WBEZ | actors http://www.wbez.org/tags/actors Latest from WBEZ Chicago Public Radio en Why actors deserve our respect http://www.wbez.org/blogs/leah-pickett/2013-06/why-actors-deserve-our-respect-107719 <p><p><img 8.="" alt="" august="" broadway.="" class="image-original_image" film="" flickr="" meryl="" michael="" november="" on="" osage="" premieres="" src="http://llnw.wbez.org/styles/original_image/llo/insert-images/August Osage County.jpg" starring="" the="" title="A scene from Tracy Letts' Pulitzer Prize-winning play &quot;August Osage County&quot; on Broadway. The film version, starring Meryl Streep, premieres November 8. (Flickr/Michael Brosilow)" /></p><div class="image-insert-image ">Friends may outright tell you that acting is a terrible career choice, or barely conceal their judgment behind a condescending smirk.</div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image ">However, what these people may not realize is that actors are skilled professionals (no matter how much or how little they get paid) and that acting is more than just strutting around a stage and looking pretty for a camera. If forced to deliver a monologue before an audience of thousands, they might have a better appreciation for what actors do every&nbsp;<a href="http://www.dummies.com/how-to/content/finetuning-your-acting-performance-on-film.html" target="_blank">18-hour day</a>&nbsp;on a film set or&nbsp;<a href="http://en.wikipedia.org/wiki/Broadway_theatre">eight shows a week</a> on Broadway.&nbsp;</div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image "><strong>Acting is hard work</strong>. Those who pursue acting as a career often work full-time jobs during the day, then hurry off to auditions on their lunch breaks and to the theater for rehearsals and shows at night. They eat, sleep and breathe their craft, sacrificing other more lucrative job offers in favor of their first love. Actors are a passionate bunch, and many have the<a href="http://blogs.indiewire.com/theplaylist/on-the-rise-13-10-actors-set-to-blow-up-in-the-near-future-20130311?page=2#blogPostHeaderPanel" target="_blank"> jaw-dropping talent</a> to merit star status alongside professional musicians, authors and athletes&mdash;even if they never acheive it.&nbsp;</div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image ">Yes, some actors are hired for plum roles on film and television solely because of their looks or family connections (see Sofia Coppola in <em>The Godfather Part III</em> and Megan Fox in everything). However, other rising A-listers who are not conventionally attractive (like Steve Buscemi on <em>Boardwalk Empire,&nbsp;</em>the great Tilda Swinton&nbsp;and Chicago&#39;s own <a href="http://www.imdb.com/name/nm0788335/" target="_blank">Michael Shannon</a>) succeed because they are astoundingly good at what they do.</div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image "><strong>The act of &quot;acting&quot; is harder than it looks</strong>. Although pretending to fall in love with Johnny Depp might not look like the hardest job in the world, imagine the real-life scenario. Under the pressure of hot lights, multiple camera angles and several dozen crew members watching with bated breath, just remembering lines (not to mention delivering them well and performing convincingly) is a rare and <a href="http://movies.amctv.com/movie-guide/the-50-greatest-actors-of-all-time.php" target="_blank">truly impressive</a> skill.&nbsp;</div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image ">Many of the best film actors working today (Meryl Streep, Edward Norton, Al Pacino, etc.) first honed their skills in the theater. Myriads more have studied under the rigorous acting tenets of <a href="http://www.youtube.com/watch?v=r7v5zB-jg40" target="_blank">Uta Hagen</a>&nbsp;and <a href="http://www.youtube.com/watch?v=HNBRFSUXR-A" target="_blank">Lee Strasberg</a>, devoting themselves completely to an art that few people can master, and even fewer actually acknowledge or respect as a viable career.&nbsp;</div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image "><strong>Good acting deserves to be seen and celebrated</strong>.