From the Rehearsal Room: Marnie Klar as "Joan"

As a special feature on opening weekend, we're excited to introduce you to our cast members and their experiences creating the world of LOVE SONG. 

LOVE SONG opens November 23 and runs through December 9 - Wed-Sat at 8pm and Sat-Sun at 2pm. For tickets and information, click here. 

Introducing: Marnie Klar, who's playing Joan in LOVE SONG. Here is her first-hand account of the rehearsal process. 

LOVE SONG is the first production I’ve been fortunate enough to work on with the great people of The Seeing Place Theater. After seeing numerous examples of Erin and Brandon’s work in other productions, I’m thrilled to now have a “behind the scenes,” if you will, or insight into the way they operate.

I’ve been acting for a while now and have learned several different acting techniques over the years. Usually, when learning a new process, I’m able to take all the variations I’ve learned previously and apply them into one solid form through the rehearsal process, which I’m therefore able to bring to the stage. Working with Brandon and Erin is also just that, however, they’ve added their own methodology to great success. Their process is so unique and yet it all makes sense.

After going through some table work/dramaturgy and improvisation exercises, I remember our first rehearsal we were on our feet for the first time, script in hand for two scenes. While it doesn’t sound too far out of the norm (incorporating the lines of the script, your intention and physical activities) that day we learned something called “speaking out.” This was a process very foreign to me, as it incorporates not just the subtext of the characters, but actually all the “actor thoughts” that are ever present in our work as well. I learned that while that seems easy enough, I’m not actually used to articulating every thought on my mind. I seemed to just relish in the word, “ok" but not everything that “ok,” really encapsulated. Such as, “ok...I feel incredibly awkward,” or “ok...this is what I'm talking about,” and so on. I learned that we're allowed to feel the things we're feeling and think the things we're thinking - now how do I actually incorporate those realities into my work?

One example that stuck with me occurred early on when talking through beat changes. If there's a scene where my character spans multiple thoughts & emotions, how do I take that journey? Speaking out allowed me to talk through my private thoughts as the beats progresses. These were things I had in my mind but has never articulated. With speaking out, I now understand completely why or how I would go from one though to another. And articulating it? That’s something I’m working on…

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Marnie Klar is originally from Virginia Beach with a BFA in Musical Theatre from the University of Miami. While at Miami, Marnie performed in such productions as Into The Woods (Cinderella), The World Goes 'Round, Tartuffe (Elmire), Piece of My Heart (Mary Jo) and Mame, directed by the legendary Jerry Herman. Favorite regional credits include Three Tall Women (B), Wild Oats (Jane), A Lie of the Mind (Lorraine), all at the Ensemble Theatre of Cincinnati. Favorite NY credits include Shakespeare's Venus and Adonis (Venus- HERE Arts Center), Warning Adult Content (Elizabeth- Shetler Studios, TDG), Jewel Thieves! (Lady Lynne Fortescue- Time Square Arts Center), and Fleet Week: The Musical (Lucille Lortel Theatre- Fringe NYC '05 Winner Outstanding Musical). In 2011, Marnie presented her first all rock cabaret, "Marnie Klar Sings...," and was featured as part of the "People You Should Know" Cabaret Series at Don't Tell Mama.  Member AEA  Web: www.marnieklar.com