ON STAGE
Before landing the role of Buffy
The Vampire Slayer's Spike, James
Marsters had already made his way as an
actor (and director, and producer) on stage.
[PLAYS]
James Speaks
Up
My theater company started in
Chicago as the Genesis Theater Company,
actually. And I never got more criticism,
more... bile, than when I tried to build
something myself. It was interesting. All
the critics who had been on my side as an
actor, all of the rest of the theatrical
community, had a negative reaction to me
starting a new theater. My first show was
absolutely panned, although it sold out
and the audiences loved it, it was
absolutely trashed in the press, and I
learned a big lesson — when you extend
yourself, don't be surprised when people
take you down. That's just a human
reaction. "Just who the hell does he think
he is?" I had to overcome that. Duck down.
Jesus. Eventually, it was like "Oh, screw
the press. Just do it for yourself." (GenCon
2001)
Los Angeles is a pretty
frustrating town to try to do theater in.
My problem is it's hard to get people to
watch it. It's just not a theater town.
New Yorkers think of theater as part of
their city and Los Angeles does not have
that at all. I do want to produce again
but I think I would have a very
frustrating time doing that in L.A. I
would do it in New York and Chicago. (Vulkon
2003)
...my favorite acting was just
doing scene work from American Buffalo.
That was amazing. Probably that was my
best acting, the first time I actually did
anything resembling good acting after like
six years of doing waka, waka, waka. I did
a play called Michelangelo. Robert
Benedetti directed it and it was as good
as the original play. We did Ionesco's Rhinoceros,
and an original play called Larkrives.
I had a good time. [College theater] was
the best training I had. (The 11th Hour)
One of my favorite roles was
the character of Todd (Kemp); he
was a murderer in Mortal Risk.
That was an overly brutal but well-written
play. Life Was A Dream was one of
my favorite ones to act, too. That's
Calderón de la Barca. It's like a
Spanish Shakespeare. [The 11th Hour]
I ran the New Mercury theater
for four years. We performed in a church
basement on Capitol Hill, but we were much
better known when we were down in our own
space in a loft in Pioneer Square.
Directing is great, but it just burns you
out. You also have to be a producer for a
small theater, you end up being a janitor,
the ticket taker, sweeping out the seats,
painting the sets and all the stuff that
you can't pay people to do. But directing
was fun. (The 11th Hour)
In maybe my third play, The
Me That Nobody Knows, I had a song
and I was belting it out to this little
audience in junior college in Modesto, and
[got] that feeling of finding a way to let
my light shine, and feeling like I found a
home that night. I found a way that I
could start to try to get at my best self.
I remember I was doing The
Tempest in L.A. and a lot of the
characters were barefoot. Mine weren't but
my girlfriend's (Liz Stauber) were and so were
a lot of other people and they broke glass
on the stage. Somebody dropped something
and there was real glass shattered all
over the stage. The audience was
uncomfortable, the actors were talking and
nobody could figure out how to slyly get
all that glass. I just said 'Guys, I'll
take care of it.' And in my next entrance,
I just stopped the play. I picked up the
glass and then started my monologue
picking up the glass and just got it out
and everyone was just like "Thank God!" An
older actor once told me a long time ago,
if something goes wrong — admit it. You
can't deny it. Five hundred people just
saw it happen so the best thing you can do
is go "Bang." (Vulkon 2003)
As for writing, I've kind of
written all my life. I had theater
companies in Chicago and Seattle and a lot
of our plays were taken from other source
material and put into a play or original
material. At one point, we translated "La
Vida es Sueño" which is Life is
a Dream which is known as the Latin
"Hamlet" written by Pedro Calderón
de la Barca. I was so proud of us because
we read all the translations and they all
sucked. So we went back and retranslated
it and discovered that a lot of liberties
had been taken with that play and that
maybe a lot of people didn't know a lot
about that play. We did a really
successful production of it and I'm really
proud of that. (Vulkon 2003)
I would love to get back to
Chicago. The thing I love most about
Chicago is that it has no Second City
mentality. They have Second City comedy. I
went from Chicago to Seattle. And
unfortunately, I kept hearing in the
theatrical community, "Our show is as good
as the Tapers. Our shows are as good as
the ones in New York." In Chicago, man, we
didn't CARE what they were doing in New
York. Our shows were going to New York. We
were teaching THEM how to act. That kind
