Creating a Character, Part 3 – Leroy Jessup

badseed24We had a couple of good rehearsals since the last post, finally getting to one of two major “Leroy vs. Rhoda” scenes. In the first, you finally get to see just how creepy Leroy really is, but also how perceptive and “on target” he is regarding Rhoda’s involvement in the death of the boy at their school picnic.

This scene helped me to make a lot of decisions as an actor, and see if those decisions would “play” against the performance of Rhoda. I think we’re on track to a couple of really intense scenes, in large part due to the amazing talents of the little girl who is playing Rhoda. There is a lot of stigma in the theater about working with child actors; they are either very difficult to work with- especially the very young ones – or they just aren’t yet able to make certain character motivations ring with enough truth. When you find a good one, they stand out quickly – think of Haley Joel Osment or Dakota Fanning. Whenever you forget you are watching an actor in a role, that’s a good performance. But whenever you forget you are watching a child actor in a role, that’s simply amazing.

Anyway, this young lady will be a lot of fun to watch grow as an actor.

In this scene, Leroy, who is already suspicious because of Rhoda’s obvious lack of empathy for the death of a classmate, decides to put out a little bit of theory that Rhoda in fact, killed the boy. But he does it in a taunting way that smacks of immaturity and a bit of a dark side himself. He enjoys immensely that he has this very smart girl figured out, and sets about to provoke her until she gives something away.

The next scene, one we are finally blocking and rehearsing tonight, is where Leroy’s theory is fully confirmed, and gives the audience a full dose of how nasty little Rhoda really is, but this scene is an obvious tension-builder and moves the Rhoda storyline along more than anything that’s happened so far.

Many of my decisions about Leroy came after I finally read him in the theater, against our Rhoda actress. It played well to see him leering, relishing his taunts, invading her space. The delivery was slower and more calculating and far more menacing than I expected at first. It’s in far contrast to the original portrayal by Henry Jones. (Hey, at least I won’t be accused of imitating.)

In my first post on this character, I listed 6 questions I always ask myself in preparation for a role. I answered the first two in detail in the second post. Here’s a quick review so far:

1) What’s in the script – very little other than he’s definitely southern, uneducated, lazy, has a family. Is not very likable and is kept on as an employee mostly because the landlady pities him. One character says he has the mind of an 8 year-old, but she’s 100% wrong about Rhoda, and mis-diagnoses everyone around her to such a degree, that I chose to just let her underestimate Leroy, like she does everyone else.

2) What the play reveals – he’s far more cunning than he lets on. He sees Rhoda’s dark side because, he reveals, he also has a dark side. He later underestimates her and becomes afraid of her after “poking the bear” one time too many.

The remaining answers to the questions in my character study are really a combination of decisions I make as an actor, and how the character finally interacts with the other characters in this specific production. For example, I could choose to make Leroy an actual low-functioning individual, but it wouldn’t provide (my opinion) enough motivation for his constant needling of our Rhoda, who herself is still playing Rhoda as more girlish than serial killer. Someone like Forrest Gump wouldn’t relish tormenting a little girl, but a creepy bastard would.

So let’s tackle questions 3 and 4 today:

3) How does he see the world? What is his life story?

I decided Leroy is either separated or divorced from his wife and lives apart from his family. He has to support them still, which is probably why he works at all. But he hates his job and the people around him. He’s very much a loner. There is almost certainly an emotional immaturity to him, for him to relate best of all to the youngest person around him. Leroy is looked down upon, with pity as well as scorn (mostly due to his surliness), and the adults in the room never speak to him except to either scold him or give him orders. Even Rhoda sees this man as beneath her attention, until he picks up on the right “hot buttons”. Then he pounds on them over and over with a bit of sadistic glee.

