Baltimore's Performers of 2007: Actress of the Year

Those of us fortunate enough to attend Everyman Theatre regularly know the magic that is actress Deborah Hazlett.  As a critic, I have had the opportunity to witness her amazing chameleon-like talents.  It would seem that there are few if any limits to what she can do – comedy, drama, classical.  I'd be willing to bet she'd be equally mesmerizing in a musical!

Whenever I see that Ms. Hazlett will be appearing in a show, a part of me relaxes, knowing that at least part of the show will excel beyond compare.  But another part of me tenses with excitement, looking forward to seeing where she will transport her audiences next.  Although my first critical brush with her was in 2006, when she took on the title role in Candida, I remember vividly my first time seeing her onstage.  It was several years ago, when she had a supporting role in Proof, and I remember thinking, "That woman could easily have been swallowed up by the rest of the show, but she is as dynamic as the star (Everyman Company member, Megan Anderson).  But 2007 proved to really be her year with starring roles in an amazing variety of works: witness her brilliant subtext work in Pinter's Betrayal, the emotional complexity of her performance in Sight Unseen, the delicious glee of being pursued and pursuing in Shakespeare's Much Ado About Nothing. 

Several of her colleagues at Everyman wanted to share their thoughts on Ms. Hazlett.  Their obvious admiration and respect is inspirational in and of itself, and their tributes to both the actress and woman are clearly heartfelt.  My thanks to everyone at Everyman for their contributions to this article. 

"I am not at all surprised Deb is being named best actress of the year.  Her talent never ceases to amaze me.  In nearly ten years as a company member, she has shown me so many different facets of her talent in her character work that I still have yet to find the limits of her range.  Deb is a huge asset to Everyman Theatre.  She is dynamic, fun, caring, and always an extremely dedicated theatre professional.  She nurtures the company at the same time she nurtures her own artistry.   

I first met Deb through several actor friends.  She then auditioned for the role of Sister Woman in Cat on a Hot Tin Roof which she played at Everyman in 1997.  From the first day of rehearsals I realized what we had in this woman.  Her skill in rehearsals was palpable.  She immediately started digging for the truth in her character.  She was like a detective, searching the text and subtext for the motivations of Sister Woman.  I knew almost instantly that I wanted her in my company. 

Deb is an actress who excels in transformation.  This is the quality that is absolutely essential in resident company members.  She transforms so successfully from role to role that one never tires of watching her work.   

I love her vulnerability on stage.  Even when she plays a strong character, she is vulnerable.  She realizes the complexities of human emotion and the seeming contradictions in the psyche of people.  This allows her to dig deep and provide performances that are three dimensional, fascinating, and real.  I am so grateful for that."

Vincent Lancisi, Artistic Director and Founder of Everyman Theatre

 

"I've had the pleasure of being in a production with Deb and, equally satisfying, directing her.  She adapts amazingly well to time constraints:  e.g., I directed her at Totem Pole Playhouse in Crimes of the Heart --with only 50 hours of rehearsal in 12 days.  It was a "first" for her and she managed to successfully plumb the depths of the character in that short time--in fact, she later told me that it was one of her favorite stage experiences.  I find her work to be exciting, intelligent, and always insightful; I look forward to many more times working with her.   

All my heartfelt congratulations for her achievements!  Her versatility, amazing technique, and stunning presence onstage make her absolutely appropriate for this well-deserved honor."       

Wil Love, co-star in Much Ado About Nothing; director, Crimes of the Heart, Totem Pole Playhouse

 

"It's a pleasure to be asked to write a tribute to Deb and I'm thrilled that you are giving her the recognition she so deserves. 

In addition to her innate talent, Deb brings to her performances a wealth of experience, elegance and a solid grounding in the art of theatre. She truly graces the stage from the moment she steps behind the footlights.  

And added to all of this, she is a dear person to know." 