&nbsp;Go to the Goodman, Steppenwolf, Victory Gardens or practically any other small storefront theater in Chicago to see the <a href="http://www.chicagotribune.com/entertainment/theater/theaterloop/chi-20121221-best-theater-actors-pictures,0,3491546.photogallery" target="_blank">sublime acting talent</a>&nbsp;that our city has to offer. For a better understanding of film actors and the intense work that goes into their craft, watch&nbsp;<a href="http://popwatch.ew.com/2013/05/29/inside-the-actors-studio-250th-episode/" target="_blank"><em>Inside the Actors Studio</em> </a>with James Lipton (recommended episodes: Jack Lemmon, Paul Newman and Kate Winslet).&nbsp;</div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image ">Not everyone has what it takes to be a great actor; but to study acting as a true art form is a noble pursuit, and certainly worthy of respect. In the words of legendary acting coach <a href="http://en.wikipedia.org/wiki/Stella_Adler" target="_blank">Stella Adler</a>, &quot;Life beats down and crushes the soul, and art reminds you that you have one.&quot;</div><div class="image-insert-image ">&nbsp;</div><p><em>Leah Pickett writes about popular culture for WBEZ. Follow her on <a href="https://www.facebook.com/leahkristinepickett" target="_blank">Facebook</a>,<a href="https://twitter.com/leahkpickett" target="_blank"> Twitter</a> or <a href="http://hermionehall.tumblr.com" target="_blank">Tumblr.</a>&nbsp;</em></p></p> Mon, 17 Jun 2013 05:00:00 -0500 http://www.wbez.org/blogs/leah-pickett/2013-06/why-actors-deserve-our-respect-107719 Chicago's rising stars http://www.wbez.org/blogs/leah-pickett/2013-01/chicagos-rising-stars-104952 <p><div class="image-insert-image "><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/beth%20stelling.jpg" title="Chicago-based comedienne Beth Stelling performs stand-up on a July 2012 episode of 'Conan.' (TBS)" /></div><p>As I watched Tina Fey and Amy Poehler <a href="http://jezebel.com/5975641/tina-fey-and-amy-poehler-kill-it-during-the-golden-globes-opening">kill it</a> as co-hosts of the Golden Globes on Sunday, I was reminded of how they got their start in Chicago over 20 years ago. They met while taking classes at Improv Olympics, immediately bonded over Tina&#39;s recent discovery of&nbsp;<a href="http://www.vulture.com/2013/01/history-of-tina-and-amys-best-friendship.html">eyebrow waxing</a> and formed the improv comedy troupe &ldquo;Inside Vladmir&rdquo; shortly thereafter. Fey went on to Second City, and Poehler took the Upright Citizen&rsquo;s Brigade to New York. Then SNL came calling, and the rest is history.</p><p>Of course, Second City has a legendary track record of producing comic greats: John Belushi, Gilda Radner, Bill Murray, Steve Carrell and <a href="http://www.chicagotribune.com/entertainment/chi-091204-second-city-famous-alumni-pictures,0,3772688.photogallery">many more</a>.&nbsp;Other famous actors who honed their skills in the Chicago theatre scene include Gary Sinise, Jane Lynch, David Schwimmer, Laurie Metcalf and John Malkovich.&nbsp;</p><p>Now, a new group of rising stars has given Hollywood reason to take notice.&nbsp;Here is my list of the top Chicago-based actors and comedians poised for career breakthroughs in 2013:&nbsp;</p><p><img alt="" class="image-original_image" src="http://llnw.wbez.org/styles/original_image/llo/insert-images/Katherine Cunningham.jpg" title="(Katherine Cunningham)" /><strong>Katherine Cunningham</strong></p><p>As an alumna of Conant High School in Elk Grove Village, Cunningham has played a variety of roles on stage, television and film. Her long list of credits includes&nbsp;<em>Detriot 1-8-7</em>,&nbsp;<em>The Playboy Club</em>,&nbsp;<em>Shameless</em>, <em>The Mob Doctor</em>,&nbsp;<em>Chicago Fire&nbsp;</em>and the Michael P. Noens&nbsp;film <em>Two Days in February</em>. Cunningham most recently appeared on MTV&#39;s <em>Underemployed</em> as Natalie,&nbsp;the love interest of lead character Sophia (Michelle Ang).&nbsp;Next&nbsp;up: <em>Johnson</em>, a film co-starring Cam Gigandet (<em>Twilight</em>, <em>Easy A</em>) set to premiere in 2013.&nbsp;</p><p><img alt="" class="image-original_image" src="http://llnw.wbez.org/styles/original_image/llo/insert-images/Joe Minoso.jpg" title="(Joe Minoso)" /><strong>Joe Minoso</strong></p><p>Minoso is a graduate of Nothern Illinois University and a veteran of the Chicago theatre scene, performing with such revered companies as the Goodman, Victory Gardens, Writer&#39;s Theatre and Chicago Shakespeare. In addition to serving as the associate artistic director at Teatro Vista, he has appeared in several Chicago-filmed television shows, including <em>Boss</em>, <em>The Chicago Code</em>, <em>Shameless</em>, <em>The Beast&nbsp;</em>and <em>Prison Break</em>. His current role, the tough but lovable driver Joe Cruz on NBC&#39;s <em>Chicago Fire</em>, is his best yet.