INTERVIEW: Actor-Adventurer Knocks 'em Dead at Spotlighters

There's not a lot to go on for an interviewer just by reading John Kelso's biography in the program for And Then There Were None (running through March 11 at Spotlighters Theatre in Baltimore). "Bios are the most boring part of the program," grins Kelso. In his case, however, the biography would be most interesting. In addition to the usual theatre credits and acting degrees, this actor has traveled out west to brew beers with friends, worked as a machinist, repaired and rebuilt antique cars for none other than Jay Leno, and even spent 7 months training to be a professional wrestler! This writer found Mr. Kelso to be genuine, passionate about life, and extremely easy to talk to, with an ease and passion also to be found in his acclaimed performance. Thanks for a great interview!

 

What follows are a baker's dozen of questions for this local artist.

 

1. James Howard (JH): What drew you to audition for this play?

John Kelso (JK): Actually, I didn't audition. Randy Dalmas [the play's director] knows me from the Maryland Renaissance Festival, and couldn't find an actor that really fit the role. He asked me, and I said, 'send me the script." I liked what I read, but really had to weigh my options, especially gas and travel. [John resides in McConnellsburg, PA, a roughly 100 mile commute, one way!]. I agreed, the first month of rehearsals were limited and arranged so my schedule had me in town so I could stay with my girlfriend [stage manager Kristen Bishel] on consecutive days.

2. JH: This play has reportedly been a huge success for Spotlighters. To what do you attribute this success?

JK: We have a strong cast all the way around. I think everyone involved in the show did their job well. And, of course, we are working with a good script [by Agatha Christie]. So, everything came together.

3. JH: The role you play, Phillip Lombard, is quite large, and really runs a wide spectrum of emotion and action. How do you prepare for this? What keeps you going from beginning to end?

JK: I'd much rather be onstage acting than sitting offstage, so I don't mind having lines on the last page. My character's arc is not unnatural or affected. So, when I start the play I want to enjoy myself like my character does, and the rest flows from the play, which makes it easy. Staying engaged is important. My mind begins to wander. As soon as I realize I'm not engaged there's a tiny bit of panic and that snaps me back. I think, "Where are we? What's happening?" The worst feeling is being onstage and not knowing what page you are on.

4. JH: Half way through the run of the play, your leading lady changed. The role of Vera Claythorne was played by Karina Ferry, and is now being played by Christina Enoch. For local theatre, this kind of switch seems pretty rare. How long did you have to prepare for this switch? How did rehearsals work?

JK: We knew before we opened that Karina would be leaving the show early. Christina never had a rehearsal until after we opened. The day after the show opened, the director, assistant director, Christina, Karina and myself came here and had a rehearsal and went over the scenes we had together. And then we, on two other occasions, had a full run-through with Christina. She did such a great job that I had no worries that she'd know her lines and blocking. That if there were any small changes we'd work around them. The big "X" factor was how would the character of Vera change? (NOTE: A review of Ms. Enoch's performance appears in Charm City Stage Door – 03/07/2006.)

5. JH: Obviously, the two actresses give different performances. How does this effect your performance?

JK: (Laughs) I guess you'll have to see tonight when she slaps me! No, there is a different energy, and the way her Vera acts changes what I do, but the characters are still the same. If Christina is more or less flirtatious, then I adjust, for example. She is different than Karina, but it doesn't change story at all.

6. JH:Spotlighters' mission is "to provide traditional and cutting edge theatre, and to provide the opportunity for new artists to develop and refine their skills." How does it fit the production?

JK: Hmmm, let me address the "new artists" part. Being a small community theatre that puts up a lot of plays allows people with a more casual interest in theatre a chance to test the waters. In this show, there is only one full time theatre professional in or running the show (stage manager Kristen Bishel). Most of the rest of us have a "day job." This being volunteer theatre, everyone is here for the love of theatre.

7. JH: What are your dream roles? Favorite roles you have played?

JK: The Marquis de Sade in Quills, and I know every actor says this, but Hamlet in Hamlet. And Hedwig, from Hedwig and the Angry Inch. No, I'm not joking; I've always said that I'd love to play Hedwig. And thinking back on it, I think Hedwig is part of that new generation of musicals, which has departed from the old mold (old moldy mold?) of musical theatre and brought about much more complex, interesting characters. My favorites have been Robert in 'Dentity Crisis by Christopher Durang and Tilden in Buried Child by Sam Shepard. Comedy is a completely different challenge. I think the more your character is like the people who are seeing the play, the more difficult it is to make the character believable. I am drawn to dark characters because it allows you to be bad.

8. JH: What background do you have in theatre in terms of education and experience?

JK: I went to two colleges – my first two years at Gettysburg College as a theatre major, then two years at Muhlenberg College where I got my degree in theatre. At Gettysburg I did every acting class they had. I knew I'd get stage time, but I didn't think I got all the training I needed.

9. JH: What in your training has stuck with you?

JK: At Muhlenberg, I had an acting professor that made us read a book called "The Inner Game of Tennis." The basic theme was to disengage your mind to allow your body to learn the physical nature of what you are doing. I find that there are times when I'm waiting to make an entrance, that if you asked me what my next line is, I probably don't know, but I do know that as soon as I step out onto the stage, and everyone is where they should be, and I'm where I should be, I know the lines will come. The play feels like a mechanism working around you, and you fit inside the machine, and the machine tells you what you need to do to keep the machine working. The more I think about it, the more likely I am to screw up. It makes it easier to recover from mistakes. Having a strong background in improv (from the Maryland Renaissance Festival) also gives you the confidence that you can cover and recover from just about anything. And being able to trust the people you are on stage with – your fellow actors – knowing that everyone can adapt and won't fall to pieces helps immensely with having confidence to deal with small errors or line changes.

10. JH: As you continue to build your resume, what skills have you learned that you are most proud of? What are you most surprised that you've had to learn?

JK: I'm most proud of learning stage combat – being able to swing a sword and use a quarter staff. I am surprised that I know the order in which to put on a full Renaissance Court costume, which is not easy and requires another person to lace you in.

11. JH: What is the best advice you've gotten as an actor or in life that might relate to acting? The worst?

JK: The best answer to the question "Why do you want to be an actor?" was "Because I can't see myself doing the same thing every day for the rest of my life." Acting allows you to do things you'd never otherwise get to do – to be bad, to cry, to do a job you'd never get to do – to be someone you never get to be in the real world. The best advice has also been to have a thick skin, and that perseverance is at least as valuable as talent. I tend not to remember bad advice.

12. JH: How do you balance a personal life with acting in local productions and your other pursuits?

JK: Most of my closest friends are in the Baltimore/DC area and are involved in theatre, so being down here has not hurt my social life, it has enhanced it!

13. JH: What does the future hold for you? For Baltimore audiences wanting to see more of you?

JK: I have no idea! Who knows what the future holds? I sometimes say to people I have no shame. It is more accurate to say I'm not afraid to fail. If I try something and I'm not good at it or I fail, I'm not ashamed, because for me, the adventure of trying something new far outweighs the risk of looking foolish. I have a make-my-own-hours job and a choose-my-own-adventure life. I would like to become more involved in Baltimore/DC theatre. I've been on quite a hiatus and being in this show reminds me of how much I love being onstage.

 

 

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