Interview: SLAVE PLAY's Jonathan Higginbotham Excited Reprising His Role In L.A.

Playwright Jeremy O. Harris's critically lauded SLAVE PLAY just opened February 16, 2022, at the Mark Taper Forum receiving a thunderous standing ovation. Before starting their previews, I had a nice long chat with Jonathan Higginbotham who's reprising his role of Philip from the August Wilson Theatre production earlier this year.

Thank you for taking the time for this interview, Jonathan!

A good portion of your Broadway cast will also be rejoining with you on the Mark Taper stage. When did rehearsals with the Los Angeles cast begin?

We just did a week of rehearsal tech rehearsal here.

Obviously, we were doing it in New York and so really the main thing we're rehearsing is the space, the lights. It's a bit of a different stage, so staging, different blocking and, also for the understudies. We have mostly new understudies, all but one from New York. It's a chance for them to see the show and get in there and work a little bit as well. Today, we're going to be doing two runs. We'll do one this afternoon, a photo-ed run where there'll be photographers there and we'll be in full costume. Looking forward to that. And the second one, tonight will be with the understudies getting in there and working a lot. That's something that Robert (O'Hara) does that I've never really experienced before. He incorporates the understudies very early on in rehearsal from day one. I don't know if that's something that he's done with other productions he's been in or if it's to SLAVE PLAY specifically, or if it's due to COVID. Just the fact that there's a good chance that understudies will go in, he wants them prepared and ready, and to feel like it's theirs just as much as it is ours. And so that's super exciting.

Understudies are incredibly talented. It's fun as an actor. You do the show several times with your normal scene partner and then all of a sudden, they have someone else and it's not a different show, but it's definitely different things happening, and you just have to tune in a little bit, a little bit more to make sure you're catching everything that this new person is giving to you. So that's actually, really exciting when that happens.

Were there any interruptions to the SLAVE PLAY run while you were in it?

No. I don't know how many, but a lot of shows shut down because of COVID cases when Omicron started up, but we didn't. I think we canceled one show, but it wasn't due to anyone being sick. It was the Christmas Day show. So that was really the only cancellation we had. Maybe one other one but it wasn't due to COVID cases. Yeah, we went pretty strong the whole way. There's definitely were times where there were understudies on.

When we were doing the Broadway run, Robert advocated for us to have mental health days, which basically consisted of a day off where we had to stay in the city (in case something would happen we could be called in) but it was just a day for us to take care of ourselves and relax because the subject matter of the play is heavy.

Each person (this is with any role you play) has a pretty strong connection in some sort of way to their character, and their characters are undergoing pretty traumatic experiences or remembering traumatic experiences and that can be exhausting. So that was something that we had in New York that was really nice. I'm not sure if we're going have that here. We're also only doing this show for a month here. So not sure if that will be incorporated into our run here yet. I haven't heard anything about that.

But yeah, that was nice to have that day for self-care, because that's part of this play. There's a therapy session, it's the discussion about self-care. It's not what the play's about, but it's there, underneath. So it's nice to have to actually be able to do that on our own as well.

What would your three-line pitch of SLAVE PLAY be?

A tough one! Let's see. A trip to the antebellum south where you will be shocked. Followed by a therapy session in which you may laugh and cry simultaneously. Concluding with a scene in which truths are acknowledged and the potential of peace is made.

How would you describe your character of Philip?

I would say warm, sweet. A little on the funny side. Kind of charming and slightly mysterious. There's definitely a side to him that you wouldn't probably expect right away. He's got a lot underneath the surface. I think throughout his entire life, he has suppressed feelings. He has been, I would say, oppressed in a sort of way. Just by his upbringing, he has come to see himself a certain way. At certain points in his life, it helped him to deal with the situation or circumstances he was in. But as one will find out in the play, it ultimately leads to his realization that he has been living part of a lie which is incredibly difficult for him. He's so good at putting up masks that he doesn't realize that they're there. And when he does realize that they're there, it's, 'Oh, shit!' a lot. 'I forgot about that.' Or, 'Oh, I've been ignoring that or I have not acknowledged that in a long time.' It's all of a sudden, 'Oh, I didn't realize that is affecting me this way.' That's really fun to play as an actor. Those are huge moments in life when someone has an epiphany or an a-ha moment. Or moment of realization of something that's been simmering for years on end. I mean, I'm 33 years old and the character in the script is written that he's in his 30s, early 30s. To be having that amount of emotion and feelings and thoughts being suppressed for so long; self-suppressed in order to save face or live comfortably in the environment that he was in. Having that held down for so long. It's a lot when it comes up. When it's finally bubbled up and over the surface. Also not like an easy thing to allow other people to see. He's in a therapy session with two other couples and two therapists. There's an audience in front of them. So it's a lot. It's definitely a lot.

I would also like to just touch on this as well. People know this. Jeremy is an amazing writer and the fact that he does this character for me is amazing. It's nice that I feel that I get to portray this character, because he's also mixed, biracial.