of pride creates a theater scene that
feeds on itself. That can keep going
strong for almost ever. It was
heartbreaking to go to Seattle and think
that was going to happen and watching it
not happen. So if I ever go back to do
theater other than New York or just
because it's easy LA, it will be Chicago
in a heartbeat. Chicago rocks. I was in
Seattle, they'd be like, "James, not in
our theater." Because I'd always do
Chicago acting choices. Really like bold
acting choices. When I did Macbeth
I was one of the murderers and I just
wanted to take a knife and we go in to
kill MacDuff's wife. And she has a little
baby. It was just a little basket. And so
I said, "How about this." (Makes baby crying sounds that
abruptly go silent as he pretends to lean
over a basket) I thought that was a
really cool little bit, and that was way
over the top! It was "horrifying." (GenCon
2001)
Incorruptible was huge
for me. Part of it was being aware I could
do a six-hour play, but it also taught me
the importance of ensemble acting. Never
before or since was there such a strong
sense of passing the ball around. (Chicago Tribune - 02/11/2000)
I don't have
a big problem with being naked. I don't
have any real need to be seen naked, but,
you know, I made my professional debut
naked, so that burned that right out of
me. It was in The Tempest, can you
believe that? At the Goodman Theatre in
Chicago, directed by Bob Falls, who was
the artistic director there. It's the
biggest theatre in Chicago. I was strapped
naked to a big metal hoop, naked,
spread-eagled, like Da Vinci's Perfect
Man. Because I was playing Ferdinand, who
is the perfect man for Miranda to come in.
Miranda's father shipwrecks a ship in part
to bring this kid to meet his daughter,
and so his image — Bob Falls is a
visionary kind of director, and his image
was Da Vinci, and he wanted Ferdinand to
be seen like that right away. So, he's,
like, seven feet tall, and he puts his arm
around me and says, 'Kid, we're thinking
about you being naked — how do you feel
about that?' It's my first job, you know,
what am I going to say? (SFX - June 2002)
Falls wheeled me out, strapped
to a wheel like Da Vinci's man, and you
could hear a sea of opera glasses clicking
open to get a better look. (Suntimes.com)
I was
doing Ionesco's Rhinoceros which has
thirty different rhinoceros popping over all
the time and I was, like, rhinoceros
twenty-eight. The third act revolves around
a brandy bottle and all the plot points go
through the brandy bottle and they forgot to
set the bottle. So Toby Anderson, a fabulous
older actor in the lead, could not get off
stage to get the bottle. There was no exit
for him so there was no way to fix it. So,
all the interns were gathered around the
backstage just watching this fifty-five year
old actor figure out how to tell the story
off the cuff. Yeah, he came backstage and he
exploded. He was just "F*** !" (Vulkon 2003)
Because [Method]
acting basically... what the Method is...
you develop a fantasy world that is as
complete as possible so you can release
into it and improvise in that world. I
sustained that fantasy, like Season 6
(BtVS), way too long and it ate me alive.
That's why I got so skinny. I was living
in this state of hunger and I wanted to
perpetuate that and it was not healthy, it
was not fun. It got some really great
acting — some really great scenes came out
of that — but it was destabilizing to my
life. So, yeah. Method acting... actors
out there... Method for film, fine. Stage
— fine. TV — it will kill you. (DragonCon
- 2003)
Others talk
about James
Actor Scott
Lowell
James is
a wonderful actor and had a hell of a load
to carry in this play (Incorruptible).
It was 6 hours long (6 acts performed over
two performances) and he was on stage for
most of it. I LOVED working with him and
hope to do it again.
I got to
play James' best friend, Camille Desmoulins,
who he later (in the 5th act) feels has
betrayed him and the Revolution so
Robespierre has Camille beheaded. Nice guy.
Because I was “dead” for the last act, the
director had me come back as another
character in the final act. I played a
commoner who comes to arrest Robespierre and
lead him to the guillotine. In the struggle
of his arrest Robespierre is to be shot by a
gun right under his jaw. We did the play in
a small theatre (the now turned into a
parking lot Hull House Theatre) in which the
audience was very close. Too close to use
blanks that would give the jolt and effect
that we wanted for the moment. SO another
actor hung out in the “attic”, peering down
at the stage with a starter pistol. He was
the one who made the actual shot. It was
loud and jarring, but this way no one could
be harmed. One night as we got to this
climatic moment, I held the gun under James’
chin said whatever menacing words I had to
say and mimed pulling the trigger as always.
