Interview: Orlando Arriaga of THE LEHMAN TRILOGY at STAGES

Orlando has long been one of Houston’s most beloved actors, captivating audiences with his dynamic performances in productions like Private Lives, American Mariachi, and Sherlock Holmes and the Jersey Lily. Now, he takes on an extraordinary challenge in STAGES production of The Lehman Trilogy, a sweeping saga that spans nearly two centuries and follows the rise and fall of the iconic Lehman family. In this ambitious three-actor play, Orlando brings to life a multitude of characters across time and place, navigating poetic, rhythmic dialogue and minimal staging that relies on the actors’ voices and physicality to conjure entire worlds. We sat down with him to talk about his preparation, the rehearsal process, and what it’s like to return to Houston audiences in such a monumental work.

​You’re one of just three actors telling a story that spans nearly two centuries. How did you prepare to take on such a wide range of characters and time periods?

It’s a massive project, The Lehman Trilogy! I began it just like a begin every project. Read the script and then read it again. Except for Lehman Trilogy, I read the script many times more than I usually do. I also read the novel The Lehman Trilogy by Stefano Massini which of course is what the play is based on. As you can imagine, it’s a big world with a lot of detail and I ate it up. The writing is so clever and sharp, I was clued in on the characters solely based on how they were described in the text or how the characters spoke to one and other. This is how it usually works when an actor prepares but in some cases, like this one, the characters are based on real people and so there’s research to be done. I did the research but it was not necessary because it’s all there in the text. I built my characters based on what was written in the play and not based on what I learned about the real person. It’s so interesting to me how an Italian author, Stefano Massini crafted these American characters from the north and south which such detail and nuance. They were immediately recognizable to me. There were a lot of characters to create but for most of them I came to an immediate decision on who they were and how I was going to present them. I didn’t bother with time periods because human beings deal with family, love and money pretty much the same since the beginning of time. 

The language in The Lehman Trilogy is so poetic and rhythmic. What challenges or

opportunities does that style of writing create for you as an actor?

Both the script and the novel are written in verse. There’s a poetry and a movement to the text. I’ve worked on other plays where the playwright does a bit of formatting with the text. They do it mostly to promote a movement and pace to the story. In those scripts I was able to adapt pretty quickly. It was the same with The Lehman Trilogy. In some instances the verse would be formidable. It was a challenge to find why he broke it up the way he did but it was a good challenge because once the movement was worked out, then a reward of “aha” usually followed. And then we’d go on to the next one! I rather enjoyed the poetry in the script. It’s challenging but gratifying. And even now, deep into the process I’m still discovering more of that rhythm. I don’t know if I’ll ever figure out every possible quandary and that’s exciting. 

With minimal set pieces, much of the world-building falls on the actors. What discoveries have you made in rehearsal about storytelling through physicality and voice?

It’s interesting because audiences will go wherever we want them to go. They just need a few rules and the rest is left to theirs and our imagination. That’s beautiful. Not much is needed. A slight change in the voice or the physical is enough. Much more than that and the play becomes mostly about the actors playing characters. We are staying away from that because we want you to hear the story first and foremost. We’re not changing costumes. We the actors are giving you just a touch of a character to aide you along the journey. 

The show relies heavily on the synergy between the three actors on stage. What has the rehearsal process been like working so closely with your castmates?

In the first few weeks of rehearsals each of us was too stuck in our own paths navigating the script and our beats and choices to even look up and notice what everyone else was doing! It wasn’t until after we looked up that we began working more as a unit, as an ensemble. I don’t think there’s anything wrong with that process. It’s just the way it worked out. Once we were able to make our own personal choices then it was time to play with others and bring everyone else in and that of course changes the initial choice. That’s the way it’s supposed to happen. It’s ok. 

The play deals with ambition, innovation, and collapse. Which of those resonates with you most personally?

Ambition resonates with me the most. The older I get the more I want to accomplish. I guess I did a lot dreaming when I was younger and my head was always in the clouds and not on earth making things happen. But my feet are on the ground now and I’m ready to innovate and not collapse.

Do you have a favorite moment or passage in the show that you’re especially excited for audiences to experience?

So many but a couple of moments come to mind. The Emmanuel and Pauline scene is very endearing and funny. Everyone will love it. I’m excited for everyone to meet Herbert Lehman. He was the character I got right away after reading his first line. I won’t say much more than that. You should come out and see what I’m talking about. It’s wonderful. 

Houston audiences know you well from your roles in Private Lives, American Mariachi, and Sherlock Holmes and the Jersey Lily. How does it feel to return to Stages for such an ambitious production like The Lehman Trilogy?

Well, I’ve never worked at STAGES before. Getting my first opportunity to work on The Lehman Trilogy at STAGES is exhilarating. Making my first appearance at STAGES in this production, I couldn’t dream it up. It’s a great showcase for me if you’ve never seen my work. I feel lucky for the opportunity. 

What do you think makes Houston’s theatre community special, and how has being part of it shaped your growth as an actor?

The friends I have in the theatre community make it special. We pull for each other. We support each other. When I see a great performance from a fellow Houston actor it inspires me. I grow as an actor and artist amongst my theatre family. 

After living in such a massive, layered story, what kind of role or project excites you next?