The Understanding of Medium

Ah, the performing arts.

Singing, dancing, instilling awe into an audience that only knows you as a character, and just a piece of a complex story.

But as actors, it usually becomes a question of choosing the certain side of a coin of which to bank your career.

Theatre or film?

Acting to an audience or acting to a camera?

New York City or Los Angeles?

I was speaking to a friend of mine one day in the heart of New York City, both of us avid theatre fans, but myself a student of film. We were discussing possibilities of certain musicals that could become films, vice-versa, and also, the actors we would choose to cast. My friend, however, was very concerned that my choices were those who have had no experience on Broadway, but have had ample in front of a screen. To her, it was almost sacrilegious for a film-based actor to do a stint on Broadway.

But I would have to disagree.

During my final year of high school, I auditioned for a place at an acting school, here in my home country of Australia. I didn’t make it in. But inside me, I knew there was a distinctly strange grey area where I sat. I always knew that, while I dream of being on Broadway, my life would always come back to film, which I chose in result of that failed audition. However, during my time in my high school drama class, I was taught by a teacher who, while wonderful in the field of drama, taught us primarily theatre techniques. But, in my mind, my acting style was better suited for film. But the theatre was still instilled.

As such, I was placed in this strange area where I was seemingly too flamboyant for film, while too wooden for theatre. I prefered looking someone in the eye, not cheating out, but my body language would flail too far, I would move too much. But, when the time came, I knew what was needed for each medium.

Theatre begs for stamina. Performing 8 shows a week, vocal rest and exercises, making sure the audience can see and hear everything you do.

Film begs for the fine details that the camera can capture. Looks inside cloudy eyes that scream emotion without moving an inch.

There has become a trend where larger film stars have been cast in Broadway shows. And Broadway fans aren’t happy about it. They ‘aren’t trained’, they ‘don’t understand’, but what many people don’t realise is that most actors grew up as theatre kids. Kids taught to project and use body language, and everything that is taught to the traditional Broadway actors. Think of those that conquer both mediums. Lin-Manuel Miranda, Tom Hiddleston, Cate Blanchett. The change must lie in the understanding. What is needed for the production, the character, and most importantly, the medium.

Apart from acting, adaptation is also prominent in today’s art industry, from books to film to musicals. And again, some agree, and others do not.

As a film student, and formerly an enthusiastic reader, I understand when people show their despise for films and series that leave out important details within an adaptation. It ‘doesn’t look like I imagined’ or ‘they should’ve turned this into a show instead!’. But they don’t realise that sometimes, in order for a film to be written effectively, not everything can be included.

Someone once told me that they should make a full film adaptation of ‘Hamilton’, besides the proshoot. It’s my favourite Broadway show, but I have never disagreed more.

Many books and musicals are written with the chance that they could be turned into a film. Others do not. Let’s take an example.

Hamilton is Lin-Manuel Miranda’s Broadway musical about founding father Alexander Hamilton. A three hour, full rap-sung show, that changes setting between practically all songs, and in between. The set, as seen above, is simple. It could be used in any situation for colonial America, and as such, constant change of time and setting can be understood. In a film? Not a chance. Not only would it mean a ridiculous production design, but it would run too quickly for any audience to take in. In short, it would be a mess.

Now, let’s take a good example.

Jersey Boys is the Broadway musical about the lives of The Four Seasons, Frankie Valli’s group. 10 years after it’s 2005 Broadway debut, Clint Eastwood took it and turned it into a film. And it is one of the best musical-to-film adaptations I have ever seen. The musical has a structure that sets the film into four parts, symbolic of both the four group members, and the four defining times of their lives. The setting as a jukebox musical, as in which the music is not written specifically for the show, and in this case, the group’s own works, creates a steady flow between events that audiences are able to keep up with, and as such, is a far better options for adaptation.

My ranting aside...

You never know something will work until you try it. Risks are a part of life’s excitement. But the success lies, once again, in the understanding. If you understand the requirements of the mediums you work with, then there is always the chance to create and adapt something amazing. Embrace the possibilities, but analyse the process.