With rehearsals underway, our marketing director sat down with each of our cast members and asked them to share a little about themselves, their history, and what they love about performing Shakespeare. We are thrilled to bring their stories to you.
Our next interview is with Jonathan Minton, an actor and sketch comedian from Alaska who is making his Smith Street Stage debut in the roles of Worcester and Chief Justice.
How did you get into theatre, and acting in particular?
I really don’t know when I started getting into acting. My mom tells stories about when we moved to Alaska and I threw a big fit about how I wasn’t going to be a famous actor if I wasn’t anywhere near New York… And I was six years old at the time. My dad used to take me to Shakespeare plays when I would visit him in the summer, and my mom would enroll me in theatre classes growing up. So certainly as I got older I started to see that acting was a viable career option.
And not only did you see lots of Shakespeare as a kid, but performing in Shakespeare’s plays has been a big part of your career.
Yeah, that sort of happened by accident. I mean, I’m not complaining or anything. I got into A Comedy of Errors with Hudson Warehouse and then I ended up working with them for their entire summer season. And it just sort of escalated, one Shakespeare production after another. Since I’ve been here, I’ve done maybe two contemporary plays, and all the others have been Shakespeare, which is awesome, but a total accident.
Do you have any favorite Shakespeare plays or roles that you’ve worked on?
I got to play Oberon [in A Midsummer Night’s Dream] last spring with Shakespeare Theatre of New Jersey, which was a lot of fun. Especially Titania and I, we were on stilts for the performance, and it was an educational tour, so we were doing these stilt performances on a whole bunch of varying-degrees-of-quality stages. And it’s an awesome character. And also York in Henry VI, actually, who is just a total badass.
And this is your first show with Smith Street Stage, right? It is, yeah. So how did you get connected to the company?
Backstage [Magazine]. I was perusing, looking for auditions that I could submit for, and I recognized the name. I’d seen the company name all over the place and I know people who have worked with them. I mentioned this to a friend of mine and he was like, “Oh my god, it’s fantastic!” So it seemed like a good play to throw my hat in the ring for.
Is there anything you find especially challenging or exciting about working on Shakespeare?
I think the challenge and the excitement of it sort of go hand in hand. It’s not contemporary speech by any stretch of the imagination. I don’t want to say it’s difficult, but it is a task, getting used to the language and the rhythm. And getting used to the fact that sometimes the rhythm of the language will change from scene to scene or even from character to character. But once you latch onto that poetry and once you latch onto that same rhythm again, it’s this transportive, almost transcendent thing, when you actually do connect with the language and with the characters and the thoughts. It’s very operatic, the way he writes some of his speeches and some of his characters. Or I guess the opera is very Shakespearean in that way. There’s no façade, there’s no putting on airs, it’s all genuinely what the character is thinking and what they’re feeling. It’s the only way they know how to express what they’re thinking or feeling at the moment. It’s incredibly beautiful.
You’ve also done some sketch comedy. Has that affected your Shakespearean acting in any way?
It has a little bit. When you’re going into an audition like the Smith Street Stage audition, which is one of my favorite auditions I’ve ever had, there was that encouraging atmosphere to just throw yourself entirely into the piece that you’re doing and have fun with it. And when you do sketch comedy, you have no choice but to throw yourself a hundred, a hundred and ten percent into it and make yourself look like a jackass. If you don’t look like a jackass, you’re doing something wrong. And especially with a Shakespeare audition, having that willingness to just say, all right, I’m going to make this funny face when I say this, and for this reason. Acting is just one giant machine that has different parts that need to be oiled – an upgrade on one part of the software will really branch out and assist with another part of the software.
Are there any actors or directors who have been an influence on your work?
John Cameron Mitchell and John Lithgow. I’ve admired Lithgow’s comedic work since I was a kid (I used to be able to quote any given episode of “3rd Rock From The Sun”), and Mitchell changed my life with Hedwig and the Angry Inch, this larger than life myth of a character that he willed into existence, and has taken on its own life. And they both seem like they’d be a lot of fun to just sit and talk with. And I had a high school acting and drama teacher, Susan Wingrove – she had the patience of a saint, teaching acting for a high school. She was pretty inspiring.