray that role. Then I fell prey the "acting bug"!
M.E.S: How did you come upon the offer to play Walter Younger in "A Raisin..."? At the time you got the call, you were wrapping your one-man show, no?
L.E.S: For a lot of years, I have been picturing myself in the role of Walter. Since the mid- to late- nineties. I watched Mr. Poitier's version, several times over the years. Not to imitate his work, but to ask myself what were the questions he asked himself, as he prepared the role. How did he release himself to be open to move himself out of the way, and let the character emerge from him? I looked for clues about the risks, and choices he made, to more-deeply craft my own authentic interpretations in the role.
M.E.S: And two days before you closed the run of "Book...", you get a call...
L.E.S: Yeah. I got a call from Montez Freeland (The Pittsburgh Playwrights Theatre Company) telling me that the original lead ended up unavailable last minute... once he told me the title of the play, I cut him off with a "YES!" I don't think he got to finish the name of the play!
M.E.S: That seems a little more than serendipitous! I always say that "everything happens... with a purpose!" What do you feel is your purpose in accepting the role, with a week-and-a-half notice, never once having played the part?
L.E.S: I was happy about the part coming free. For all these years I'd tell myself "I'm gonna GET Walter!" And that time has come. It's exciting to be able to work the production with a brand new theatre company. Erie Theater Company has an incredible season for its first year! They're tackling this show as their debut production which is inspiring and impressive to me. It's also giving me an opportunity to experience the role, learn from it, and be ready to earn a larger, longer, run somewhere down the line.
M.E.S: In a Pittsburgh Post-Gazette review of your "Book of Ezra" one-man-show last week, the writer quoted a bit of your dialogue. "If you don't go within, you will go without," and then, "once you do go within, you realize how much you can do without." As an actor, why does that quote resonate with you.
L.E.S: That quote actually comes from a book called "Conversations with God, An Uncommon Dialogue, by Neil Donald Walsh. I came across quote and it was the biggest thing to hit me. As soon as I read it, it hit home, where I was internally at that time, all this seeking of answers to why I had the problems and challenges I had---- my repressed esteem growing up, and how much I felt a need for other people's approval. I did an inventory of my life and discovered that, whenever I chose to have faith, and to believe in myself, I thrived. I came to rely on my own discernment, and to respect my own conclusions, instead of longing for them from others I trusted my intuition, and assessment of my work, effort, and direction. I learned that seeking help and assistance is an option, but I didn't need it, like I had convinced myself I did... and avoided asking for it. Those quotes led me to that peace.
M.E.S: You've had, what some might call, a very unconventional path to the theatre. You didn't attend Juilliard, or Yale to study acting. Having been bitten by a bug or two myself, I'd imagine that your drive was stronger than the doubt?
L.E.S: Yes. But if anyone had told me that If I wanted to grow, and learn about theatre... that the only way to become an actor, on stage, was with those educational experiences. I don't know what would have happened. No. I do know. It's clear to me that I've found my place. And something I'm passionate about, and love. Those magnificent programs you mentioned? I didn't have that opportunity--- not that they're not a necessity. It just wasn't the path I found myself on. I'm open to anything that is going to help me honor this craft, and to do good work. Who knows what the future holds? As for Broadway? I'm working on it!
Author Marcinho Savant is a former singer/actor/dancer who is now disabled. Addicted to the arts, and awaiting that coveted Georges-, or Sweeney-mobility-scooter-role, he now focuses his efforts in helming The Savant Group of Companies, as an executive producer, and director. He is also a playwright, poet, and reviewer. For more information, visit marcinhosavant.com.
Photo of Leslie Ezra Smith courtesy the artist.
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