Michael Russotto
Michael Russotto has just completed playing Will in A Bright New Boise at Woolly Mammoth Theatre Company. Previous credits include Art at Signature where he played Yvan, and where he had a ‘killer monologue.’ He has also performed in Legacy of Light at Arena Stage, House of Gold and Full Circle at Woolly Mammoth Theatre Company, Girl in The Goldfish Bowl at MetroStage and The Comedy of Errors for Folger Theatre. When not performing he can be found teaching at The Theatre Lab School of the Performing Arts.
Did you know you were going to be an actor growing up?
Michael Russotto and Joshua Morgan in 'A Bright New Boise' at Woolly Mammoth Theatre Company. Photo by Stan Barouh.
I knew that I wanted to be a movie star, or at least a film-maker, neither of which is really the same thing as being an actor. Did community theatre in high school, but I actually went to film school in college (American University). Started studying acting after I graduated because I didn’t really understand, as a movie-maker, how to talk to actors, or how to elicit a performance from them. When I started learning about acting and acquiring a craft, I finally evolved an idea about what it is that actors really do. It was kind of daunting. Since then, I’ve not looked backwards, and have instead pursued a career as a performer. What a surprise!
What was your first professional acting job?
I played Giles in a production of The Mousetrap (by Agatha Christie) at Petrucci’s Dinner Theatre in Laurel, MD. First acting job I ever got paid for. I thought it was FANTASTIC! (Nick Olcott played the Detective!)
When you performed the role of Yvan in Art at Signature Theatre you had that killer ‘breakdown’ monologue to do. How does one go about memorizing that kind of a speech and does memorization come easy to you in general?
Mitchell Hebert, John Lescault and Michael Russotto in 'Art' at Signature Theatre. Photo by Susan Biddle. Photo by Scott Suchman.
The ease of the memorization varies in accordance with the play. For Art, I made a serious effort to start rehearsals “off book” (memorized) as far as the monologue was concerned. I have to tell you that the Art monologue was shockingly easy to memorize. That has everything to do with the quality of Yasmina Reza’s writing. It was just so logical that I didn’t have any real trouble with it. Which was kind of a surprise. It is also helpful for me, in a situation like that (a long monologue, five or six minutes at least), to make sure that I don’t think of the lines as a “speech”. The character is just telling a story, moment by moment. It happens to end five or six minutes in the future, but it could stop at any time if someone interrupts, or if there is a reason to stop talking. If I approach it in that light, the speech usually stays pretty fresh, and it doesn’t seem like such a huge mountain to climb.
You are on the faculty of The Theatre Lab School of the Dramatic Arts and have directed a few of their summer musicals. What is most rewarding about your job at Theatre Lab?
I particularly like working with beginners at The Theatre Lab, young or old, introducing them to the craft of acting, and helping them understand that it is a serious job that requires a lot of hard work. I especially love my job as a teacher when a student actor has a break-through; a moment of epiphany where they take a leap forward in understanding. There is usually at least one such moment in every class.
For a working actor what is so enjoyable about being a part of the DC theatre community?
Michael Russotto, Bill Largess, and Lawrence Redmond in 'Travels with my Aunt' at Rep Stage. Photo by Stan Barouh.
Opportunity. The DC theatre scene is so vibrant. There are so many wonderful venues to develop and grow as a craftsman, to create new, exciting work, to challenge each other as artists. It’s also a livable community. I’m not stuck in a closet in NYC or LA. There is space to breathe here.
LINKS
Watch a sneak peak video of Travels with my Aunt at Rep Stage.
Watch Signature Conversations: Art.
Watch The Theatre Lab 2011.