&nbsp;</p><p><img alt="" class="image-original_image" src="http://llnw.wbez.org/styles/original_image/llo/insert-images/Tawny Newsome.jpg" title="(Tawny Newsome)" /><strong>Tawny Newsome</strong></p><p>As an ensemble member of Second City&#39;s <a href="http://www.centerstagechicago.com/theatre/theatres/second-etc.html">e.t.c. Theatre</a>, Newsome brings the laughs and an added bonus of top-notch theatre training. Before joining the cast in 2012, she graduated from DuPaul&#39;s Theatre School and went on to win rave reviews for her performances at Chicago Shakespeare, Writer&#39;s Theater, Victory Gardens and American Theatre Company. Newsome is an accomplished singer as well, lending her voice to local rock bands Jon Langford and Skull Orchard, The Dirty Rooks, and This Must Be the Band (Chicago&#39;s only Talking Heads tribute). Tribune theatre critic Chris Jones named her one of &quot;10 new faces you should know&quot; in 2012, and her future only looks brighter from here.&nbsp;</p><p><img alt="" class="image-original_image" src="http://llnw.wbez.org/styles/original_image/llo/insert-images/Michael Sanchez.jpg" title="(Michael Sanchez)" /><strong>Michael Sanchez</strong></p><p>Currently one of the driving forces behind Chicago&#39;s &quot;Comedians You Should Know,&quot; Sanchez studied improv at the Upright Citizens Brigade Theatre in New York before moving to the Windy City in 2006. He has traveled all across the country performing stand-up, including Seattle&#39;s Bumbershoot and New York&#39;s Seaport Musical Festival. In addition to writing a number of award-winning comedic shorts and opening for <em>30 Rock</em>&#39;s Tracy Morgan, Sanchez is finishing up his first feature film <em>The Return of Great Guy</em>. &nbsp;</p><p><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/Beth%20Stelling_0.jpg" style="width: 200px; height: 294px;" title="(Beth Stelling)" /><strong>Beth Stelling</strong></p><p>As Chicago&#39;s comedy It girl, Stelling did it all: studying improv at Annoyance Theatre, performing with the Chicago Underground Company, earning a 2011 Chicago Beat award nomination for Best Non-Equity play (<em>Five Lesbians Eating a Quiche</em>, which went Off-Broadway and will be published by Samuel French in 2013) and tri-hosting the popular<em>&nbsp;Entertaining Julia</em> showcase at Town Hall Pub. Since re-locating to Los Angeles in 2012, Stelling has worked with many funny people (Rob Delaney, Sarah Silverman and Kristen Schaal, to name a few) and was recently crowned #2 on <em>LA Weekly</em>&#39;s &quot;12 L.A. Comedy Acts to Watch in 2013.&quot; Check out her super-cool <a href="http://sweetbeth.com/bio">website</a> and watch her appearance on&nbsp;<em>Conan&nbsp;</em>below:</p><p><iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/PeeiytyThms" width="610"></iframe></p><p>Follow Leah on Twitter <a href="http://twitter.com/leahkpickett">@leahkpickett</a></p></p> Thu, 17 Jan 2013 05:00:00 -0600 http://www.wbez.org/blogs/leah-pickett/2013-01/chicagos-rising-stars-104952 Young actors: Step up to the plate http://www.wbez.org/blogs/onstagebackstage/2012-07/young-actors-step-plate-101033 <p><div class="image-insert-image "><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/merchant%20of%20venice%20first%20folio%20theater.jpg" title="Young actors just out of school play six of the 19 roles in First Folio’s ‘Merchant of Venice.’ (Courtesy of First Folio)" /></div><p>Wednesday night I trucked out to see <em>The Merchant of Venice</em>, at the annual outdoor Shakespeare festival presented by First Folio Theatre at Mayslake Forest Preserve in Oak Brook, Ill. I enjoyed this handsomely-designed and engagingly-acted production very much, until the show was cancelled at intermission due to approaching violent storms. Lucky for me, I know how the play ends.</p><p>Most Shakespeare plays require a large cast, and the program for <em>Merchant</em> listed 19 actors. Combing through the credits, I found that six of the 19 either graduated from university acting programs within the last two years or still are in school. None of the six yet has a union card from Actors Equity Association (which will celebrate its 100th anniversary next year).