Imagine being in a play, standing onstage, in front of a hundred…or a hundred thousand people, and not remembering what your next line is.
I wouldn’t think about that if I were you…you’d only get depressed.
Being on stage, pretending to be someone else, is such a high, why doesn’t everyone wanna do it? I have always suspected the fear of “going up” on your lines is a major deterrent to participation.
It’s an understandable fear.
But it so rarely happens.
It happened to me once, and that once was before I was ever cast in a show. In the eighth grade I was asked to introduce my friend who was running for Student Council President of Bryan Station Junior High for his campaign speech to the ninth graders. I moseyed to the podium and announced to my upper classmen; “I seem to have forgotten what I was going to say.”
I collapsed and died on the spot, blocking the podium, and requiring the County Coroner to be called to determine the cause. My candidate lost his election, turned to drugs and dog-fighting, read way too much Bukowski, and eventually voted for Nixon twice and would have voted for him again if given the chance…a wasted life.
Ah-h-h-h! None of that really happened except losing the election.
What also didn’t happen is; I never have gone up on my lines again…after well over a hundred shows (knock on wood).
In all those shows, I have only ever been on stage twice when another actor has blanked out. Both of those events were presaged by the eyes of the suffering actor immediately doubling their size and shedding the ability to blink. Think of deer in the headlights. It’s an obvious tell. It’s a look that screams; “I don’t know who I am, or why I’m here, or why I have this great seat to watch this show, but you Buster, are now on your own.”
It’s a tough moment for all concerned, but I find it kind of exhilarating. I mean, all bets are off at that moment. I can now take this evening any direction I please. It’s like being Billy Taylor on the piano and Chet Baker turning to you and saying; “Take it.”
Here we go!
Calm down, Rog.
Thankfully there are alternatives to Roger rewriting the evening in bad iambic ramblings on the fly.
There are the Gatton Signals.
I give my friend Joe Gatton full credit for this onstage survival semaphore system because that’s where I learned it. Joe himself attributes (blames?) it on another actor. But I’ve never heard of nor met this legendary critter so the laurels fall to Joe.
The signals are precise.
– If an actor looks pensive and places his finger on the side of his nose, he’s saying; “I don’t know my next line.”
– If an actor looks down and, starting at his forehead, runs his fingers through his hair, it means; “I’ve forgotten what play we’re doing.”
– If an actor raises both arms above his head and pumps them repeatedly, he’s screaming; “I don’t know who I am, or why I’m here, or why I have this great seat to watch this show, but you Buster, are now on your own.”
The third signal is dire and usually followed by the actor in question abruptly exiting the stage, forfeiting his right to ever “lunch” again in this town, and leaving his colleague to sort things out or, in my case, to turn the drama into a personal and bizarre cabaret presentation.
It plumb evades me why everyone doesn’t wanna do this.