Monday, August 22, 2016

Beer Flight Theatre Cast: David Galloway

Hello All,

Threepenny Theatre's one weekend run of one act plays will feature the works of three of the greatest modern playwrights (Edward Albee, Harold Pinter and Tennessee Williams). Today we will meet another of our actors. Today we bring you some international flair with David Galloway. Originally from Scotland, David has been designing and performing in the Memphis area for many years now. He's appeared in previous Threepenny productions such as Macbeth and Dido, Queen of Carthage. When he isn't performing theatre, he is performing with local punk band Shamefinger

David Galloway - Lionel

Welcome to the blog. What is your name and what show are you performing in?

I am David Galloway, and I'm playing the character of Lionel in Harold Pinter's "New World Order."

How did you start performing in theatre?

 I got started with theatre proper in undergrad. There were auditions for a show that some of my friends were doing called On the Verge, and I thought "well what the heck, I'll audition for it" and I got in and by the end of that process I was like "this is something I think I should do." So I declared my theatre major and started doing shows.

How did you first encounter Threepenny?

That was Macbeth, I'm pretty sure. Auditioned for Macbeth, played Banquo and I loved it. Had a great, great time.

How do you go about preparing for a role? 

A lot of it is research. I look into the history of the play and the specifics around my character. I'll think of other characters from other plays or mediums that are similar to my character, and research them as well, see if I can't find anything to pull in to help define who I'm playing. But mostly for me, it's all about the reading and research.

Now, you are Scottish. What are your thoughts on Harold Pinter and this play, particularly? Especially how it might relate to politics in the United Kingdom?

Ah, you see, what's weird is that during this process we haven't talked too much about UK politics, but we have talked a lot about US politics with this, given our current political climate. Pinter is an English playwright, who writes a lot about freedom of the press and freedom of speech, and I think this play, at least in his initial interpretation, is very much a tongue-in-cheek poke at that. You know, with all this PC, political correctness, this is what Pinter thought could happen: intent could overcome ethics. But at the same time, I don't think his original intent is what the play means for us today. With the crap that's going on with our current elections in this country or with the language that was used surrounding the Brexit campaign in the UK, I think we're seeing something different. We are seeing a breakdown of Truth via language. Where our newscasters can say whatever they want to say because it gets ratings up. And I think this play can sort of speak to that a little bit, and ask what defines what it true and what is right. But even more than that, I think this play deals with the moral dilemma of dehumanization and torture. What justifies getting getting to that point where you can dehumanize a person so much that it's okay to inflict excruciating pain on someone? Where is that line for you? And I think that's relevant at the moment as well, because it's in the news. Is torture alright for enemies and should we use it? I don't think so. I think it's disgusting and anyone who does it should be condemned.

How does it feel to be performing a short 10 minute piece as opposed to a long-form play.  Is it more or less pressure?

In many ways I think there is more pressure, because with a full length play you have two hours to work out all the stuff. We've got about ten minutes. It's really about 6 minutes of dialogue and about 4 minutes of other stuff. But we have to establish these characters in such a small window of time, make them relateable to the audience, make the situation explainable and relateable to the audience with a heck of a lot less than you would have in a full length play. So I think the challenge is definitely greater.

Any last words to the audience about the play or the beer or anything else?

Memphis Made is pretty damn fine.

Any other plugs?

Come see Hamlet [presented by New Moon Theatre Company, February 3rd-19th at TheatreWorks] when that comes out. Come see Shamefinger. We are playing at Murphy's this Thursday at 8pm and this Saturday at 9pm. It should be a blast.

Thank you David. Check back later this week to meet another performer! And be sure to come check out Threepenny and Memphis Made Brewing Company's Beer Flight Theatre Night, opening August 26th at Evergreen Theatre. One Weekend Only!

No comments:

Post a Comment