</p><p>This is one of the finest characteristics of Chicago theater. Our Off-Loop and Off-off-Loop companies abound with embryonic talent; kids just out of school or soon-to-be. Our larger institutional theaters, too, often engage early-career actors. Once upon a time, I was one of those kids myself acting for peanuts in the seminal Off-Loop troupes of Lincoln Avenue, among them Kingston Mines Theatre Company, the Body Politic, Pary Productions and Del Close&#39;s Chicago Extension improvisational company.</p><p>Thinking of then and thinking of now, this is the<em> perfect</em> time to be a young actor. So, yeah, sure, the global economy sucks, we&#39;re in a depression (don&#39;t buy the nonsense that it&#39;s only a recession) and if the Eurozone totally melts down we&#39;ll really be in the crapper. But what the hell? When has it <em>ever</em> been a <em>good</em> time for a career in the arts? Actors are perpetually under-employed even in the best of economies &mdash; it&#39;s one of the occupational facts of life &mdash; and a sour economy does not substantially offer <em>less</em> employment or less opportunity for employment.</p><p>So go for it.</p><p>Fact is, electronic, digital, online and video media offer more employment for actors than ever before. From voices for video games, to the explosion of cable TV shows (just think how many actors the Discovery Channel and the History Channel employ), to self-produced internet programs and serials, to direct-to-disc movies, the entertainment industry is exploding with new ways for actors to act in addition to the familiar categories of commercials and voice-overs, TV, film and theater. Yes, much of it is shallow, formulaic and sometimes amateurish; and much of it &mdash; perhaps most of it &mdash; is not covered by actors union contracts (Equity, SAG-AFTRA), so the possibilities of being underpaid, exploited, ripped-off and/or sleazed are very real, but this blog column isn&#39;t a business lesson.</p><p>Compared to many of these, live theater may be the worst way to make a living, and I use the words &quot;make a living&quot; with great reservation. In Los Angeles, a newbie actor can appear at an Equity Waiver theater and earn nothing but car fare for professional work, often with established veteran actors. Difference is, the established veterans can afford to indulge their passion for live art, but the starter-out still is eating beans. On the other hand, a newcomer also can find himself/herself on a soap or a series making several thousand dollars a week.</p><p>The difference in Chicago is no one becomes rich here from any type of acting, whether you&#39;re working at Steppenwolf or the Goodman or a neighborhood storefront theater. Chicago is not the town where you make a killing or become a star; it&#39;s the town where you hone your chops, stretch yourself and practice your craft. And, with over 220 producing theater companies, the odds are <em>much</em> better here than in New York or Los Angeles of your landing a role and actually honing, stretching and practicing; witness those six young&#39;uns in <em>The Merchant of Venice</em>.</p><p>So, young actors, give it a whirl. No matter if you act for little or no money as long as shoes still need to be sold, hash still needs to be slung, dogs still need to be walked and temp work still is available. Keep in mind that the cost of living in Chicago still is considerably less than in NYC or L.A. Even more important, audiences here are sharper, more receptive to the new and better-informed than just about anywhere else. The lesson from that is to hold yourself to a high standard of craft and intelligence, and to take risks. If not you, who? If not now, when? If not here, where?</p></p> Fri, 20 Jul 2012 06:00:00 -0500 http://www.wbez.org/blogs/onstagebackstage/2012-07/young-actors-step-plate-101033 Hey, you! Actor! Part II: Are you Stanley Kowalski? http://www.wbez.org/blog/onstagebackstage/2011-06-21/hey-you-actor-part-ii-are-you-stanley-kowalski-88128 <img typeof="foaf:Image" src="http://llnw.wbez.org//blog/photo/2011-June/2011-06-21/5194116_gal.jpg" alt="" /><p><p style="text-align: center; "><img alt="" class="caption" src="http://llnw.wbez.org/blog/insert-image/2011-June/2011-06-21/5194116_gal.jpg" title="Marlon Brando as Stanley Kowalski in 'A Streetcar Named Desire'" height="462" width="372"></p><p>I had such a good time last week annoying blogger "2AM" with my comments on actors who don't project that I thought I'd try to annoy 2AM again this week with Hey, you! Actor! Part II.