Multiplicity at Florida Studio Theatre

The Art of Playing Multiple Roles
By Ryan G. Van Cleave | Photos by Matthew Holler

Located in the heart of downtown Sarasota, Florida Studio Theatre (FST) brings a vitality and energy to the area with a lineup of shows and events that are the envy of most major cities. FST has grown from a modest venue launched in 1973 to an entire village of theaters whose operations budget is $6+ million. Their 30,000 subscribers make FST the third-largest subscription theater in the US!

This coming 2018-2019 season features four shows in Winter Mainstage series, three in the Winter Cabaret, and four in the Children’s Theater series. While there are each worthy of being featured in a Sarasota Scene article, perhaps the most exciting of them all is the four-time, Tony-winning, knock-‘em-dead musical comedy A Gentleman’s Guide to Love and Murder (GGLAM). The show—based on the 1907 novel by Rob Horniman entitled Rank: The Autobiography of a Criminal—ran on Broadway from 2013 through 2016 to massive acclaim and great audience interest.

Now Sarasota is going to experience the magic firsthand in a way that only FST can provide.

Taking on the role of a single character is challenging enough for any actor, but with GGLAM, one actor plays the role of EIGHT different characters. Referred to in the industry as “multi-casting” or “company doubling,” it’s perhaps the ultimate challenge for any actor. And because it’s a musical, they’ll have to sing, too.

Enter Richard Henry, the star of FST’s production of GGLAM. “I’ve watched the Broadway production,” he notes, “but now that I’m diving into the script, learning the lyrics, I fully appreciate the effort Jefferson Mays put into it. It was a well-earned Tony!”

When asked how any actor can keep it all straight, Henry explains that it starts with selecting the character’s voice. “For each character, I pick up a physicality and vocal pitch. That anchors things. Then I switch it up for each role.” It helps that the story borrows so heavily from British pantomime theater, which basically spoofs classic literature and film. He adds that, “being a spoof, it gives us a lot more license in how we handle things.”

Perhaps the biggest challenge, Henry notes, is breath control. “I’ve got to make sure I’ve got enough energy to support all the singing and speaking parts. I’ll be running around like a mad person, changing costumes fast, then hustling back onstage as a different character. It’ll be hard but a lot of fun, too.”

While Henry hasn’t yet worked with FST, he’s excited about it thanks to his many colleagues who’ve had such great experiences here. They’ve raved and raved about the venue, the downtown area, and the audiences. While Henry’s excited for all of it, he’s most eager to take on the role of a lifetime in GGLAM.

Director Jason Cannon adds that “it sounds weird to talk about a comedy where the main character becomes a mass murderer, but part of what makes it work is that the deaths are played for laughs, not pain.” You almost have to root for poor Monty Navarro, eighth in line for an earldom in the lofty D’Ysquith family. Maybe his odds of achieving his dreams would be enhanced if only a few of those in front of him were “removed” from the situation. Along the way, he’s got to juggle a mistress, a fiancée, and avoid the threat of ending up in the slammer.

While that might not sound like a plot that’s going to be amusing, the laughs are nonstop. Think Monty Python meets Benny Hill + a little Sweeney Todd. With more silliness and fun.

One surprise about GGLAM is how technically demanding it is. While Henry hasn’t arrived yet for rehearsals (as of this writing), there’s an ocean of prep work being done. Cannon has to ask hard questions. How DOES that particular death scene play out in a way that’s funny? How can we change Henry from a matron (in full drag) to a playboy in about 20 seconds?

In short, there are a lot of puzzle pieces to figure out before Henry arrives, Cannon notes.

“But that’s not always the case,” Cannon says. “For example, a show like Once last year? It was emotional and character-based, with a wide-open set.” Cannon points out that his range of experiences in directing have been a master class in delegation and humility.

But make no mistake—Cannon loves FST. After freelancing for nearly 13 years, he’s been with FST for 6 years now and considers this place his home. “My heart beats in sync with the mission here. Plus, everyone here’s a Swiss Army knife. We all get to do a wide variety of things.” In addition to directing a few shows each year, Cannon teaches, writes, performs improv, and does a huge range of theater things. And that’s what he loves.

Henry adds that every acting teacher will say that regardless of the style of show, it’s all about the pursuit of some emotional truth. That’s what Cannon’s job ultimately is—helping Henry and the rest of the team present issues that matter while making the audience roar in their seats. GGLAM might seem like light fare, but it’s actually a deep exploration of revenge, justice, entitlement, hatred, love, and forgiveness. There are core emotional truths to be found in this strange, pleasurable story.

“We can get so close to big, scary ideas such as these because we use laughter,” says Cannon. “And because of our special venue, actors can work on a plane of intimacy they simply can’t achieve on a larger stage. Even if someone has seen this before on Broadway, it’ll be a very different experience here. It’ll feel a lot more like you’re in a living room with a good friend, putting on a show together.”

So come out for the November 7 through December 30 run of GGLAM and see for yourself just how much fun getting away with murder can be.

For more information about Florida Studio Theatre, please visit floridastudiotheatre.org or call the box office at 941.366.9000.