INTERVIEW: Miranda Jonte attempts to break ‘Shakespeare Code’
Photo: Miranda Jonte and Tim Weinert star in Breaking the Shakespeare Code. Photo courtesy of Simon Raymundo / Provided by Kampfire PR with permission.
In Breaking the Shakespeare Code, the new play by John Minigan, two characters grow and clash together, both personally and professionally. Curt, played by Tim Weinert, is an acting instructor, and his new student is Anna, played by Miranda Jonte. They first tackle the character of Portia in Julius Caesar by William Shakespeare, and this sparks a relationship that builds for more than a decade.
The production, directed by Stephen Brotebeck, comes to New York City courtesy of Hey Jonte! Productions, headed by Jonte. Performances run through June 2 at The Black Box at 440 Studios on Lafayette Street.
Recently Hollywood Soapbox exchanged emails with Jonte about the new show. Questions and answers have been slightly edited for style.
What was it about this play that attracted you as a performer?
I was looking for a two-hander that hadn’t been done to death, and a guy suggested a play he had written and sent me the first 10 pages. Holy moly. It was clever and dangerous. I read the rest as soon as he sent it, and it was this gorgeous, offbeat love story between two people who are too afraid to be direct about their feelings. They spend 16 years dancing around it. The power struggle, the vulnerability and the humor — the humor and cleverness!
I sent it to my director and received a one word response back: yes. Anna and Curt’s story is this effervescent, sexy and heartbreaking romance. Who doesn’t want to do this?
How do you approach the role of Anna?
Anna starts out at 18, then goes to 24, finishing at 35. In order to tap into that heightened energy and physicality, I placed her voice very high. As soon as I began to work on this, the rest followed: her brashness and naiveté, and her awkwardness of movement. The higher voice also placed my center higher, so a lot of the movement is ‘up’ and ‘open.’ As she gets older, her tone becomes more direct, and this changes her center of gravity. She is an utter blast, and utterly exhausting, to play.
What’s it like working with Tim Weinert?
Oh my goodness. I met Tim five years ago, and we just clicked onstage. Coming back to this play with him, five years later, has been both scary and like riding a bike. He’s the most professional actor I’ve worked with. He’s so reliable; he comes in off book and ready to try anything. We trust each other completely, and I love being in the rehearsal room with him. Unfortunately, we have the habit of losing our composure and have epic laughing fits, much to the (loving) chagrin of the director. We hear ‘take 10’ a lot.
What prompted you to create Hey Jonte!, and how has it been as a producer?
I’m a tough type — a ‘wild card’ — and out of grad school, people didn’t know what to do with me. I wrote a play (Greasemonkey) for myself as an actor, was determined to produce it, and all these wonderful people hopped on board. I realized — as did they — that this was the first of many. So I made it official and began producing at least one play a year — with the same team. As a producer it is so hard. Being the engine is tough, especially because I’m usually the producer, actor and playwright. It’s a lot of stress eating and not sleeping. And yet I keep doing it.
How difficult is the world of New York theater (finances, finding space, auditions, etc.)?
It’s rough, finances-wise. But I’m from the Bay Area, and I’m shocked at their prices. I want to say, who do you think you are, you’re not even a theater town! I’m good at finding space and have made a lot of connections. If I’m approaching work as an actor, then I hate auditions and all that jazz. If I’m producing my own project, after six years, I’ve got it down. I usually make offers of roles personally, then expand to recommendations, then will post on Breakdown Express, which feeds into Actors Access. I really want to say the only caveat is the cost of performance space. Oh, and being an Equity actor who self-produces, AEA does not make it easy for people like me, which is very frustrating.
At the end of the day, all we really want is to be onstage.
By John Soltes / Publisher / John@HollywoodSoapbox.com
Breaking the Shakespeare Code plays through June 2 at The Black Box at 440 Studios in New York City. Click here for more information and tickets.