A rough-and-tumble boy, Leroy likely peaked in some endeavor way back in grade school, and since then his life has been one bitter disappointment after another. I decided that he’s tried his hand at a variety of jobs and failed out of most because he felt they were beneath him. It’s the same reason his marriage failed – he felt it should just come easy without any effort on his part. Leroy feels important and believes he’s smarter than most people, and shouldn’t have to prove himself to get ahead in life. Think of a college educated person who remains in a $10.00 call center job, huffing constantly that they never get promoted out of some kind of prejudice on the part of the employer, taking no responsibility for their own life or initiative to better their situation. Why can’t people just see how smart he is?

Because I’m pretty physically built and stand 6’1″, I tower over most of the rest of the cast, especially little Rhoda. To stay in shape at age 42, I have to work out and weight train 4 to 5 days a week, which I have done for years. There is no way Leroy would have that kind of discipline, so my decision is that Leroy WAS once in much better physical shape, likely from football in school (it’s the south, after all), and a long stint in the army during WW2. This would put my character’s age at roughly 35, based on the play’s setting in the mid 1950’s.

The military decision was key: Because he’s seen combat as a foot soldier, that’s where he got a lot of his anger and exposure to evil. He’s seen bad soldiers, war crimes, and Nazi atrocities up close. He came home a very dark, bitter, depressed man. I believe he married his high school sweetie after the war, but it didn’t last even five years. He was too changed, too unambitious, too detached from the world around him. Now, he just exists.

(That is a lot of exposition, but it gives me something to “anchor” my portrayal to. Now instead of just a dim-witted janitor who happens to be surly and stumbles upon the real story behind the little boy’s death, Leroy is a much deeper character who has seen so much in his past that he immediately recognizes those traits in Rhoda. It also helps me answer question 5, which I will in the next post.)

4) What are the character’s current circumstances? 

He lives day-to-day in a meager, soul-less existence. Most of his pay goes toward supporting his estranged family. He lives in a squalid apartment off-site from the building he works at. He’s already given up on ever really finding a woman again, though he definitely thinks about it. His own wife has since remarried.

He’s attracted to Christine Penmark, Rhoda’s mother, but thinks about sex with her in demeaning ways – he thinks she’s uptight, too “uppity” and needs a little more dirty action. He’s not romantically attracted – he doesn’t like her. He would just like to, for lack of a better phrase, “hit that”. The fact that he’s thinking about violating an army Colonel’s wife is all that much more fun for him after his years in the service.

His work is boring to him and he does it poorly. He is sarcastic and disrespectful to his employers (as he was in the army, to the degree he could get away with it). He thinks the world is out to hold him down, and so he constantly has a chip on his shoulder.

I am making the decision that Leroy knows the grounds and building really well, enough to know its hiding places and how he can get away without working (but make it look like he is). I think he’d pocket anything valuable he found if he could get away with it. He certainly feels no loyalty to his employers.

I also decided that he will be entering scenes after coming from other apartments, in his own little world, lost in thought, going through the motions. That will give my entrances a low-key, almost insignificant feel.

The one thing that suddenly gives him a spark in his otherwise dull existence is discovering that Rhoda is not what she appears to be. So he thinks on that a lot, watching her at play, fixating on her. Peeling back the onion. He loves to invade her space and poke at her. I think if the play was written in 2014, the writer could hint that Leroy is likely a pedophile, or at least has thought about it. I don’t want to take it to that level of creepy, so I made the decision that he has no interest in Rhoda beyond tormenting her. Finally, someone he can bully. He most definitely enjoys the power position in his relationship with Rhoda. It’s the only one he has in life.

Tonight, we rehearse the final scene between Leroy and Rhoda. This is one where he reveals he knows how she killed the little boy, and we get to see Rhoda go full-on evil once she realizes her secret is out. I’ll also be refining my previous thoughts, and answering the last two questions. Stay tuned!

