Interview: Theatre Life with Craig Wallace

Today's subject has been living his theatre life for many years as one of the DC area's finest actors. If you see the name Craig Wallace listed in the program upon walking into a theatre, rest assured your theatre experience is going to be a good one.

He recently completed a very successful run of Satchmo at the Waldorf at Mosaic Theater Company and is now preparing to play Ebenezer Scrooge in Ford's Theatre's annual production of A Christmas Carol. You might have also seen Craig in such productions as Necessary Sacrifices, The Laramie Project and The Guard at Ford's Theatre. Other area credits include a ton of Shakespeare and other classics at Folger Theatre and Shakespeare Theatre Company and many productions at Round House Theatre. He was most recently seen at Round House Theatre in Father Comes Home from the Wars (Parts 1, 2 & 3) and Stage Kiss. Regionally, Craig has performed at Milwaukee Repertory Theatre, Hangar Theatre, American Shakespeare Center, and Everyman Theatre.

As a director, you might have seen Craig's work in the Source Festival with Mio Cuore- My Heart or at Capital Fringe with Boston Marriage.

Craig Wallace is one of the finest and most versatile actors the area has to offer. No matter the role, the result is the same. He delivers a high-end performance for all to enjoy.

Consider spending the holidays with Craig and company at Ford's Theatre. If you think you've seen A Christmas Carol, think again. I know you'll agree that Craig Wallace will uphold the tradition, set by Edward Gero, of making the show a joyful and meaningful holiday theatre experience for all.

This year you are playing Ebenezer Scrooge in Ford's Theatre's A Christmas Carol. Is this your first go-around with this material? Given that many of the performers have done the show in previous years, do you feel you have to play catch up to get the show under your belt?

I've been in two other productions of A Christmas Carol: one at Geva Theatre in Rochester, NY (played Ghost of Christmas Present) and one at Milwaukee Repertory Theatre (played Ghost of Jacob Marley), so I am very familiar with the material. As for playing catch up, the rehearsal period is fast so we new folks are being plugged in as quickly as possible. It's exciting.

There are about six bajillion productions of A Christmas Carol that happen around the country every year. What makes Ford's Theatre's production stand out from the rest?

Every city has its beloved production of A Christmas Carol. But we are in the nation's capital, at a historic theatre with the potential of the show being seen by thousands of people from all over the country. That makes our production a unique experience.

You had to take over the role of Frederick Douglass in Necessary Sacrifices at Ford's Theatre basically at the last second. Can you please talk about that experience, and if you had to do it again, would you put yourself in that situation?

I had just begun rehearsals for a show in Milwaukee when I got a call from Ford's asking if I would be willing to return to Washington and fill in for an actor who had taken ill. My director in Milwaukee, Aaron Posner, and the folks at Milwaukee Rep, graciously let me out of my contract. The next day I was on a plane back to DC. I landed, had a costume fitting, and began rehearsal. Tech rehearsals began the next day. We opened the following week. In other words, it was insane. It wasn't an ideal way to do that show, but I was glad I could be there to help out. And no, I would not like that schedule again!

Can you please talk about your approach to acting? Do you approach every role in the same way or is every show different?

Each role and each play comes with its own set of instructions that need to be adhered to in order for the show to be successful. After that, you read the play and get to work building your character and discovering how your character fits in the overall story.

You've been performing around here for a long time so I imagine you've seen a lot of changes in DC theatre over the years. What are some of the biggest changes you've seen in the way DC theatre is produced now versus, say, 20 years ago? Have the audiences changed as well?

Well, there are more theatre companies now, so that means more variety which is great for theatregoers. Because there are so many different offerings, I think producers are taking more risks with their programming in order to compete and draw people to their theatre. This is great for artists because we get to work on so many different kinds of plays. As for audiences, one thing that has never changed is that DC loves its theatre!

You've performed a lot of Shakespeare at both Folger Theatre and Shakespeare Theatre Company. How many of Shakespeare's 37 plays have you been a part of and is there a particular role in one of his plays you really want to perform that you haven't had the chance to do yet?

I've performed in 30 of the 37 plays. I played Lear when I was in my late 40s. I'd like another shot at him in ten years or so.

You recently completed a successful turn in Satchmo at the Waldorf at Mosaic Theater Company. Any time you play an iconic character like Louis Armstrong do you feel the audience comes in with a pre-conceived notion about what the character should be?

So many people told me how much they learned about Armstrong in watching the production. I know that many people appreciated how they came in only knowing "Hello, Dolly!" or "What a Wonderful World," and came out knowing so much more.

Of the many roles you have played over the years what are some of your favorites? What does the rest of your season look like work wise?

Every role I've played, even ensemble roles, have a special place in my heart because I grow and learn with each one of them. I'll never forget playing Armstrong and I hope to get to do it again. I'm also looking forward to playing Scrooge! I think it's going to be fun! As for what's coming up, stay tuned...

Special thanks to Ford's Theatre's Associate Director of Communications and Marketing Lauren Beyea for her assistance in coordinating this interview.

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