Changing from one character to another

By Jessica Sage

Dear Jessica,

I’ve noted some actors appearing in back-to-back Rogue Theater Company (RTC) productions. This season, specifically, it’s Daniel Molina moving from “Doubt: A Parable” to “Cat on a Hot Tin Roof,” and it made me wonder in general about how actors switch characters — whether within a single production or when moving from one production to another. Can you talk about the preparation it takes to move quickly from one role to another like that?

— Peter W.

Dear Peter,

Thank you for the question. A short answer to a big question is character development. Developing a character is a huge part of the work an actor takes on for any role. Whether a character is a lead role or a supporting personality, the more prepared an actor is to embody a given character, the more easily and more quickly he or she can move in and out of that character’s space.

And since you specifically mentioned Daniel Molina and his transition from the character of Father Flynn in RTC’s “Doubt” (which ran March 12 to 30) and that of Brick Pollitt in our production of “Cat on a Hot Tin Roof” (which runs April 30 and May 1–4), I’ve asked Daniel to talk with me about his process.

Jessica: Daniel, can you tell me about the mindset and process of switching from one role to another?

Daniel: It’s a blessed actor that has very little time to transition from one role to another! It’s simply one of the joys of repertory theater and frequent employment. But it is tricky, especially when the roles are so different. I’d love to say I spend countless hours at home workshopping characters by myself and show up the first day ready with a fully formed performance. But that’s simply not how I work. I love collaboration. So I do my best to show up with strong opinions, but open to any new ideas I might have missed. (I try to stay) passionately flexible.

Jessica: What obstacles have you experienced when switching roles? 

Daniel: A simple answer (in regard to these characters is that they) have very specific dialects, and I dread not being able to shake a 1960s Bronx native accent for the Mississippi Delta.* More importantly, though, is reminding myself that there’s not only one way a character can raise the stakes. There are many ways a person can intimidate, or seduce, or love, or belittle, or any way a human being tries to manipulate those around them. And some characters are better at it than others! It’s a fun little layer to explore after discovering what you think your character is trying to achieve in a scene.

Jessica: What aspect of character transition has changed or even become easier as you have gained experience?

Daniel: I think it’s become easier to fail? When you’re a younger actor, you feel this incredible rush to get to the perfect choice immediately. The feeling that of course there can only be one correct way to do this and we should work toward that singular version. (But this) is counterintuitive to how rehearsal should work. A rehearsal is an exploration. Fail! It’s a wonderful thing. Explore as many options as possible. When the right version comes, you’ll know.

Jessica: Have you ever observed another actor make a transition from one role to another and picked up some thought or practice that you’ve incorporated into your own work?

Daniel: Oh, some actors are just chameleons … just effortless shapeshifters that completely bowl me over. I’m not that. I find myself observing them like a spectator at a magic show, straining my eyes to see the wires or the sleight of hand. The longer I do this, though, the more I know that comes from two things: experience and theft. They’ve stolen from performances that they likewise admire and store that character or choice away for themselves. And I’ll be doing the same thing, thank you very much.

Jessica: What is the tightest time frame for switching roles that you’ve ever experienced? Have you had any crazy experiences switching roles?

Daniel: This transition from “Doubt” to “Cat” is very tight, or it feels especially so because of the demand of these characters. Luckily, no, I’ve not found myself saying lines from one show in another, or anything like that. Knock on wood.

Jessica: In your opinion, what would be an optimal time span for you to switch from one role to another? Why?

Daniel: Quick turnaround is good! I’m a classic over-thinker. More time to think about something has never been a guarantee for good decision-making, at least in my case. Some first instincts are right. But I appreciate enough time to let the body recover and the mind to say goodbye to that version of yourself before greeting a new project.

Jessica: With only a month between these two RTC productions — John Patrick Shanley’s “Doubt” and Tennessee Williams’s “Cat on Hot Tin Roof” — you must certainly be thinking about the second production already. Do you allow yourself to dabble in thinking about the next role or do you keep yourself tightly focused on the production at hand?

Daniel: I am actively reading Williams’s play, but without the idea that I’ll be reading for Brick in it soon. It’s like dating; it’d feel unfaithful to think about the next part while working on another. Or like finishing your vegetables before dessert. One at a time. 

Jessica: At their foundation, these two characters (and these two plays!) appear widely different. Does that help in the transition? 

Daniel: Absolutely. Variety helps. Recognizing how different the worlds of these two people are also helps. And nothing helps more than connecting with a wonderful cast of actors in those worlds that make the job of pretending very easy.

  • • •

I hope that answers your question, Peter, and a big “thank you” to Daniel Molina for such interesting and enjoyable answers!

Theater lovers, what would you like to know about theater, acting, stagecraft, etc.? Send your questions to [email protected]. In the meantime, let’s bring up the houselights and join us for some fun!

Jessica Sage is artistic director of Rogue Theater Company (RTC).  RTC’s next production is a reading of “Cat on a Hot Tin Roof,” playing April 30 and May 1–4. For more information about Rogue Theater Company and the entire season, see roguetheatercompany.com.

*Daniel is referring to the Bronx native accent he took on to portray “Doubt”’s Father Flynn versus the Mississippi Delta accent he will take on to play “Cat on a Hot Tin Roof”’s Brick Pollitt.