</p><p>My rant this week ain't about hearing, it's about seeing actors' undershirts; specifically, seeing t-shirts under costumes. Here's the deal: unless you are playing Stanley Kowalski in <em>A Streetcar Named Desire</em>, I don't want to see your t-shirt. If you're playing Stanley, it's OK because he's supposed to be wearing a t-shirt. But if you are playing, say, Prince Hamlet or Torvald Helmer (Nora's husband in Ibsen's <em>A Doll House</em>) in a period-accurate production, I don't want to see your t-shirt under your costume&nbsp; because there WEREN'T ANY T-SHIRTS in the time periods during which<em> Hamlet</em> and <em>A Doll House</em> take place.</p><p>There is something in theater called verisimilitude or the appearance of truth and reality. Very broadly speaking, the thrust of theater (or at least drama vs. musical theater) in Western Civilization roughly since Shakespeare has been towards greater and greater realism made possible by the creation of indoor theaters, the development of sensitive artificial sources of illumination, the design of realistic scenery (especially the box set) and the Chekhovian break-through of psychological realism and subtext. I say thank God for all that or we never would have had Neil Simon.</p><p>Be that as it may, it's very easy to destroy verisimilitude with a glaring and unintended anachronism, and NOTHING destroys verisimilitude more quickly than seeing Hamlet remove his doublet for the fencing match only to reveal the outline of a 21st Century t-shirt under his linen. Ditto, Torvald Helmer when he removes his outer suit coat to slap Nora around.</p><p>But one need not go back to the 19th Century and earlier to commit the Sin of the T-Shirt. Until the post-World War II period, the t-shirt was used as an undergarment only by the military (ex-servicemen played a huge role in popularizing it). So it's equally jarring to see a man (or, yes, sometimes a woman) reveal a t-shirt under a dress shirt or blouse in a play by Noel Coward or Eugene O'Neill.</p><p>I've had this discussion before with actors, and they don't disagree with my theoretical thinking or my facts (indeed, they cannot) but they take issue with me on the practical grounds that actors sweat and t-shirts protect the costumes and reduce smells. Well, I hope actors sweat! I don't want them phoning in their performances, and I want them to speak loud enough for me to hear them!</p><p>I never have said that actors should not wear undershirts; what I say is that they should take care that audiences don't SEE them. Make sure that the outer layer is heavy enough to render the t-shirt invisible. Or they can wear period-appropriate, historically-accurate undergarments! Both of these solutions require the cooperation of the costume designer, of course. Indeed, the costume designers (and astute directors) can and should make certain this problem doesn't arise in the first place.</p><p>Another solution is to clean or wash the costumes frequently and skip the t-shirts. Indeed, many Actors Equity Association contracts require that so-called "skin parts" are laundered nightly, although smaller theaters and non-Equity troupes are not held to the same standard. You don't catch the T-Shirt Syndrome when you see a production at the Goodman Theatre or Chicago Shakespeare Theater or a touring Broadway show such as <em>Wicked</em>.</p><p>I know, I know: 2AM or someone is going to say "Jonathan, where is your willing suspension of disbelief? Where is your imagination?" Hey, I'm a theater critic; I don't have an imagination.</p><p>Bottom line: this is an easy thing to fix and it costs little or nothing to do it if costume designers include underwear as part of their concept for period productions. But if they don't, hey, you, actor! Have enough pride in your hard work to be aware of it yourself, and don't let a t-shirt give your characterization the lie.</p></p> Tue, 21 Jun 2011 17:27:00 -0500 http://www.wbez.org/blog/onstagebackstage/2011-06-21/hey-you-actor-part-ii-are-you-stanley-kowalski-88128 Hey, you! Actor! I can't hear you! http://www.wbez.org/blog/onstagebackstage/2011-06-13/hey-you-actor-i-cant-hear-you-87805 <img typeof="foaf:Image" src="http://llnw.wbez.org//blog/photo/2011-June/2011-06-14/Yelling actor 2_Flickr_Vancouver Film School.jpg" alt="" /><p><p><img alt="" class="caption" src="http://llnw.wbez.org/blog/insert-image/2011-June/2011-06-14/Yelling actor 2_Flickr_Vancouver Film School.jpg" style="width: 500px; height: 334px; margin: 5px;" title="(Flickr/Vancouver Film School)"></p><p>The pre-show theater announcement is now standard: turn off cell phones and pagers and "if you must eat candy, please unwrap it NOW." This has minimized (if not entirely eliminated) perhaps the two most infuriating distractions of contemporary theater-going.