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 final interview is with Michael Hanson, who returns to Smith Street Stage after playing the role of Orsino in Twelfth Night. This year, Michael is tackling the roles of Hotspur and Pistol for this year’s production.
How did you get into theatre and into acting?
In high school, I played a lot of sports. I played basketball and football and I got hurt a number of times. I kept dislocating my shoulder, and my doctor said I couldn’t play sports any more. I don’t really even remember how I sort of found theatre. I sort of stumbled into it and I just joined the school theatre. There were a lot of great people and it was fun and I never looked back. And when the time came to start looking at colleges, it wasn’t even really a choice. It was just like, yes, this is what I do now, and I just auditioned for acting schools.
This isn’t your first outing with Smith Street Stage – you were in Twelfth Night in 2012. What brought you back to the company this year?
I would love to work with them as many times as I can. I think they do great work, and I believe in the kind of theatre that they’re doing. And I consider them good friends as well. Any time you can work with friends that you also respect so much, it’s a wonderful experience.
How do you feel about performing outdoors?
Twelfth Night was my first full play ever performed outdoors. And it was like actor boot camp. You really have to fall back on your training in terms of your vocal performance. And physically, a lot of what you do in the room in rehearsal might change because of the outdoor space. We rehearse in a room in Stella Adler Studios, which are these acoustic acting studios. It’s so small, all the moments you have. As soon as you get outdoors, you have to fill the park, which has no walls. And this year of course we’re probably going to have more people than ever stretching back into the park, trying to hear. So it is a challenge, but a welcome challenge.
You’ve worked on both Shakespeare and many other plays. What do you think is particularly challenging or exciting about working on Shakespeare?
It’s all so well-written and it’s so much fun to get to play these characters who are speaking in this heightened language that we don’t have anymore, that we haven’t had for a long time. That to me is one of the most interesting aspects of acting Shakespeare. You’re speaking in these thirty-word sentences; today we have three-word sentences. And you have to sort of recalibrate your brain to extend the thought that you’re trying to communicate to your scene partner so that everyone else in the audience understands you. Going along a thirty-word sentence, that’s a great challenge, and it’s really beautiful.
Are there any actors or directors who have been a particular influence on your work?
So many! You know, when you have a great director, it stays with you, it really does. A director who can show you things and who can empower you as a young actor is a wonderful thing to have. I worked with a wonderful director in Michigan by the name of Jim Daniels and he was just very quotable. He was filled with all of these little gems that he would tell us in between our breaks. He said, “People come to the theatre and they say, ‘Show me what it means to be alive because I am dead inside.’” And he had a whole bag of those really inspirational quotes for actors, which I really believe to be true. I think that’s what art is, sort of overall, that’s what theatre is. People want to see people be alive and they want to see people grapple with issues and they want to see people think through things and that will never not be interesting.