So you're biracial?

I am. Yes. And that is the thing that he's been in a way struggling with his entire life. For me, growing up I didn't necessarily see biracial people on TV. Or if I did, I didn't know. I didn't recognize as myself. I didn't see myself in them as much. And it wasn't until I was 28 years old. I've been acting, I went to school for acting and then grad school. I hadn't really encountered any character that was biracial. I had a couple auditions of biracial characters when I first got out of school, maybe two. This was the first one where not only is he biracial, but he ends up discussing his identity and the complications of it. I thank Jeremy for being able to put that out there in such a complex and beautiful way. The way he does it is remarkable.

Had you seen a production of SLAVE PLAY before being cast in it?

Yes. I actually read a very early draft of Act One. It was before Jeremy had even finished Act 2 or finished the play. It was his first year of school (at Yale), my third year of school and we overlapped one year. I was excited because I had never at that point seen a biracial character in a script. So that was exciting. It was fun. We did it at school with a couple of our friends. Super exciting. And then I graduated. In his second year I believe, SLAVE PLAY went up for their New Playwrights Festival that they have at school. I didn't get a chance to see that. But I heard about it and a bunch of my friends were in it. I think in his third year it went to the O'Neil for a workshop. Either he was in his third year or right after he graduated, it went to the New York Theatre Workshop. I had auditioned for it for the New York Theatre Workshop, that's when I had first read the monologues from Act 2 where Philip's undergoing all these realizations. I didn't get the role which I understand. I don't think I was Ready to Play it at that point.

I saw production at the John Golden, it's Broadway debut. I saw that final dress rehearsal, which was amazing. The theater was packed and there was so much excitement in the theater. It was amazing to see that play being done then. I definitely remember I read the script fully again when he sent it for the audition more recently, back in October. I read it again then, 'I gotta get this part!'

Besides getting directorial guidance from your director Robert O'Hara, did you get any advice/tips/input from playwright Jeremy O. Harris?

Definitely! When I did the audition, he was giving me some notes. They were more technical. It wasn't so much about his identity or what exactly he's experiencing. For instance, there's this one monologue that Philip has in the second half, where he's going through an experience. He's telling everyone in the group about an experience he had in college, and Philip does not realize the trauma of the experience, the trauma that's put on him.

And so, as an actor I'm reading it, 'Oh, my God! That's pretty brutal.' I still have to do that. When I first auditioned, Jeremy had mentioned to me, Philip does not realize it till the very end. That was super helpful. He definitely gave me that tip.

You made your Broadway debut playing Philip in the Broadway production of SLAVE PLAY at the August Wilson Theatre that ran through January 23rd. When did you become informed that you would be reprising Philip in the upcoming Mark Taper production?

When I got the audition, it was said this would be for the August Wilson Theatre and potentially the Mark Taper Forum in California as well. I had known that there was at least potential to go to L.A. when I auditioned for this role. When I got the part, I only signed for the New York production. They were going to get back to me because I don't think everything was figured out with contracts with Mark Taper Forum. It was after the New Year when I actually signed the contracts. I knew before that it was not an official, but 'Oh yeah! I'm going to California with the production.' I knew that by opening night of New York, which was also really exciting for me because, 'Oh, yes! My first Broadway play. I'm in New York and then I'm going to go to L.A. to do theater.' I've never done theater in L.A. That was super exciting. I had no idea what to expect. I like L.A. I've visited here a few times doing some other work and I've always enjoyed it. It's beautiful and relaxing and exciting! This was the first time I was going to be out here doing the play, which means usually, you know you're out here for potentially a little bit longer than you would be for a television episode or even a film. I'm excited to be out here and live out here a little bit more. Haven't gone to the beach yet, which is definitely on my bucket list, but I like the area.

Did any SLAVE PLAY audience reactions at the August Wilson take you by surprise?

Oh, there was a couple, yeah, definitely. Sometimes, it's what can you do to hold your character? A couple of times people's reactions could get you. It's tough to not break character. It's tough to not laugh because some people just aren't expecting what's coming. I don't I feel like I can say anything specifically without giving things away. There were definitely moments where the audience is quiet. Sometimes people may gasp regularly. There was one night where it was a light gasp that you heard barely audible and over the top of that, just someone in the back of the balcony just went, 'Oh, shit!' Moments like that where you're not expecting. I would say that there's just a lot of audible reactions, verbal reactions in New York. Sometimes I'm laughing or chuckling to myself about an audience member's reaction.

I'm also sometimes really, really warmed by an audience reaction. That was happening a lot in New York. It's a moment particularly an Act 2 where it's one of Gary's monologues. It's a moment in the theatre where I feel everyone's so connected and engaged with Gary's character. It would happen when Ato (Blankson-Wood) would do Gary in the beginning of the run and now it also happens when Jakeem (Dante Powell) does Gary. (Ato did the first half of the play at the August Wilson and Jakeem took over in the second half.) Both of them imbue so much honesty and presence in this moment. I myself would be engaged in dealing with Philip's watching this and also Jonathan's watching this and putting the two together and letting it be seen on stage. At the same time, I'm hearing audience members audibly, audibly react. It's pretty magical. It's beautiful.