</p><p>But it still leaves a third infuriating distraction, and there isn't a theater anywhere with the guts to confront it. No theater manager or producer will add this to the pre-show spiel: "And if you're an old person who can't hear, please shut up! Do NOT ask your companion to tell you what the actors said!"</p><p>Of course, there's a fix for this one, too, if actors and directors only realized that quite often the reason for Infuriating Distraction #3 is Infuriating Distraction #4: THE ACTORS DON'T SPEAK LOUDLY ENOUGH!!!!</p><p>Perhaps I'm becoming increasingly sensitive to this issue since I recently celebrated my 59th birthday. Again. I have no doubt that advancing middle age and 25 years of tinnitus have taken a toll on my hearing. Then again, I have no trouble at rock concerts (which may be why I have tinnitus in the first place). Less facetiously, I have no difficulties with normal conversation or phone calls or my work in the WBEZ studios, nor did I have trouble hearing on a recent visit to New York, sitting in the last row of the balcony of a Broadway theater. I caught every word of the two unamplified actors in the play because they never failed to project.</p><p>But here in Chicago, among our Off-Loop theaters, actors frequently fail to project, and there's the rub. There seems to be a mindset that because a storefront playhouse seats only 40 or 50 or 75 people, actors don't have to project or point their dialogue; that somehow an intimate conversation between two characters can be performed in the hushed modulations of a real intimate conversation between two people.</p><p>Well, it can't. Even in the smallest Off-Loop house, there still is a separation between actors and audience. The audience is NOT an actor standing just inches away from another actor, and clarity for the audience requires both projection and enunciation on the part of the performers.</p><p>Now, projection doesn't necessarily mean volume, although more volume sometimes may be the answer. More often, it means intensity or expressiveness. This essential acting concept cuts both ways. Many, many times in my reviews I've criticized performers who substitute volume for intensity at moments when they are supposed to be, say, angry or excited, both of which also can be expressed in whispers. But remember, please, that a stage whisper isn't really a whisper. Similarly, intimate and/or soft-spoken dialogue must still retain a suitable decibel level.</p><p>So the idea of speaking normally because a theater is small is a mistake and a trap into which far too many directors and actors fall. While rehearsing a show for three to six weeks, the company hears the lines over and over and over again, which dulls their response as to whether or not the words will be heard and understood by audiences hearing them for the first--and only--time. Familiarity breeds comprehension: It fills in blanks which the audience will not be able to fill in.</p><p>There also are various physical aspects of productions which sometimes exacerbate the problem of clarity. Sets, costumes and the blocking of the actors can all play a part, as can the acoustic characteristics of each venue. When my "Other Half" shouts to me from two rooms away, I can hear the sound but can't always understand all the words, and theater can work that way, too.</p><p>Directors should keep all this in mind: One size does not fit all situations and playhouses when it comes to projection. They should remember, too, that a very high percentage of Chicago's theater audience is over 55, even at small Off-off-Loop theaters. I'll bet our theater community would be shocked by the results if they surveyed audiences about problems with hearing and clarity.</p><p>Meanwhile, actors, speak up! Why spend all that money studying Alexander or Linklater voice techniques if you ain't gonna use them.</p><p>&nbsp;</p></p> Tue, 14 Jun 2011 03:43:00 -0500 http://www.wbez.org/blog/onstagebackstage/2011-06-13/hey-you-actor-i-cant-hear-you-87805