At the time of his retirement in 1991, Mr. Storch said, "I think what I am most proud of, as far as Syracuse Stage is concerned, is that we created a standard of quality that does not cater to the lowest common denominator. The bottom line has always been: This is the best play and these are the best people, not this play will sell the most tickets."I met Arthur as a member of the Actors Studio. He was one of the auditors at my audition for the Studio. I also played a small role in a production of "Machinal" he directed there that starred Angelica Page (she went by Angelica Torn at the time). He was almost always there at the Studio's sessions, helping critique the work of the actors. And, I'd run into him occasionally outside the Studio. Even after retirement, he taught a class in directing.
He always looked to achieve that "standard of quality that does not cater to the lowest common denominator." When he directed, he asked for maximum effort from the actors. Some rehearsals became real pressure cookers, moving through the same blocking again and again, and expecting full involvement at all times. There was at least one day in "Machinal" rehearsals, an actress blew up and stormed out of the room. Arthur listened to her when she returned, but insisted on seeing what he wanted to see, then got the whole rehearsal back on track. After all, if you don't push yourself fully, your work will never be fully complete.
He demanded a lot from actors under his direction. There were times he demanded more from actors in the Actors Studio sessions. If he didn't think the work was up to snuff, he told you in no uncertain terms. Two finalists for membership worked on a scene in a session I saw once, and the actors were having a tough time of it. They didn't seem to be connecting to anything, but the actors continued, soldiering on. Afterwards, Arthur verbally eviscerated them. They didn't have a focus, or connection, or a myriad of other things required of good acting. He looked half sick and astonished that a poor performance was possible. I felt bad for the actors, but Arthur was not wrong in his criticisms.
I happened to run into Arthur later in the evening of that same day. I was taking an improv class in the same building he was teaching a directing class. The first thing he asked was "did you go to session today?" "Uh-huh". "What did you think? I couldn't believe it. Those two don't know the first thing about acting." He went further. The guy could not stop talking about it. I got the impression he had been thinking about it all day. I had nothing to add other than the two on stage had had a rough day. All I could think of was what he thought about my acting. I remember working on "Ghosts" in session once. Arthur was there, but didn't say a word during the critique. Maybe no news was good news.
Arthur was so passionate about acting and the theatre. He had a driving will to produce the best play possible. He had standards for performers few can achieve. Of course, he worked with amazing actors all his life, and knew from experience what truly dedicated actors can achieve. He brought life to the Actors Studio, and really spoke for a full and deep dedication to the craft.
Arthur Storch 1925-2013
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