Only this time I heard a faint “click,
click” coming from above the stage letting
me know that the starter’s pistol was
misfiring. The audience has waited close to
6 hours to see Robespierre die and if I
don’t shoot him... well, everyone is going
to be mighty disappointed. I looked James in
the eye and with the silent communication
that comes between actors who have worked
closely with each other let him know what I
was about to do. Very quickly and VERY
loudly I yelled: “BANG!” and James dropped
to the floor. Ah, the magic of theater.
Director
David Zak (Chicago
Tribune - 02/11/2000)
There was
a hunger about James, a determination to
really tackle ambitious projects, to not do
the same old thing. And what was great about
him was that he was equally comfortable in
the basement of Cafe Voltaire as he was on
the Goodman mainstage. As long as he was
excited about the project, the space didn't
matter.
Actor Andrew
Horowitz
And on
the James Marsters thing: I have a personal
axe to grind. He’s an asshole. He was in
Seattle when I was there and founded a small
theater company called the “New Mercury
Theatre”. He cast me in a production of
Steven Berkoff’s “Kvetch”. Apart from being
a crappy director with no sense of how to
approach Berkoff’s work or how to work
constructively with his actors, he was
consistently rude and abusive to other
members of the company (including his
now-ex-wife). A glad-handing, back-slapping
phony with a bad british accent. So I get a
little worked up when I here people say he’s
hot. He’s not.
Macbeth's Actor James Marsters and
Family Headed For Bright Lights of L.A.
Seattle
Post-Intelligencer
Joe Adcock
10/18/1996
In the title
role of 'Macbeth,' actor James Marsters mutters
the famous lines, 'Tomorrow and tomorrow and
tomorrow creeps in this petty pace from day to
day... ' That's all very well for a murderous
medieval Scottish king. But not for Marsters.
He's about to move into the fast lane.
Within days of
the closing of the current Seattle Shakespeare
Festival 'Macbeth,' Marsters heads for Los
Angeles, where he hopes to 'make a living at
this thing (acting).' Marsters and his wife,
Liane Davidson, recently added a son, Sullivan,
to their family. Suddenly making a living looms
large.
Liane is a
director. James acts, directs and designs
lighting. The two of them established and ran
the New Mercury, a small theater near the
Kingdome, for a few years. As an actor, James
proved to be especially good with addled,
off-balance characters, as audiences at the
Empty Space ('Scotland Road'), A Contemporary
Theatre ('Voices in the Dark') and Tacoma Actors
Guild ('A Doll House') can attest.
'James will be
in L.A. a month before Sullivan and I arrive,'
says Liane. 'I'm busy directing a Living Voices
touring production, `The Right to Dream,' a
civil rights piece.
'We're both
from San Francisco. We've tried New York and
Chicago and Seattle. We have a friend in L.A.
who is a casting director. He's getting us
agents. We're hoping to get work in television.'
Anyone who has
met the Marsters/Davidson heir, Sullivan, might
think in terms of an agent for him, too. He is
what is technically known as a 'cutey pie.' Or
perhaps 'sweety pie' is the correct phrase.
Anyway, some kind of pie. I for one would be
quick to purchase any product he was associated
with on a TV commercial.
Macbeth
laments that life is like 'a poor player that
struts and frets his hour upon the stage and
then is heard no more.' But stay tuned. James
and Liane's hour is not over yet.
The Why was
presented in the Blank Theatre Company Young
Playwrights Festival and then as a mainstage
production. It starred, besides James, Noah
Wyle, Steve Lipinsky and Antionette Spolar.
A fast-paced
tragicomedy; one part modern satire, one part
honest investigation. The central story
concerns Robert, an American teenager guilty
of murdering three of his classmates in what
has come to be referred to as a school
shooting. Spliced among the dramatic exchanges
between Robert and his assigned social worker,
a parade of fantastical stereotypes storms in
and out, creating a dichotomy between moments
of hilarity and sorrow. Confronted by
disturbingly accurate exaggerations of the
tabloid-like modern media, the audience is
made to laugh, and then question that
laughter.
[Playscripts, Inc.]