What do you remember of your very first time on the August Wilson stage?

Is it now a blur?

A little bit. There's so many, so many connections that have been placed throughout this production, both New York and here. Jeremy made that happen a little bit. He wanted to put people he knew and have worked with and trust in a space together. Again, this play was done at school. So, there's people at schools who have done this play who aren't in it now who want to come and see it again. A whole bunch of support. The theater scene is huge but also a small, tight knit community. People were coming out from all over to support and the place was erupting. It was definitely amazing. It was waves of laughter coming from the balcony to the stage and back up. And the applause at the end just gave me chills. The hairs stood up on my back and it was amazing.

Jeremy came on stage afterwards and gave this amazing speech. He loves this play and it shows. You can see the work that he's put into this play and how much he cares for it. He'll come on stage and talk about this play and what it means to him and what it can mean to the world and to the theater and honestly, I felt truly grateful to be a part of it.

The I first started acting in undergrad and the first the first monologue I did was from MA RAINEY'S BLACK BOTTOM by August Wilson. My Theater 101 teacher at Hamilton loved August Wilson. That was actually the first play I ever did. The school went to the Edinburgh Fringe Festival to put it on at the Fringe Festival. That was also another moment standing on that stage and being like, 'Wow! I'm at the August Wilson Theater doing this play about color, shades and race and identity and it was an amazing experience. I felt pretty grateful to be part of that. I still do.

Jeremy O. Harris will be co-hosting a Black Out Night later this week. What was your experience with Black Out Night during your August Wilson run?

We actually didn't have any. I had heard so much about them, that they are super fun performances. It's just a little bit of a different experience in the theater. I haven't been a part of that yet. So, I'm actually super excited to see it.

You've studied at the British American Drama Academy in Oxford and hold a B.A. from Hamilton College and an M.F.A from Yale School of Drama. How would you compare the learning at an American and a British learning institution?

When I studied at BADA, it was a summer program - a month intensive. A lot of teachers from Yale also came over to Oxford to teach there and do workshops.

I think for me personally, there was just an excitement of being on that campus studying Shakespeare and Oscar Wilde and Pinter. There was something about being at BADA in England at that school, studying those writers that felt just pretty, pretty amazing. It was a really great experience.

I think good teachers are good teachers, and they all have their own styles. So I wouldn't say that there was a major difference in style of teaching. There was just a different atmosphere. Again, it was a summer intensive program, so it was impacted.

Sometimes just hearing someone with a British dialect speak, especially passionately about language, there's something about their dialect that you can just really hear all the articulation and passion and the way things connect to each other and the way they hit certain consonants and elongate vowels. Maybe it's because it's like a different dialect that you know, that's not native to my tongue.

I can hear it a little bit differently. And it makes me go, 'How can I make my American dialect do that?' Like how that sort of passion and fullness in the words and the letters and the syntax. How can I do that with my dialect or any dialect I use?

You're credited as Jonathan Chad Higginbotham in the Broadway production of SLAVE PLAY. What made you decide to drop your middle name?

To be honest, I was so surprised when that came up. I don't know why my middle name was in there to begin with. I think before Yale I filled out a form on Actors' Access or Backstage where I used my full name. So when people looked for me, that's what was coming up - Jonathan Chad Higginbotham. But by the time I started actually working professionally, I just felt like I didn't need to use my full name. I would prefer to just have Jonathan Higginbotham because that's the name I normally go by. My name is Jonathan Chad Higginbotham, but I go by my first and last like a lot of people do

Do you have any pre-show ritual you do unfailingly?

Not particularly, not for this show. Unfailingly? No for this show. I'm usually like messing around. I like playing with the violin a little bit at least making sure it's in tune. I often listen to music. I've made a playlist for Philip and listen to that, or I've been writing a little bit. I look over the things that I've written based on Philip's character. I often like to work out and do a vocal warmup. I like to warm up my body like anywhere from 10 to 20 minutes, light workout, just bodyweight where I can warm up my body and get my breath going. Then do a vocal warmup. That's usually like pretty standard, but nothing too exciting. Some actors' stuff, make some weird noises.

What's in the near future for Jonathan Higginbotham after SLAVE PLAY?

Honestly, I would love to start doing more TV and film. When I wanted to start acting, I loved movies. I used to quote Dumb and Dumber and Tommy Boy. I could get lost in movies. I definitely want to stay involved in any of the big projects that are going on and the powerful projects that are being made, whether that be TV, films, theater. Yeah, I just want to stay active. There's nothing specifically on the docket right now but hoping things present themselves.

Thank you again, Jonathan! I look forward to experiencing SLAVE PLAY opening night.

Look forward to having you. Thank you! Great, great questions.

For tickets to the live performances of SLAVE PLAY through March 13, 2022; log onto www.centertheatregroup.org