Creating a Character, Part 2 – Leroy Jessup

Sometimes finding a character is an almost immediate occurrence – the playwright either gives you so much detail that it is impossible to not see a character the way it was written (Stephen King comes to mind). Other times, there have been so many performances of the character by others that you have a wide range of ideas from which to draw.

I’ve always liked to see other performances of my character if I can. Our play’s director advised the cast against it, for the most important reason so many actors and directors avoid seeing other performances, as well: whether you mean to or not, you run the risk of simply imitating the other performance.

That’s not been my issue. Instead, I tend to want to just see this person living and breathing via another performance, to get my mind around him, and to see what kinds of decisions the other actors made.

In the case of Leroy, the role’s originator was noted stage actor Henry Jones. Jones, like most of the film’s cast, first played Leroy on Broadway, and was asked to play him again in the film. As such, Jones’ film performance shows strong stage presence, but looks a little overdone for cinema. But it’s a great place to start.

So for the first part of my character development process, I want to take what I know about the character from the script, and also from the work Jones did.

Here’s what I know so far, from the script and this one other performance:

1) Leroy is described as having the mind of an 8-year-old, but that’s only by a character who spends the first half of the play thinking she’s an expert psychoanalyst (Monica Breedlove). In fact, Breedlove launches into an excessive and bizarre tirade about Leroy in the first scene, in which she calls him nearly everything in the medical dictionary. So the IQ issue is really only one character’s opinion. Sure, he is written to be either lower class or lower intellect, as his lines are full of slang and outdated imagery, but he’s not specifically mentioned to be an idiot, and Henry Jones’ performance seems to concur with me. Leroy is no Forrest Gump.

2) Leroy is a bully. He’s surly and acts petulantly, in some ways like a child. He’s most likely emotionally stunted more than he is intellectually stunted, since he is the only character to see little Rhoda for what she is. She’s also the only one he can relate to. The other characters (all adults) ignore or demean Leroy, and he tries hard to avoid serious conversation with any of them. Yet he seeks out opportunities to engage Rhoda. He bullies Rhoda; it’s likely his only real sense of power or authority at all.

3) The script mentions that he has “somehow made a family” in spite of his other shortcomings, so we know Leroy is married and has at least one child.

4) Leroy is unambitious and often lazy.He does his job, but not to the best of his ability, and not more than what is expected. He sleeps in a bed he made from excelsior (old packing material) in the garage of the building where he works, while he is supposed to be working. (This is ultimately the source of his demise.) Lazy people generally don’t worry about posture or putting on appearances, so I would assume he’s also sloppy in his dress, manners, and carriage. He wouldn’t likely worry if he showered every day.

5) Leroy speaks of a few of the relationships he has with other characters, that I as the actor have to keep in mind. For Monica Breedlove, his haughty employer, he has utter contempt. He loathes her. He has an odd line about Christine Penmark, Rhoda’s mother, in Act I, Scene 1, where he calls her “trough-fed” and says she “doesn’t get enough of what she needs”, and then tells himself boastfully that he could be the one to “give it to her”. (This leads me to believe he sees Christine as a bit spoiled, uppity, and sexually frustrated, as Colonel Penmark is mentioned as always being away for weeks or months at a time.)

And then there is Rhoda, whom Leroy immediately senses is “damn smart”, but also says that they “see through” each other. He keeps drawing parallels between himself and Rhoda in terms of both their smarts and their meanness, and how they both “get away with things”.

The rest of the characters he doesn’t interact with.

6) Leroy seems to have some anger issues and doesn’t like repetitive noises. In the first scene, he purposely wets Rhoda’s tap shoes and then drops a wet sponge onto Christine. He later mentions to Rhoda that he wet the shoes because they were always tap-tap-tapping and he didn’t like it. In a later scene, Leroy enters a room alone where a phone is ringing, and because it wasn’t picked up, he goes over to it, picks it up, and slams the receiver back down to stop the ringing.

