What Do You Do With a B.A. in Theatre? Part III: Acting

One of the most gratifying things about teaching, I understand, is seeing your students thrive and succeed in life, and even more special is when they excel in your area of expertise.  One can only imagine the pride and excitement the faculty and staff of Towson University's Theatre Arts program must feel when they read about, or even better, see their students in action.  That delight is obvious when Department Chair Jay Herzog speaks of the three young men that have been the subject of this series.   

Of the third interviewee, actor Jürgen Hooper, Herzog says, "The most impressive thing to me, about my work with Jürgen, was how well read he was.  He served as a student representative to our play selection committee and went much deeper than Pippin and Neil Simon. When there was a play discussed he did not know, he read it carefully and with dedication.  Ironically, he did play a major role in Simon's Fools when he first arrived.  When I saw him perform, he reminded me of Dick Van Dyke.  He really understood how to use his body to portray humor." 

Busy with a thriving acting career in Chicago, Mr. Hooper graciously took the time to answer my interview questions.  The thoughtfulness and dedication Herzog describes is evident, I think, in Hooper's answers.  Perhaps the key to his success thus far is that grounded, caring attitude which he seems to apply to everything in his life. 

"My degree is actually a bachelor of science from Towson University, as I never completed the language requirements for a bachelor of arts - I'm rather ashamed of this.  I took French for seven years.  I could've easily passed out of that requirement, or, gee, maybe learned a new language," he says.  Like so many artists, though, his passion for theatre began well before he stepped foot in college.  "It's all I've ever wanted to be.  I think my parents got tired of chasing me around restaurants asking random tables if they'd like to hear me sing?oh, and I was a disgrace to the sport of baseball!" he laughs, sounding like a character in A Chorus Line.  He continues, "I did my first play the summer I turned six at a summer theatre camp and haven't really stopped since.  I went to private school (Calvert Hall) for high school, not an arts school (for which I am very thankful) but there was no real scholarly concentration in theatre (though there are ones for music and art), so I didn't feel that I'd been exposed to enough theatre or life in general.  As to what area I'd concentrate in, it would be acting, though what I loved about the Towson department is the multi-faceted exploration of the art form in general.  I think having to take active part in all aspects of theatre and the process of putting up a play makes for a more understanding, well-rounded and generous theater practitioner." 

That education, he asserts, is the backbone of who he is professionally today.  "Some people argue that experience in the professional realm - just 'doing it' - is the only true teacher and that going to school for theatre is unnecessary.  I think this is shortsighted.  Schooling will help develop a sense of community, give you a safe space [in] which to explore where your voice fits in the art form at large, you get a sense of play unencumbered by an impending performance deadline, hopefully you're surrounded by a group of like-minded people (at least in dedication) which will drive you forward in developing your skills and, you learn about theatre's place in history, its development and the centuries of tradition it brings with it.  Now that I'm done proselytizing, I'll actually answer the question.  My personal schooling helped me in three ways: 1) the liberal arts curriculum forces you to really live outside of the four walls of the theatre and have an understanding of the world around you so you have something to talk about/something to question/something to bring to the table in general  2) it was a very self-motivated department ? my teachers were always available for advice and counseling, but it was my job to seek them out (teaches perseverance and devotion to the work of 'pounding the pavement' and networking out in the professional realm)  3) the teaching techniques and concentrations were as varied as the plays chosen for performance so the students got to experience as many aspects of performance style, technique and 'ways in' as possible." 

Jürgen has been very fortunate, making an acting career in the world renowned theatre city that Chicago is.  "I've acted consistently in the three years I've been out here with barely a gap, save the month I left for a cross-country trip with my best friend, and with one exception I've been paid for everything I've done.  I've worked at equity theatres (the Goodman, Steppenwolf, Writer's Theatre, American Theatre Co.) without having gone equity (thankfully) and some wonderful non-equity theatres (TimeLine and Circle Theatre).  These projects came about by keeping up with the theatre papers, audition hotlines and just auditioning - slowly making a name for yourself."   

But isn't there a lot of "who you know" in the theatre world?  Hooper understands it, but, "I've been in Chicago for three years now and the connections I had out here were few and I have never used them to get a job, save once.  I've had a very fortunate career out here without having schooled in the city, having had a showcase, taken a professional class etc.  I won't say it doesn't help, and the students who went to Northwestern and DePaul do have a leg up on me and were able to seek out internships and classes while still under the umbrella of college and their parents' financial support.  In short, I think I've had the opportunities that have come due to my training and just being a nice person.  I'm no good at networking, though I mentioned it earlier as a tool and I mistrust it, but that doesn't mean I don't need to learn it and there are so many nice and talented people out here that it shouldn't be too frightening a thing." 

A highlight of this young actor's career for his teachers was a visit to the Windy City to see Mr. Hooper in not one but two major productions!  Jay Herzog recalls, "[Towson instructor] Steven Satta and I went to see Jürgen in Chicago recently.  He was performing the title role in Huck Finn at 11am at Steppenwolf and then at 2pm played the teenage driver in Rabitt Hole at the Goodman.  Two top theatres in one day. That was a story!" 

For Jürgen, his greatest achievement so far "Performance-wise I'd say it's a toss up between The Chosen (Writer's Theatre) and a tour of Romeo & Juliet I did for high schoolers my first year out here.  The former was in an intimate space (50 people) and it ran for six months, so I had to find ways to keep it fresh and reconnect to the story and my fellow actors.  The latter was very much like performing for your peers after they've seen your work for four years of college.  You've got to let go of this sense of self, just play and be willing to fail big.  High schoolers won't let you turn in a half-assed performance, because you've got to be more interesting to them than they can be to one another, which is difficult, but when they're with you it's very rewarding.  If you can perform for high schoolers you can perform for anyone!" 

Still, with all of this success, how does he keep himself grounded enough for the inevitable - rejection?  "I try to keep my personal life in tact and in a good place.  That gives me something to swing on when I don't get a job I really want.  It's all about making it to callbacks.  If I can get there, the rejection is easier if it comes, though I will say that it's maddening when you lose a part due to physical stature, not looking old enough, etc.  I have worked in both the food service industry and the temp world - how cliché - during the times I've been rehearsing and performing shows.  I don't sleep much," he explains.

Graduate school?  "I've definitely thought about it, though I don't think I would go back to school for acting.  Provided I keep getting cast I think my directors and my cast members will function as my teachers.  If I went back to school it might be for directing, playwrighting or the business side of theatre as I have dreams of starting up my own company some day."  Formal schooling aside, Hooper has learned much from life experience.  "Chicago has a great music scene, which I immerse myself in as often as possible.  I take lots of inspiration from music.  I've also begun dating someone wonderful who really encourages my personal growth as much as my artistic.  A history of volunteering at soup kitchens and the like has also given me greater perspective and I'm working on a play currently about those experiences." 

Currently, Mr. Hooper is working on Clifford Odets' Paradise Lost with TimeLine Theatre Co.  His past and present have been very successful, but still he dreams of an even brighter future.  "I'd like to make my entire living acting and be able to have a family.  I'd love to have a play produced and possibly have a theatre company."  I have a feeling that whatever Jürgen Hooper sets his mind to will happen.

Thank you to Ian Belknap, Ira Gamerman and Jürgen Hooper for their generosity of time, and to James Kinstle and Jay Herzog for their insight into these young artists.

PHOTOS: TOP to BOTTOM: Jürgen Hooper; Jürgen in a scene from Rabbit Hole at the Goodman; promotional artwork for Steppenwolf's Huck Finn; Jürgen (left) in Huck Finn. Photos courtesy of Hooper.

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