Rob West
I began acting in high school, and went on to join the PATP at Purdue University, where I was double-majored with English. I didn't get a chance to complete my studies, but acted in many productions there, and directed several student projects. I studied with some great folks there, and had my first professional gig. . . .
I had separated from theater for nearly five years, after concentrating on moving to Seattle, finding a job that paid, etc. But eventually, through some lucky circumstances, and my brilliant wife at the time, I was hooked up with folks at Empty Space and On The Boards, which afforded me new opportunities to get involved in shows. I began slowly, almost imperceptibly, with a couple of sound design gigs for Hyperion Theater, and then GREX. I then got involved with a now nostalgically-defunct group called The Artery, and we made a bid to give 10 homeless theater companies a home at the Bathhouse in Greenlake. After that, I met Sheila Daniels, and she made me her associate . . . After a time, Sheila decided to move on, and I threw my hat in the ring with some other wonderful candidates. Several grueling interviews and a mock season later, I found myself with the job, and a whole lot of learning to do over the next year.
How are things at Schmeater -- it's been tough times for most theaters, but you folks seem to be doing quite well, is that true?
Well, we have had a string of great and well-received seasons, and we're still open, so I'm tempted to say that we're doing quite well also. But, as with any small organization that lives off the radar of larger funders and that depends on ticket sales for the bulk of its revenue, we struggle. I believe that struggle created us, and sustains us, but I'd love to get to a point where we could raise artist salaries to a near-living wage, and pay our staff what they are worth.
What is your vision for Schmeater, and how far along do you think you've come?
If I had to state a single vision, I'd love for Schmeater to become the Northwest's premiere venue for new work. I've been trying to balance this desire with the producer's responsibility of "butts in seats" by premiering new plays each year, and through the surprisingly popular Northwest Playwright Competition that I began last year, for which the ultimate "prize" is a slot in the following year's season.
What led you to act in "Getting Out"?
As a director, I've been up in my head for so many years, and fancy myself an excellent communicator with actors, but as I've helped shape productions where I've not been director, I've noticed the sometimes tremendous divide between those on stage and those with their nose buried in a book more concretely than before. This is no new revelation, but rather an important exercise that I wanted to do: to put myself back in my body - to feel what it's like out there again, and to take that experience and let it shape how I work with actors in the future.
As a director, what traits in an actor are most difficult to work with?
An unwillingness to play. I'm going to start sounding like an actor's textbook here, but the old truths are still valid. When an actor gives up their role as an artist, it makes my job five times more difficult. The actors I enjoy working with are those that have ideas of their own, and can shape them to the overall vision of the script that I've hopefully communicated to them during table work.
What can an actor do at an audition to really impress you?
Dude. Are you listening out there actors? Smile. Enjoy yourself. Walk in with confidence, and let me know with your demeanor that you are absolutely available and excited to work. I'm going to know if you can handle language in just a few seconds of whatever dialogue you end up speaking, but if you can a) make choices, and b) have fun making those choices and working with a director, then you are like spun gold to me.
Who is the actor that not many people know about that you feel will make a big impact in the coming years?
Well, this is beginning to become less and less true the longer I wait to write it, but Garlyn Punao is one to watch. He's got an energy about him and a presence on stage that I've not seen in a long time. I've asked him to consider being a part of my final show of the season, A EULOGY FOR CITIZEN, and if he's not snatched up by Equity or the Rep, hopefully we'll be able to work together. I have a good sense that he's going to be big, and not just in Seattle.
