Ben Bryant
Today we continue our series highlighting the artistic talent behind Pegasus Theatre’s success. Here’s a behind-the-scenes look at actor Ben Bryant, our current Nigel Grouse.
Q: How long have you been involved in theatre?
The short answer? Fourteen years, not counting schooling. The slightly longer answer involves four years of high school productions and five and a half years of college theatre, during which I managed to land my first role in a show in Dallas in 2001. It’s snowballed from there.
Q: How long have you been involved with Pegasus Theatre?
The director, Susan Sargeant, called me in to audition for the role of Nigel Grouse (Harry’s brilliant and kind-hearted assistant) in 2009. I had seen the most recent Living Black & White™ show, Full Moon Murders!, and I was game if a little wary. Long story short: Death Express! opened that New Year’s Eve, with me adjusting my tie for the first of six years and counting.
Q: Yes, about that tie adjusting. What can you tell us about that?
One of the features of playing Nigel, or rather, inheriting him (see my response below about playing an established character) is a set of lazzi, or character-specific mannerisms, that are as much a part of the Living Black & White™ style as diction or posture. One of these lazzi involves Nigel’s reputation as extremely popular with lady persons. (Both my ex-girlfriends and my father are chuckling right now.) When Nigel openly flirts with or even notices an attractive eligible female, he tends to straighten his tie. It’s a good telegraph to the audience where his intentions are for the rest of the show.
Q: What is it about Pegasus Theatre that keeps you coming back?
The checks clear, obviously.
Wait. You probably want something a little more substantial. I’ve been told on multiple occasions that I was born about seventy years or so too late. I’ll admit there’s a certain thrill to trying on another decade, particularly in the framework of a screwball comedy. A world where you know Harry will be dim, Foster will be annoyed, Nigel will be clever, and evil will meet justice is a world I like to live in, if only for a month.
Q: Any favorite moments that stand out for you?
I’ll do this “Larry-King-random-ellipses” style: the ongoing backstage (and sometime onstage) battles to crack each other up … rehearsing in the church and never knowing exactly what temperature it’ll be, even in December … having somewhat rushed dinners with the rest of the cast in the green room before going upstairs to get into makeup … hearing a certain cast member paraphrase a speech, and telepathically determining how to ad-lib the missed plot information … Kurt and I developing the “British Chortle” bit during Another Murder, Another Show! for the amusement of precisely ourselves … Ben Schroth’s wig doing a death-defying leap off his head during Rehearsal for Murder! Anything other than that might incriminate myself and others.
Q: You have the interesting situation of playing a character that was already well-known to Pegasus audiences. Is that fun, challenging, annoying, etc, and what makes it so?
There are two angles to that. I’ve worked with multiple directors as Nigel, and each director, in his or her wisdom, has emphasized something different every time, whether it’s emotional truth, period style, or economy of movement. It can be daunting working on a character with a long history, be it Falstaff or Batman.
However, I received a letter on the night of the first preview of Death Express! from the very first Nigel, Tom Lenaghen. In it, he encouraged me to forget history and make Nigel my own, trusting my instincts and staying in the moment. It has remained in my personal files ever since.
Q: What do you do when you aren’t working with Pegasus?
A: By day I work on staff at Undermain Theatre, as Facilities Manager. I work with other theater companies whenever I can, sometimes on a light strike for Dallas Theater Center, sometimes acting in a role at The Ochre House. On occasion, I am hired to provide vocal sound effects for Funimation productions, such as “man gets hit with arrow” or “nervous breathing.”
Q: Looking back at all your experiences, who would you say has influenced you the most in your career?
A few guys. Alan Wimberley. Harrison Scott Key. Del Close. Chris Alleman. John Hanners. Susan Sargeant. Matthew Posey. Rex Harrison. Anne Bomar. Ray Stevens. My Mother and Father. Tom Lenaghen. Michael Shurtleff. It seems like everybody I’ve worked with, read, or watched has influenced me at some point or other, for good or ill. This is a short list – if anyone feels left out, please let me know and I will personally hand-write you a note detailing your influence.
Q: What comes next for you?
The JIM Experiment: two weekends of improv comedy in August at the Pocket Sandwich Theater. Following that, I’ll be appearing as Cornwall in King Lear for Shakespeare Dallas. And then it’s audition time for the next Living Black & White™ show!