International Actress Sue Blough Comments on Characterization

Sue Blough is a former colleague of mine from my short time in an international repertory theater company called Covenant Players*. Watching Sue perform was a treat. Her total commitment to character was both incredible and inspiring to experience. Incredible, because of how much she was able to communicate about the characters she portrayed. Her performances were inspiring to young actors—like myself at the time—because of the work that she put into the performance to bring out the truth of the characters from the written page.

In my correspondence with Sue I have been able to glean not only some of the wisdom of a veteran Christian actress, but also a glimpse of what compels her. The many ways to go about character work all amount to what is necessary to be successful in any profession—work. When interviewing this energetic New Zealander, I originally was looking for some specific “how to” techniques and “how much work should one do or not do” etc. What I discovered was a taste of the passion that drives Sue to excel at her craft. The following is an excerpt from that interview.

E: Sue, how long have you been performing with Covenant Players?

Sue: Twenty-two years.

E: In that time, what has been the most fulfilling aspect of performing as an actress with Covenant Players apart from serving God?

Sue: Moments of truly living the role both in rehearsal and at the performance. By that I mean thinking character thoughts, responding and reacting to the other performers "in character.”

E: What’s a ball park figure of the number of roles you have portrayed during your time in Covenant Players?

Sue: I am not much of a counter/record keeper, but I will guess that I have performed over 600 roles.

[Wow!]

E: What has been your favorite role when performing or preparing? Tell me about the character and why you liked portraying that person?

Sue: Hard to choose but there are two roles in which I have experienced transcendent moments. One is the role of…Ann Boleyn. Chuck [Charles M. Tanner, author and founder of Covenant Players] has written several plays about Henry VIII and Anne Boleyn. I love rhetoric and Chuck's poetry is beautiful. He captures the tension and energy of this relationship powerfully in my estimation…my fellow actor’s ability to live in the moment and project another person's thoughts lifted me up. Our inter-relationship felt as dangerous and constricted, as I imagine it truly was, for Henry and Anne in those times.

E: Approximately how many hours (apart from actual rehearsal and line learning) you spend preparing for a role?

Sue: Depending on the size of the role and complexity of the character - probably anywhere between three to five hours outside of rehearsal.

E: That seems like a lot, what is your process?

Sue: Over the years I have synthesized what I do. First, I read the play several times over to figure out what is going on and who I am. I am looking for the things going on behind the lines and action as well as the obvious information. As I learn my lines and cues I try out gestures and character walks. I also consider the thoughts and motivations that will color the line reading and try breaking up the lines several different ways before settling on a reading. After the blocking rehearsal I continue to work on owning my lines and movement so it looks and sounds natural and spontaneous. Fast pickups and discovering the rhythm of the dialogue is important so I like to work outside of the set rehearsals with my fellow actors. Working on the texture of the relationships happens mostly inside the rehearsal, giving each other "character eyes" not just looking at the other actor and wondering what my line is! I try to live the moments. Then, with the help of the director I work at layering the performance, subtlety and timing, etc. Rehearsal is where I get my work out my head, or off the paper, and make it live and breathe. Then the magic of the performance happens. It's only been the privilege of performing a lot that has taught me to how control and use that mysterious injection of adrenalin that happens at that time. Actually acting, or being, is an ongoing process. You never fully arrive at becoming someone else. There are always more nuances to discover and embody. I find that exciting!

E: What do you think is the difference between acting a part and becoming the part?

Sue: Usually more of the audience is moved, challenged and provoked by the greater skill of becoming a part. You will see a difference when it comes to natural and spontaneous line delivery and movement. The eye communication (in responding and reacting to the other actors, to the lines and action in the play) will be electric and dynamic.

E: Which one is better, acting or becoming? Why?

Sue: Becoming. You are giving your audience and fellow performers a greater gift.

E: Do you think that it is possible to become so absorbed in the character that it negatively affects your attitude, behavior and/or social interactions outside the context of the script and/or rehearsal? Has that ever happened to you or anyone you know? Explain.

Sue: Yes, I think it is possible. I have seen people get carried away in rehearsal and performance. It has been set right by the sensitivity and courage of a fellow actor or director to confront the situation with love. These times are growing experiences and not ultimately detrimental. A performer must learn to differentiate between the script and real life, to put some boundaries on their imagination and research, and to trust the Lord to communicate what is needed. As both Christian and actress I long to experience the power of the play. I want it to affect me, not just the audience. I long to be challenged and ministered to on a personal level. My spiritual life thrives on creative situations such as those that are provided for in by acting and directing.

Eric: What is the cost in becoming a character? Please give personal examples.

Sue: The cost is work, time, concentration, effort, laying down inhibitions, being humble and malleable for and with your director and the other performers. It also means being reliable and consistent in rehearsals. I have had plenty of experience in being the "weak link" in the cast, or in supporting the "weak link". Then comes faith—before, during and after. Before you start, having faith or belief in yourself can make the difference between acting and becoming. This has to do with believing the Lord will work through you for His purposes. You are just being an available tool or vessel for his work. Faith during the process means having faith in the writer, director, other actors involved and afterwards trusting your audience to be smart, having faith that the Holy Spirit will work beyond whatever you do or don't do as a cast. All our work is nothing without the blessing and empowerment of the Holy Spirit. With it the work can be life-changing. I have learned these things through the hard knocks of my own inadequacies and the vagaries of circumstance. At times, I've been the one who hasn't worked on the lines enough so someone else has had to pick up when I've blanked. I have also learned to swallow my pride and help a fellow actor I privately deemed less "talented", only to discover that their performance is alive and fresh and impacting the audience, while I am coming across as studied and predictable - in other words I am giving a rote performance!

Sue’s performances, as I remember them, were never rote. Did you get a taste of the passion she has for her craft? I hope so. There is so much work involved in being excellent at any craft, but there can be so much joy in it also.

*Covenant Players is an international professional theater company. Founded in 1963, CP is now serving churches, schools, nursing homes, prisons and many other community groups throughout the world.