Quick aside: Leroy also has the most unusual characteristic of announcing himself every time he enters the room. My assumption is that the “help” was expected to announce himself before he entered, most likely a rule laid down by the very proper, aristocratic, southern Monica Breedlove. Because Leroy hates Mrs. Breedlove, he follows the rule but would do so in a very half-assed way.

Night three of rehearsals is tonight. I’ll be updating before the weekend on the decisions I’ve made as an actor on his background story, appearance, and motivations.

Creating a Character, Part I – Leroy Jessup

It’s been 24 years since I was last on stage. Recently I decided that was far too long, and auditioned for a small part in my local community theater, the much celebrated Camille Playhouse in Brownsville, TX. There were a couple of small parts I thought wouldn’t require much effort or time on my part (in my “day job” I’m a financial advisor).

The play is Bad Seed, the mid-1950’s Broadway hit about a little girl who is much more than she appears to be. In fact, little Rhoda Penmark is a serial killer and one very nasty little creature. The play discusses the role of nature vs. nurture in the construct of a person’s character: can someone “inherit” evil?

I thought I’d audition for the part of Rhoda’s father, Colonel Penmark, described only as straight-laced, good looking, and very loving. Easy enough a part, I thought, being so naturally all three. Plus, he’s only in two scenes. So even though it had been a long time since I stepped out in front of an audience, it’d be a cake walk.

I auditioned for the very fun director at Camille, Eric Vera, and then we discussed a few of the other roles in the play, including the one male role that certainly has the most impact on the plot, a janitor named Leroy Jessup.

Leroy, I told Eric, would be a challenge for me to figure out. He’s described as having the mind of an eight year old child, and that’s about it. Yet throughout the play, Leroy serves as little Rhoda’s nemesis; he’s almost as dark and conniving as she is. There’s a definite “ick” factor to Leroy, who is lazy and acts impulsively and spends a little too much time thinking about the females in the play, including little eight-year-old Rhoda. And even though Leroy is supposed to be basically an imbecile, he’s the only one who clearly and immediately see Rhoda for what she really is, and is slick enough to trick her into revealing her evil deeds.

In short, I went in to audition for the simplest character I could find, as the easy way to resurrect my acting career. I walked out with the task of portraying one of the most complicated characters I’ve ever played.

What will follow in this post is part internal monologue, and part character study. It is how I go through the process of bringing a character to life; how I make him “real” to me. I believe that if I as the actor don’t utterly believe in this person who inhabits my body for the duration of a play, you as the audience will never believe he’s real. It starts and ends with how much I believe in him. If I believe in him, then you have no choice.

I always found it helpful to write about the characters I play, as if I am his therapist as well as his creator. But I also have to be a bit of a detective – who is this guy? What makes him tick? What is his motivation for taking every action the audience will observe? What is it about this man’s life that I have to discover first, so that the moment he steps in front of the audience, his “life” seems perfectly natural?

Certainly the character whispers many of his secrets to you from the pages, and a good playwright can make an actor’s job incredibly easy if the character is vividly described and written with great care. And although the “Bad Seed” script is excellent, Leroy was left very blank.

My process looks like this:

1) What’s on the page: what does the playwright tell me? What’s been gifted to me by this character’s creator?

2) What the play reveals: what is the character going to discover about himself? How does the action of the play change him?

3) How he sees his world: what does his interaction with the other characters tell me? Where does he live?

4) What are his circumstances: what kind of a background would lead the character to that moment in his life that we will see on stage? What’s his life story?

5) What can I relate to? What can I bring from my own life experience to add “meat’ to this person? How can I find synergy between us? How can I care about him enough to play him as a real human being?

6) Decide and set it (almost) in stone. Although I make my final decisions about a character’s life and circumstances before the action of the play, the interactions within the chemistry of the ensemble often changes my characters subtly during performance. They are occasionally different each night of a production if the cast chemistry changes.

I’ll create this character in a series of posts throughout the rehearsal process. Stay tuned!