#32 Learn Our Lines (II)
May 20th, 2008 by doing better
I have given this advice before, but apparently the world has not taken note, for in my latest play there is yet another line-learning refusenik. This man, Martin, is around fifty, rugged of look and coarse of manner. He smokes and eats a lot of candy to aid concentration. He likes to heave out his belly and scratch it in public.
Martin does not consider it to be his fault that he failed to learn his lines. He feels hard done by because the director had promised him a small part, and he did not have time to read the play before rehearsals started, at which time he discovered that he actually had one of the biggest parts. Therefore he was unable and unwilling to learn his lines.
“I’ve been doing too many films,” he said. “Films are so much easier. If you screw it up, you can do it over.” Ominous words, which should have alerted us to what was coming.
As of the night before the opening, he knew few of his lines. Somehow he managed to muddle through the first performance with only one scene going terribly wrong.
Afterwards, a little girl came backstage into the dressing room to get our autographs. Martin said, “Would you like a picture?” and pulled out a picture of himself from a clear plastic case. He could not remember his lines, but he had remembered to bring a supply of photos of himself.
He is older than most of the rest of the cast and much older than the director, Henrietta. He is the only one who dares stand up to her when she yells at us. At first I took pleasure in this spectacle, but when it became clear that he would not learn his lines, his self-righteous attitude began to wear thin.
“I love acting with Colin,” he announced in the dressing room, speaking of a fellow cast member. “It is so easy. I feel so comfortable with him out there. I couldn’t do films with him, but I love being with him on stage.”
If only we felt the same way about you, Martin.
On the second night he still had not learned his lines. He confided to some of us in the dressing room, “People thrive on praise. That’s the trouble with me and Henrietta. The more criticism she gives me, the worse I get. If you are friendly with Henrietta, just have a friendly word with her and say, ‘Lay off Martin. Cut him some slack.’”
Henrietta was seen crying during the intermission. The other actors were increasingly frustrated and enraged because Martin left them looking stupid on stage when he did not give them their cues, failed to come onstage at the right time, or skipped ahead a page.
On the third night Martin actually went back to the dressing room early and forgot one of his entrances. They had to run and get him because he was supposed to lead everyone else on for the next scene, and no one could go on until he was there.
He complained to the producer that the intermission was too long, and it caused him to lose concentration.
“I have a short attention span, and I have to keep going or I lose it,” he explained.
“I understand,” said the producer, “but we can’t start without the audience.”
Despite his bluster, he showed signs of insecurity. “You students, always got your books out. I applied to Cambridge, but I had spent too much time playing in a band and out on the rugby field.”
On the fourth night, I watched from the wings to see what was the matter with the notorious scene where they said he always lost it. I could see clearly that what was supposed to be a dialogue between him and someone else became, instead, a monologue by her as he failed to say any of his lines. I saw how much she enjoyed striking him with her fan while her character berated his character for his failings.
In the dressing room afterwards, he expressed irritation. “You really lost it tonight, Ann,” he said. “You missed a lot of lines.”
Ann was dumbstruck.
“Actually,” said the third actor who had been in the scene, “I think you’ll find it was you who missed the lines, Martin.”
In the end he became a pathetic figure. He was always talking about his film career, but he impressed nobody. People barely remained polite to him. The audience loved him, but he alienated everybody who worked with him.
The worst thing is, he was actually quite good in the role. I imagine there may have been another director in the audience who will think he is just the actor for a future production and will send him a polite, flattering email: “Dear Martin, I was very impressed by your recent performance, and I would love for you to join my cast for an upcoming production ….”
Ah, the fools!
