A conversation with four older cast members starring in Antaeus Theatre Company's production of Branden Jacobs-Jenkins' 'Everybody.' 'You learn simplicity, you learn economy.'
puts his own playful stamp on an allegorical work that exposes the vanity of worldly ambition. Religious doctrine is filtered out but spiritual pedagogy is preserved as Everybody, chosen by God to die, seeks a companion for the terrifying journey and finds that neither kin nor closest friend is prepared to make such a sacrifice.
Byrd: It’s a new series call “Straight Man.” I play Bob Odenkirk’s mother. He’s a college professor in a meh college in the Midwest. He’s a kind of jamoke, so it should be real fun.Byrd: My first response was I don’t really want to be schooled by a 30-something about how to live. Later, it did occur to me that Jesus was in his 30s, so maybe I should keep my mouth shut. But I know that Harry and Dawn thought it was good. I love this writer’s work. “Neighbors,” I thought, was astounding.
Groener: Actors in other productions were using a trick rope with a hinge on it. I was taught you have to twirl it. My lariat was a real lariat.Groener: Now that we’ve opened, I’ve said that we have to fix this because I’ve done Stuff three times in a row already. Isaac: I was involved with East West Players shortly after it was founded, 40-plus years ago. And in the early days of the company there was a lot of Asian theater training. Classes in Chinese opera. We touched on Noh and Kabuki. I’m not sure how much that has helped me in the long run. I do know there’s a moment in “Everybody” when I flash onto a Noh moment. I won’t tell you where. It’s my secret. But it makes me feel like, “Oh, yeah. I’ve done something like this 40 years ago.
Didawick: The difference is you do not get a run at the role. Actors need to be able to do a role like Everybody more than once in tech before they have to do it eight days later. I don’t have the burden that they have, but I sit in the audience and get nervous when the lottery comes on. The benefit that comes with doing something again and again isn’t there. Classical training helps for sure. But it’s also the fact that we’ve done many new works.
Didawick: We were lucky because we got to work. We went from regional theater to regional theater, doing every kind of play imaginable in our careers. Those theaters barely exist anymore.
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