Naomi Greenberg-Slovin, dramaturg for Everyman Theatre

 

"Prior to Sight Unseen, I had long been an admirer of Deborah both onstage and off, so it was truly an honor to finally have the opportunity to work with her.  She is incredibly generous, smart, open, accessible and present, both personally and professionally, and I found the experience of working with her to be quite rich and rewarding.  She is amazingly intuitive and spontaneous, and the depth and breadth of her emotion and sensitivity are truly inspiring.  I've always felt that the best acting is really no "acting" at all, but rather accessing more of who one is, and then channeling those feelings, passions and inclinations through a particular character, and Deborah is a prime example of this.  She's always "there" onstage - radiant, alive, present, detailed, in the moment - and she constantly exudes an emotional current that transcends the notion of technique or "skill."  It's a kind of "aliveness" that makes every moment real, volatile, genuine and profound, and the experience of being on stage with her was a constant joy - the discoveries, the revelations, the intimacies, the idiosyncrasies.  No matter how many times we went through it, the journey was always different - true to the text and the direction - but different, spontaneous, immediate and unique each time.  I've acted a long time, and had the privilege of working with many gifted and talented people, but Deborah exudes a vulnerability, an accessibility and an emotional depth and richness that I found to be quite inspiring and rare.  It doesn't feel like "acting" at all; it feels like life, and the emotions and passions she exudes are palpable.  She's a gem as an actress and as a person.  Why does she deserve this honor?  It might be more appropriate to ask why doesn't she?  She doesn't "act" it, she lives it; she just is." 

Paul Morella, co-star in Sight Unseen

 

"To choose one or two anecdotes to describe Deborah is hard—there are so many little moments of kindness and extraordinary artistry that come to mind.  Deborah possesses such openness and warmth as an actress—combined with a deep respect, rigor, and integrity for the work.

There is a moment late in Much Ado when Beatrice comes on stage to find out if Benedick has challenged Claudio.  Benedick is in a wooing mood—and the exchange goes:

Benedick:  Sweet Beatrice, wouldst thou come when I called thee?

Beatrice: Ay Sir, and depart when you bid me.

Benedick:  Oh, Stay but till then.

Beatrice:  Why, then is spoken, fare you well.  Yet, ere I go let me know that for which I came...in what has passed between you and Claudio.

During rehearsal Deborah struggled with the false exit on "…then is spoken, fare you well."  She couldn't understand why Beatrice would leave when she desperately needed this news.  She wouldn't just do the exit—it was false to her and she kept at for several weeks until she precisely located the truth of this moment for Beatrice.  Ultimately, it became one of my favorite moments in our relationship on stage—she teased me and dashed off—and I pursued, and then she turned and asked after the information that she needed.

What impressed me about this is the attention Deborah paid to a two second moment of our relationship of relative minor importance—and of course no moment is of minor importance, and this is indicative of Deborah's nature as an artist—she is incapable of falsehood.  She mines for the truth in every moment she is on stage and it has been a blessing to perform with her.

Here is an example of her thoughtfulness—only one of many that she has bestowed on me during this show.  I have two small children at home in New York who love dogs—and Deborah has a lovely little pug named Isabelle who occasionally visits us at the theatre.  During one of Isabelle's visits I mentioned Charlotte and Alden, my kids, would love to meet her.  I drive back to New York on Sunday nights after the show, and halfway up I 95 my cell phone goes off and Deborah has sent a pix message of Isabelle for me to show my kids.  They, of course, were delighted. Again, one of many lovely gestures of thoughtfulness that she shared with me during the run.

I can't think of another actress of such artistry, range, professionalism, kindness and exceptional humanity—you have chosen very wisely."

Jim Jack, co-star in Much Ado About Nothing

 

Selecting Deborah Hazlett for the very first Baltimore.BroadwayWorld.com Actress of the Year award is an obvious choice.  But the very best part of giving her this honor is knowing that year in, year out, local audiences will have the privilege of seeing brilliant work by a truly brilliant talent, award or not.  Congratulations, Deborah, and thank you for a wonderful year of performances.

 

PHOTOS: Courtesy of Everyman Theatre, Stan Barouh, photographer.  TOP to BOTTOM: Timmy Ray James and Ms. Hazlett in Betrayal; Whalen J. Laurence and Ms. Hazlett in Betrayal; Paul Morella and Ms. Hazlett in Sight Unseen; Ms. Hazlett in Sight Unseen; Megan Anderson and Ms. Hazlett in Much Ado About Nothing; Jim Jack and Ms. Hazlett in Much Ado About Nothing.

Be sure to read all about 2007's Baltimore Actor of the Year, David Bosley-Reynolds.

And don't forget to submit your Readers' Choice Ballot for your picks of the Best Theatre in Baltimore 2007.  Deadline: Noon, January 4^th!

 

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